Tag Archives: Maxim Emelyanychev

SCO / Emelyanychev

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City Halls, Glasgow

With a week of concerts featuring Nicola Benedetti playing Beethoven next month, the Scottish Chamber Orchestra is on a box office roll at the moment, and the younger pianist she triumphed over in the BBC Young Musician final at the Usher Hall nearly two decades ago was attraction enough to assure another good house in Candleriggs.

Add the popularity of Benjamin Grosvenor and the fan following Principal Conductor Maxim Emelyanychev has built to a programme of Romantic classics, and it was little wonder that the hall was well filled.

Happily, what we heard was not equally a statement of the glaringly obvious, even if it looked very familiar on paper. This was a big SCO, but a particularly-structured one, with equal numbers of first and second violins and of violas and cellos, and four double basses high at the back of the platform. The acoustic balance had been carefully considered, as was the use and positioning of the timpani, brass and winds.

The full might of all that was immediately apparent in Brahms’s Tragic Overture, the companion piece to his more familiar Academic Festival Overture, and far from as miserable as its title suggests. It may lack the catchy tunes, but it is a piece full of drama, and Emelyanychev made sure that every twist of the plot was fully exploited in his meticulous guidance of the musicians.

Grosvenor has recently demonstrated a skill in championing works that have fallen below the radar – witness his award-winning recording of the Chopin concertos with Elim Chan and the RSNO. It is certainly arguable that Mendelssohn’s Piano Concerto No 1 falls into the same category – it is much less often programmed these days than it would be reasonable to expect.

On one level it is a cracking show-off piece for the soloist, who makes a terrific first entry full of virtuosic pzazz that was subsequently aped by Mendelssohn’s successors for some of the major works of the repertoire. There’s lots of that sort of thing in the work, with breakneck-speed playing required throughout. Every ornamentation was executed with precision by Grosvenor here, while his phrasing in the Andante was exquisite.

The composer integrated the piano with the orchestra in such a way that the work really is chamber music writ large, the soloist in constant conversation with the strings, while dialogue with the SCO’s excellent wind soloists was as expressive as expected. That slow movement featured beautiful ensemble playing from the lower strings, and the variation in tempo towards the end of the finale was the culmination of a superb communicative partnership between conductor and soloist.

Mendelssohn’s other innovation – interestingly, since as a conductor he disliked applause between movements – was to have the work flow without any pauses, and that set up Emelyanychev’s reading of Schumann’s Fourth Symphony perfectly, thoughtfully pre-figured by Grosvenor with a Schumann encore.

The SCO performed the composer’s 1850s revision of the work, originally composed when he was newly married to Clara ten years earlier, but the conductor maintained the earlier incarnation’s through line and flowing narrative, each movement – as indicated in German, rather the original’s Italian – emerging from its predecessor.

The result was less a compromise than obviously sensible, as was the amalgam of instruments – valved trumpets, but a mix of modern and natural horns – and the balance of ensemble playing with star solo turns; guest leader Hed Yaron Meyerson’s obligato in the Romanze was a particular nightlight. By the time we reached the Scherzo, Schumann’s influence on 20th century orchestration was undeniable.

For works that were once relatively neglected, there has been a welter of Schumann symphonies in concert and on disc in recent years. So much so that it might be thought there was little left to add, but Emelyanychev’s intelligent interpretation proved that is emphatically not the case.

Keith Bruce

SCO / Emelyanychev

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Stirling Castle

The Scottish Chamber Orchestra could not have engineered it, but a remarkable coincidence of featured artists provided principal second violinist Marcus Barcham Stevens with priceless material for his spoken introduction to Tuesday’s programme in the Great Hall of Stirling Castle.

Playing Max Bruch’s rarely heard 1911 Concerto for Clarinet and Viola were the SCO’s Principal Clarinet Maximiliano Martin and Principal Viola Max Mandel. The orchestra was conducted by Maxim Emelyanychev and – just to max-out on Maxes – the work was originally written for the composer’s virtuoso clarinettist son, Max Felix Bruch.

The work itself begins in a mellow fashion. The range of the two solo instruments is so similar that violists play the late works Brahms initially wrote for clarinet, and in the second movement – a very moderate Allegro indeed – Mandell and Martin completed one another’s phrases like an old married couple. The music is, in fact, occasionally reminiscent of Brahms, as well as of Mahler, and the opening fanfare of the brisker finale was sufficiently like Mendelssohn it would have been small surprise to see a bride make her entrance from the back of the hall. Not a neglected masterpiece, then, but a welcome change from the little of the composer’s output we hear all too often.

The concert had begun with the world premiere that has launched the SCO’s 50thanniversary season, Associate Composer Jay Capperauld’s The Origin of Colour, so the second half performance of Beethoven’s Symphony No3 was the first well-known music of the evening. It would, however, have been a treat also to be hearing the Eroica for the first time, as Emelyanychev launched into a bold account of the first movement, achieving a terrific balance of the instruments and losing no detail of the score in what is not always the most forgiving of acoustics.

There was an airiness about the Marcia funebre initially as well, but by its end it had strayed on the wrong side of the line between stately and lying-in-state. Evidently exhilarating to play for, the SCO’s Principal Conductor usually finds the ideal combination of scale and pace in bringing the lessons of historically-informed performance to the podium, but his tempi did not seem quite so assured here. Although the Scherzo came out of the trap like a hare, he subsequently gave the horns rather more space than they wanted for their hunting calls. Happily conductor and players were on firmer ground in the rhapsodic variations of the Finale.

If the Beethoven was not a complete triumph, Capperauld’s new work assuredly is. In some respects it is quite conventional stuff from a young composer whose catalogue so far is impressive in its eclecticism. The opening of percussive effects across the orchestra giving way to a chorale of winds is a well-marked path, and the blend of melody and orchestration that follows is close kin to Aaron Copland, which is a high bar to reach.

Subsequently there are moments that call to mind Leonard Bernstein and John Adams, which is to say that this musical evocation of colour coming into the world is very colourful indeed for almost its entire duration. Few are the contemporary works that you’d put good money on hearing again on a regular basis, but The Origin of Colour sounds very like a racing certainty.

Keith Bruce

Portrait of Jay Capperauld by Euan Robertson

SCO / Maxim’s Eroica

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City Halls, Glasgow

The Scottish Chamber Orchestra has opened its Golden Jubilee season with a bullish programme geared to speak proudly and confidently of this milestone achievement, but also, one might add, of a future that will surely be shaped with the completion, now in sight, of its new purpose-built Edinburgh home, the long-awaited Dunard Centre. 

In the here and now, and in a packed Glasgow City Halls on Thursday, the celebratory atmosphere was palpable. Billed as “Maxim’s Eroica”, Beethoven’s (even now) mind-blowing Third Symphony was the destination point. But before that there was the promise of an epic Tchaikovsky’s First Piano Concerto from the pile-driving Russian-American pianist Kirill Gerstein, and the latest new work from the SCO’s current associate composer, New Cumnock-born Jay Capperauld.

“Maxim”, of course, refers to the orchestra’s hot-rod principal conductor, Maxim Emelyanychev. Only the uninitiated might have expected an off-the-shelf Eroica from this tantalising and unpredictable Russian. This one was a customised flyer, an Eroica supercharged in a way that stripped away the corrosive layers of successive performance traditions to reveal the absolute purity of Beethoven, the sharpness of the drama, the visionary essence of the turbulent and fearless personality, all built around an unshakeable, faithfully preserved chassis.

The detail and insight were extraordinary, extracted with a natural empathy for the possibilities Beethoven presents: a naturally-crafted elasticity in the sculpting of phrases that never once rocked the music’s inevitable flow; a slow movement – the Marcia funebre – as impressive for its lyrical sweetness and chamber-like intimacy as its measured rigidity; a Scherzo touched more by spirited refinement than the typical race-to-the-finish; and an utterly self-assured Finale, free of bombast, rich in expressive substance and directional focus.

It was the perfect counterpoint to Capperauld’s concert opener, the glistening surreal sound world of The Origin of Colour, commissioned by the SCO for this programme, and based on Italo Calvino’s short story, Without Colours, from his speculative fiction series Cosmicomics. It imagines the concept of a grey-only world suddenly and frighteningly transformed by the creation of colour.

Colour is the driving factor in Capperauld’s dizzying score – a wild, effervescent tapestry of instrumental polyphony arising from primitive percussive and vocalised utterances, driven to its delirious, sometimes whimsical, heights by virile rhythmic ostinati. There’s a whiff of minimalism that heightens the mystique, and a starry opulence – gloriously captured in this performance – that suggests Capperauld could easily turn his hand to the ways of Hollywood soundtracks.

Where Tchaikovsky’s famous Piano Concert No 1 might have been anticipated as a sure-fire winner, this performance by Gerstein – using Tchaikovsky’s original version rather than the more familiar revised posthumous edition – was more unnerving than satisfying. The opening movement, despite the uncommon charm of the opening piano chords served up as arpeggios,  never really settled, Gerstein lost in his own combative world, heavy handed and over-peddling, as if Storm Agnes was still with us. 

If the ensuing movements offered more in the way of lyrical eloquence and a crisper meeting of minds, the underlying turbulence never quite receded. All of which was a pity, given the exceptional and sensitive playing from the SCO. 

The second leg in this 50th Anniversary season opening tour travels to Stirling (Tuesday), Ayr (Wednesday) and Aberdeen (Saturday), in which the Tchaikovsky is replaced by Bruch’s rarely-heard Concerto for Clarinet and Viola. VoxCarnyx’s Keith Bruce will be there to review it.

Ken Walton 

EIF: The Magic Flute

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Usher Hall, Edinburgh

When actor Neil John Gibson bustled onto the platform with a gag in the local vernacular about the buses at the start of the Scottish Chamber Orchestra’s concert performance of Mozart’s Magic Flute, as well as laughter in the capacity house there was detectable bristling in some of the more expensive seats.

There is, however, nothing tokenistic about a commitment to access that runs through new director Nicola Benedetti’s first Edinburgh Festival programme, so hackles will have risen in vain at the pantomimic elements in the presentation of this most problematic of operas. That included baritone Gyula Orendt’s Papageno throwing sweets to the front row of the stalls as well as Gibson channelling the spirit of Gerard Kelly or Andy Gray in some of his delivery.

It certainly leavened some of the darkness in a story that includes sexual assault and attempted suicide alongside racism and masonic ritual – The Magic Flute is not without its challenges for modern audiences. The first of what are to be annual concerts of Mozart operas by conductor Maxim Emelyanychev and the SCO, this was a bilingual version, readers Thomas Quastoff and Gibson working with a new English text by Sir David Pountney, and sung in German, with English supertitles.

Seated to the side, Quastoff and Gibson brought a range of voices to their contributions, while the singers were simply the high quality cast that we have come to expect of Festival concert operas at the Usher Hall. Tenor Ilker Arcayurek was an engaging Tamino from the start, who seemed as attached to his magical flute as he was to Julia Bullock’s rather serious Pamina, her characterisation perhaps deliberately in opposition to the playful charm of the Three Ladies, local hero Catriona Morison flanked by Elizabeth Watts and Claudia Huckle.

Of Kathryn Lewek’s Queen of the Night – a role she has sung all over the world in all the best houses – there can be only the highest praise. Quite how she can stride out on to the stage and turn on an instrument operating at that pitch and power is beyond comprehension.

With Brindley Sherratt an imperious Sarastro, there was strength across the whole cast, Pountney even lightening the character of the darkest role, Peter Hoare’s Monostatos with the prop of a cricket bat – a daft visual pun on the sport’s use of the term “guard” that probably stumped as many in the audience as caught it.

With three youngsters singing more of the three boys’ music than is often heard in full productions, the other star vocal ingredient was the SCO Chorus, Emelyanychev ensuring that some of the finest music in the score – at the end of Act 1 and after Pamina’s aria in Act 2 – was given the fullest expression.

Ultimately, and despite the stellar competition onstage, this was the ebullient conductor’s show. His fingerprints were everywhere – on the casting, cueing the singers, in his superb relationship with the players and on the keyboard in front of him, where he added a few ornaments of his own to Mozart’s music.

This was a Magic Flute full of magical moments, and given its occasional emphasis on what used to be called “the battle of the sexes” suggested that the differently problematic Cosi fan tutte might be a good choice for next year – there were a few in this cast who would be good in that too.

Keith Bruce

Picture by Andrew Perry: Rachel Redmond as Papagena and Gyula Orendt as Papageno

SCO / Emelyanychev

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Usher Hall, Edinburgh

It is surely paradoxical that as Scottish churches close and dwindling Christian congregations are combined, classical music lovers are rarely more than a few weeks away from a performance of a Mass, Passion or Requiem. That was the concert hall audience that Johannes Brahms made a radical pitch for with his German Requiem, and he might be dismayed to find himself in competition with earlier church music for a slot in orchestral seasons.

Nonetheless, Ein deutsches Requiem holds a special place in the hearts of many, and this deeply moving work made a suitably grand conclusion to the SCO’s as it looks forward to celebrating its 50th anniversary. Perhaps few would have predicted that choice from Principal Conductor Maxim Emelyanychev when he arrived five years ago, and it is emblematic of the way that his relationship with the orchestra – and the very fine SCO Chorus – has developed.

He will doubtless adapt it effectively for the confines of Glasgow’s City Hall, but Thursday evening’s performance took full advantage of the scale of Edinburgh’s Usher Hall by presenting the work as widescreen chamber music. This choir can make a mighty noise when asked (and did), but the detail in their performance, and immaculate German diction, often recalled the fine recording by Harry Christophers and The Sixteen with two piano accompaniment. The sole Gospel text in the work – the opening Beatitude “Blessed are they that mourn” – has rarely sounded as enticingly affecting.

Here, though, we had the full palette of orchestral sound with the four double basses split on either side of the stage, Andrew Watson’s contrabassoon alongside two of them stage right and the timpani of Louise Lewis Goodwin (on stellar form) behind the pair opposite. Crucial to the Edinburgh experience was the hall’s organ, played by Michael Bawtree, and especially – from that first movement to the end – those deep pedal notes.

Emelyanychev placed the soloists – bass baritone Hanno Muller-Brachmann and soprano Louise Alder (a late replacement for Sophie Bevan) – above the orchestra and in front of the choir and the effect was to position their voices perfectly in the mix, more integrated with the chorus than is often the case, and never overwhelmed by the instrumentalists.

Full of period instrument colour though the orchestra was, this was another example of the hybrid engineering in which this partnership of conductor and ensemble now excels, clocking in at a mid-paced 70 minutes. Emelyanychev was as invested in Gregory Batsleer’s singers – and the soloists – as he was in the band, and the integration of all the ingredients was always delightfully readable in his baton-free direction.

Keith Bruce

EIF 2023

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As the first Edinburgh Festival programme from new director Nicola Benedetti is announced, KEITH BRUCE delves into the musical treats in store

The question new Edinburgh International Festival director Nicola Benedetti poses on the front of her first programme brochure derives from the recently-republished last book Reverend Martin Luther King wrote before his death. However, she also describes “Where do we go from here?” as a challenge to the Festival itself as it moves on from the celebration of its 75th anniversary last year.

Sharing the platform at the media briefing launching this year’s event with Creative Director Roy Luxford and Head of Music Andrew Moore was a clear indication of continuity, and her stated intention of making the most of the talent the virtuoso violinist and passionate music education advocate found in place in the organisation. Significantly she has not taken on Fergus Linehan’s role of Chief Executive, now filled by Linehan’s Executive Director, Francesca Hegyi.

And there is much about that brochure, and the shape of the programming, that will be familiar to regular Festival attenders, no doubt reflecting the fact that many of the building blocks of the 2023 programme were already in place when Benedetti was appointed. What is very different is the way the events are listed, not by genre or venue, but in sections that continue her engagement with the philosophy of Dr King: Community over Chaos, Hope in the Face of Adversity, and A Perspective That’s Not One’s Own.

That makes perusal of the print a different experience, but not radically so, and it is clear that the new director’s pathways to engagement with the work of the artists invited to this year’s Festival have followed the programme, rather than shaped it.

What’s there to see and hear – the actual meat of this year’s event – will please a great many people, and perhaps even fans of the most hotly debated element of any recent Edinburgh Festival. Opera magazine speculated in the editorial of its May issue that there would be “no major staged opera for the first time in decades” and those precise words are probably strictly true. However, there will be many for whom the UK premiere of a Barry Kosky-directed Berliner Ensemble production of Brecht and Weill’s Threepenny Opera in the Festival Theatre is more than just the next best thing, and Theatre of Sound’s retelling of Bartok’s Bluebeard’s Castle as a contemporary two-hander with the Hebrides Ensemble at the Church Hill Theatre in the Festival’s final week looks most intriguing.

Concert performances of opera, a regular highlight of recent Edinburgh programmes, maintain their high standard. It is perhaps surprising that Wagner’s Tannhauser will have its first ever performance at the Festival in the Usher Hall on August 25, with American tenor Clay Hilley in the title role as local hero Sir Donald Runnicles conducts Deutsche Oper Berlin.

A fortnight earlier, Maxim Emelyanychev conducts the orchestra to which he has just committed a further five years of his career in Mozart’s The Magic Flute. Andrew Moore introduced this as the first of a series of concert performances of Mozart operas by the Scottish Chamber Orchestra with its ebullient Principal Conductor. The same orchestra undertook the same project under the baton of Charles Mackerras in the 1990s – although The Magic Flute was not part of that series.

It was also in the last decade of the 20th century that Ivan Fischer and the Budapest Festival Orchestra first wowed Edinburgh audiences and that team provides the first of this Festival’s orchestral residencies. Beginning with an evening of music presented in a transformed Usher Hall with beanbags replacing the stalls seating, the orchestra also plays Bartok and Kodaly with Sir Andras Schiff and the National Youth Choir of Scotland’s National Girls Choir. Benedetti is involved as presenter of the first of the orchestra’s concerts, and also joins the BBC SSO and Ryan Wigglesworth on stage on the Festival’s first Sunday for a concert of new music that poses the question on the brochure cover. The young singers of NYCoS have their own concert, with the RSNO, at the Usher Hall on August 13, preceded by a demonstration of the Kodaly music teaching method that is pivotal to its success.

If those events clearly reflect the new director’s commitment to access and education, her use of the EIF’s home, The Hub, below the castle at the top of the Royal Mile, is another crucial ingredient. She intends The Hub to be the Festival’s “Green Room” but open to everyone and “a microcosm of the whole Festival” and it has events programmed most nights, most of them music and often drawing in performers who have bigger gigs in other venues.

They include players from the London Symphony Orchestra, which is 2023’s second resident orchestra, playing Rachmaninov and Shostakovich under Gianandrea Noseda and Szymanowski and Brahms with Sir Simon Rattle before turning its attention to Messiaen’s epic Turangalila-Symphonie, prefaced by a programme of French music that inspired it, with Benedetti again wearing her presenting hat.

The final residency is of the Simon Bolivar Symphony Orchestra of Venezuela with conductors Gustavo Dudamel and Rafael Payare, prefaced by a concert by some of the musicians at The Hub. The Usher Hall also sees two concerts by the Oslo Philharmonic with conductor Klaus Makela and its programme begins with Tan Dun conducting the RSNO and the Festival Chorus in his own Buddha Passion and closes with Karina Canellakis conducting the BBC SSO and the Festival Chorus in Rachmaninov’s The Bells. Outside of the concert hall there will be free music-making in Princes Street Gardens at the start of the Festival and in Charlotte Square at its end, details of which will come in June.

With a full programme of chamber music at the Queen’s Hall as usual, a dance and theatre programme full of top flight international artists and companies also includes works of particular musical interest, specifically a new revival of choreographer Pina Bausch’s work using Stravinsky’s The Rite of Spring, which premiered in Edinburgh in 1978, and Deborah Warner’s staging of Benjamin Britten’s Phaedra.

More information at eif.co.uk, with online public booking opening on May 3, and in-person booking at the Hub available now.

SCO’s half-century and other seasons

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The Scottish Chamber Orchestra’s jubilee caps a promising orchestral programme for the year to come, writes Keith Bruce

In the run-up to its 50th anniversary, the SCO is understandably cock-a-hoop to be able to preface its new season announcement with the news that Principal Conductor Maxim Emelyanychev has extended his contract with the orchestra to 2028.

As the young Russian’s reputation continues to grow globally, and his dizzying schedule takes him to the most prestigious concert halls and opera houses, he has clearly established an important mutually-supportive relationship with the Edinburgh-based ensemble. In the coming season that is as diverse as ever, opening with a seven date Scottish tour of Beethoven’s “Eroica” and a new work by the orchestra’s Associate Composer, Jay Capperauld.

Emelyanychev’s SCO season ends with Mendelssohn’s Elijah, which he, the orchestra and the SCO Chorus will perform in this summer’s newly-announced BBC Proms season.

The RSNO also kicks off with Beethoven, with Lise de la Salle the soloist for the Third Piano Concerto, when Music Director Thomas Sondergard also conducts Richard Strauss’s Ein Heldenleben. Sondergard’s season ends with Berlioz’s Grande Messe and also features two concerts including piano concertos by Saint-Saens with the season’s Artist in Residence Simon Trpceski, and an evening of French music with Scots mezzo Catriona Morison the soloist.

At the BBC SSO, Chief Conductor Ryan Wigglesworth continues to make an individual mark, opening with a concert that includes his own Piano Concerto with Steven Osborne the soloist, alongside Mahler’s Fourth Symphony, with soprano Sally Matthews. He also focuses on Elgar, with the Symphony No 1 and Dai Miyata playing the Cello Concerto, and continues his exploration of Stravinsky’s ballet music with Orpheus and The Fairy’s Kiss, with Principal Guest Conductor Ilan Volkov adding Petrushka in January 2024.

Wigglesworth also conducts the Verdi Requiem next March as the SSO continues its association with the Edinburgh Festival Chorus, and there is much for lovers of choral music to enjoy elsewhere as well.

The RSNO Chorus is celebrating its 180th anniversary in style, including a “Come and Sing” Verdi Requiem in January and Jeanette Sorrell conducting the annual New Year Messiah following an end-of-November concert of Sir James MacMillan’s Christmas Oratorio, conducted by the composer. As well as that Berlioz Grande Messe, it also features in a John Wilson-conducted concert of Ireland, Elgar and Holst – and the RSNO Youth Chorus has an equally busy concert year.

The SCO Chorus can boast a MacMillan premiere with his Burns-setting Composed in August, and Capperauld gives them another first performance with his setting of Niall Campbell’s The Night Watch. It also sings Bach’s B Minor Mass, under conductor Richard Egarr, and Schubert’s Mass in A-flat.

Mezzo Karen Cargill joins the SSO and conductor Alpesh Chauhan for Mahler’s Das Lied von der Erde and is the soloist for a Scottish Chamber Orchestra programme celebrating the Auld Alliance with France. The SCO’s big birthday line-up of soloists also includes percussionist Colin Currie directing an evening of Steve Reich, Julia Wolfe and Arvo Part, Steven Osborne playing Ravel and Pekka Kuusisto returning for three concerts, one in partnership with Emelyanychev.

Violinist Nicola Benedetti, whose first programme as director of Edinburgh International Festival is unveiled on Monday, plays the Beethoven Violin Concerto with the SCO at the end of the year and gives the much-delayed Scottish premiere of Mark Simpson’s concerto written for her with the RSNO next March.

Full details of all the seasons at sco.org.uk, rsno.org.uk and bbc.co.uk/bbcsso

SCO / Emelyanychev

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City Halls, Glasgow

It helps to get off to a good start. That’s as much the case for journalists – are you still with me? – as it is for musicians, be they performers or composers. This SCO programme, guided by the impishly convincing eccentricity of chief conductor Maxim Emelyanychev, was all about good attention-grabbing openings.

First up, those three arresting chords that herald Mozart’s overture to The Magic Flute, in this case supercharged with electrifying brutality, yet still seriously solemn to the core. It was a call to attention no one could ignore, least of all the SCO whose response was instant and penetrating. 

Then, as if to intensify the conflict inherent in Mozart’s final opera – an intellectual discourse steeped in the symbolism of Enlightenment ideals and Freemasonry disguised, as all good satire is, within pantomimic nonsense – Emelyanychev played feverishly with the music’s jostling extremes. Responding to the stern chords, a hell-for-leather fugue bristled with red-hot energy, superbly intensified by sparky symphonic jousting, individual instruments firing out motivic one-liners like petulant points of order only to be countered by matching reaction. In total, and in every sense, what an opener.

The tone changed completely for Schubert’s Unfinished Symphony and an introductory 8-bar cello and bass melody that cast a sense of mystery and awe, its simple melodic framework woven with unhurried deliberation and expressive wholesomeness, almost complete in itself. 

What impressed here and beyond was the intoxicating sensitivity Emelyanychev drew from the SCO, every utterance freshly conceived, every detailed moment worth savouring. Again, his role was simply to set the scene and inspire freedom within a performance that oozed spontaneity within his prescribed vision. With such casual, but never laboured, tempi the impression was one of leisure well spent. If ever there was an argument for Schubert leaving these two movements as they were (he did sketch out ideas for a third movement) this was it. 

As openings go, a deafening whistle blast from a referee is something guaranteed to send the adrenalin into overdrive. It did so – timpanist Louise Lewis Goodwin doubling pointedly on said whistle – in James MacMillan’s Eleven, a succinct concert work about football written last year and premiered by the SCO on tour in Antwerp, now receiving its UK premiere. Raucous, impetuous, and symbolising everything in the “beautiful game” from terrace chants and on-pitch exuberance to post-match melancholy, it’s typical of MacMillan that he finds musical depth and allure in such a commonplace scenario.

Even the number eleven presents him with intellectual stimulus, feisty combative themes that seem to snap off prematurely (twelve possesses more rounded proportions, but would be less provocative), dense harmonies that mask the familiarity of such familiar tunes as “Auld Lang Syne” (I wasn’t aware it had common football usage?) and flavour the unexpectedly demure ending to an otherwise bombastic entertainment. 

Emelyanychev certainly viewed his own solo role in Mozart’s Piano Concerto No 22 in E-flat as genuine entertainment. He performed on, and directed from, the fortepiano, intrinsically a delicate instrument, but played here with such incisive sparkle that, even in those moments where the orchestra surged powerfully, the Russian’s playful motions were still enough to convey his intentions.

Nor did he stick religiously to the written score, something the famously spontaneous Mozart would no doubt have approved of. Where he felt the urge, Emelyanychev casually threw in impromptu right-handed flourishes, either stolen from existing instrumental lines or fruitily embellished, though never at the expense of the composer’s core material. In that, this enlightening performance was charmingly authentic, with some initiatives – such as occasionally cutting the string ripieno down, concert grosso-style, to solo quintet – that sharpened the intimacy. 

Then there was Emelyanychev’s quirky opening, a moment that caught us all on the hop, where the pre-match tuning process morphed almost unnoticed into an improvised fortepiano transition, its final paused chord providing the expectant springboard to the music proper. It’s not often the very opening note of a Mozart concerto brings with it an appreciative snigger from the audience, but such is Emelyanychev’s confident appeal, and such was the power of this unexpected gesture. He encored with the slow movement from Mozart’s similarly-scored K.488 concerto.

Ken Walton 

SCO / Emelyanychev

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Perth Concert Hall

SCO chief conductor Maxim Emelyanychev furthered his reputation in Perth this week as a musical maverick, conducting an all-Mendelssohn programme that sought to illuminate our understanding of the composer without recourse to gimmick. Nothing extreme, but he offered performances driven by the profoundest integrity, coloured by unceasing curiosity that unearthed gem after gem of interpretational insight.

That was even the case with the evergreen incidental music to A Midsummer Night’s Dream, some of it particularly familiar (the storybook Overture, luxurious Nocturne and jaunty Wedding March), some of it less so, not least those chorus and solo contributions that humanised the Song with Chorus and Finale. The presence of sopranos and altos from the SCO Chorus, joined by solo sopranos Hilary Cronin and Jessica Cale, were a warming presence on the ample Perth stage.

Emelyanychev’s vision of the music was light and playful, ever conscious of the natural sparkle springing from Mendelssohn’s textural complexities. The “once upon a time” opening bars echoed Shakespeare’s Puckish mischief, their angelic chords sweetly nurtured by the flutes, immediately countered by the scuttling catch-me-if-you-can strings whose later comical donkey impersonations – are these a reference to Bottom’s whimsical alter ego as an ass? – erupted with infectious irreverence.

What seemed like a conscious choice to minimise string vibrato added to the overriding picture of a magical landscape, and in the brass the rounded, retro-presence of the ophicleide in combination with natural horns created an ethereal glow. The joy of this performance was enough to offset periodic mishits by the trumpets and horns.

Mendelssohn’s “Italian” Symphony was the perfect aperitif, altogether more grounded than the gossamer sensitivities of the incidental music, but hardly without its own lustrous persona. Emelyanychev’s irrepressible enthusiasm made its mark immediately, both in the sprightliness of the tempi and the scintillating detail he visibly elicited. There was never a dull moment, not even when the ensemble’s absolute togetherness wobbled, as it did once or twice. Clearly Mendelssohn’s visit to Italy, which inspired the symphony, saw that country in its most dazzling light. 

Ken Walton 

SCO / Emelyanychev

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City Halls, Glasgow

It is an issue some are understandably loath to raise, but a year on from Russia’s invasion of Ukraine, it is significant that calls for blanket sanctions against the aggressor’s people and its culture have diminished, in the UK at least. Many in the neighbouring Baltic states and in Poland take an entirely different view of course.

The coincidence of the Scottish Chamber Orchestra featuring a Moscow Conservatoire contemporary of Principal Conductor Maxim Emelyanychev as soloist for the Violin Concerto of Johannes Brahms on that anniversary, was therefore unremarked – and it would have been a great loss, certainly, to have been denied the result.

Perhaps as a consequence of his friendship with Aylen Pritchin, this was a visibly more relaxed Emelyanychev than we are accustomed to seeing. The exuberant early-music man who struts a band of travelling players around the City Halls foyer was replaced by a statesman for Romanticism, the authenticity of gut strings for soloist and ensemble balanced by a deliberate pace to the music that often meant it actually seemed slower than we are used to hearing it played.

More importantly really, this was far from the virtuoso showpiece the concerto can often be, especially in its outer movements. Pritchin is a superb player, and his first movement cadenza, for example, was both deeply expressive and remarkably fresh. However, he was as eloquent as part of the overall sound as he was with the pyrotechnics. The Brahms concerto has had its detractors as well as admirers since its premiere on New Year’s Day 1879, but this performance could not only claim authenticity with how that must have sounded, but also advocacy for a work that has been criticised for not being sufficiently about the soloist.

An encore of Bach – what else? – gave the audience a bonus of the warmth in Pritchin’s playing. He and Emelyanychev regularly work together as chamber musicians and with the conductor’s other band, Il Pomo Doro, so we can surely look forward to a return visit.

Emelyanychev’s most recently-released recording is of Mozart with Il Pomo Doro, and the tasty pairing of that composer’s first and final symphonies has been widely acclaimed. Although the SCO’s catalogue already has definitive accounts of the Brahms symphonies by Mackerras and Ticciati, he made an eloquent case for a further set with his approach to Symphony No 1.

Famously, it took Brahms a lifetime to write although it was followed relatively swiftly by the others, and the conductor launched into its bold opening with characteristic vigour. Thereafter, though, the story unfolded in the unhurried manner of the concerto, and often very quietly indeed as he impressed restraint on the strings. This was a big SCO, of course, with four basses, five horns and trombones, but the softness to the string sound, both bowed and pizzicato, was often quite startling – so much so that the wind soloists (all on sparkling form) occasionally seemed to be projecting too much.

Keith Bruce

Picture by Christopher Bowen

SCO / Emelyanychev

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City Halls, Glasgow

The ever-exuberant Principal Conductor of the Scottish Chamber Orchestra, Maxim Emelyanychev, is a man who likes to spring a surprise, and – predictably enough – this programme, entitled “Maxim’s Baroque Inspirations”, came garnished with unbilled extra ingredients.

Playing recorder, he led a small group into the first floor foyer at the interval to perform music by 17th century London-based Italian violinist Nicola Matteis, revelling in his pied piper persona. And for an encore at the end of the published programme, he chose one of Grieg’s Elegiac Melodies, a string orchestra piece that nicely mirrored the Holberg Suite, which had opened the concert.

There was nothing haphazard about any of this. Rather the entire sequence of the evening was brilliantly conceived to show how early music had been drawn upon by more recent composers in the most imaginative ways.

In fact there was no authentically Baroque music before that half-time treat, but the performance of the Holberg was sparkling and full of variety. Emelyanychev’s emphasis on the pizzicato low strings at the start was masterly, the Sarabande surprisingly lush, the Gavotte suitably Handelian and the fourth movement Andante religioso almost like Rachmaninov.

The less familiar music that followed was just as rich in instrumental colour. Thierry Escaich’s Baroque Song, composed in 2007, begins with some very sprightly wind playing, while Alison Green’s contrabassoon was crucial to the dark central Andante before Philip Higham’s increasingly frantic cello solo led into the lively finale. Escaich is a Parisian organist, and his cut-and-paste use of Bach at times inspired thoughts of Gaston Leroux’ Gothic novel, if not the musical it spawned.

Henryck Gorecki has as much fun with early music in his Harpsichord Concerto, filtering it through Kraftwerk and Kraut-rock with relentless repeating figures from both the soloist – Emelyanychev himself – and the strings. The big major chord at the end of the Allegro molto first movement sets up the change of tone for the Vivace second one, and there is at least a suspicion that the Polish composer has his tongue firmly in his cheek.

The interval treat set up a second half with two Vivaldi concerti, the first “for many instruments” demonstrating that there was little the composer could learn from his successors about orchestration, and pairs of winds, and string instruments both plucked and bowed taking turns in the spotlight.

In between was a gem of seven short movements by Paul Hindemith, composed for students at Yale University, where he’d escaped during the Second World War. The arrangements of 16th century French dance music – including one labelled “Bransle d’Ecosse” – are superbly voiced for five strings, five winds, trumpet, theorbo and percussion, a group sitting in size exactly between the Vivaldi ensemble and that strolling foyer group for the Matteis. As in every other immaculate detail of the evening, Emelyanychev had it planned to the last beat of the last bar.

Keith Bruce

SCO / Emelyanychev

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Usher Hall, Edinburgh

There has been nothing very chamber-sized about Maxim Emelyanychev’s concerts launching the Scottish Chamber Orchestra’s new season, with large orchestral works bracketing Nicola Benedetti’s premiere of a new James MacMillan concerto last week and then the SCO Chorus in the choir stalls for Haydn’s Creation.

The Creation seems to be having a moment, as the secular elements that made it problematic for the church in the past chime with the environmental worries of the present. It is good to hear a big work by “Papa” Haydn with more regularity ­– he does a great deal with those first six days in the book of Genesis. While the work’s most famous hymn tune, The Heavens are Telling the Glory of God, is given to the chorus, the orchestra and all three soloists have some fine meaty music to showcase their capabilities.

That trio had a late substitution, with German soprano Lydia Teuscher coming in for Sophie Bevan, who is ill. As we were actually hearing Die Schopfung, the German text version of a work that was composed with both that and English as options, she was an appropriate choice, and proved a very fine singer. When she forsook the role of Gabriel for that of Eve at the start of Part Three, Hanno Muller-Brachmann (now Adam rather than Raphael) led her by the hand to the centre of the stage in a gesture that fitted the sense of mutual enjoyment that emanated from the stage on Thursday evening – and was all the better for being initiated by the more mannered bass-baritone.

For natural fluency, in German as well as in the music, it was tenor Andrew Staples (Uriel) who set the pace. He did not do anything particularly theatrical as he moved from his chair at the side to centre stage to sing, but every syllable was filled with meaning and purpose. The opening of Part Three, when a duo of flutes prefaced his softly sung introduction of Adam and Eve, was exquisite.

In the more descriptive music, with the orchestral writing at its best, the other two soloists had their share of the limelight. Haydn is at the peak of his powers with the evocation of birds and animals at the start of Part Two and Teuscher’s aria with the SCO woodwind soloists taking turns to partner her was simply gorgeous.

That is immediately followed by Raphael’s finest moment, the recitative of whales in the deep matched to a sextet continuo of the lower strings – one example of the many variations Haydn introduces to standard structural practice, with a string quintet taking that role early in Part Three.

Elsewhere continuo is in the more predictable hands of harpsichord and first cello Phillip Higham, but this being Emelyanychev, there were plenty of unscripted flourishes when he switched his attention to the keyboard. The beautiful, and clearly audible, instrument onstage was another element in his conductor’s armoury, and he occasionally added an extra left hand chord to the mix even as orchestra and chorus were in full flow.

The quality of the sung German from the front of the stage was paralleled by the diction of the chorus behind, although their crisp beginning to phrases was not always matched by their conclusion of them. Chorusmaster Gregory Batsleer has this choir beautifully calibrated, and the conductor was evidently quite comfortable with that part of the whole ensemble even when he felt it necessary to bring in the soloists.

Not only was Emelyanychev alive to all the details of the score, he also shaped the entire narrative of the performance. Certainly the composer makes that easy with the meticulous structure of the work, but it is not often that The Creation story is told with the clarity the conductor and his team brought to the job here.

Keith Bruce

Portrait of Lydia Teuscher by Shirley Suarez

SCO / Emelyanychev

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Perth Concert Hall

James MacMillan’s new Violin Concerto No 2, given its world premiere last week by co-dedicatee Nicola Benedetti, boasts a lengthy list of co-commissioners – The Scottish Chamber Orchestra, Swedish Chamber Orchestra, Adam Mickewicz Institute and Dallas Symphony Orchestras – so we can safely assume it is guaranteed to have several key performances in the immediate future.

It was with the SCO that the honour of presenting the very first performance of this intriguing concerto fell, part of the orchestra’s opulent, and clearly popular, season opener in Perth. At the helm was chief conductor Maxim Emelyanychev, a musician of mesmerising unpredictability, never boring, often illuminating, willing to take daring chances where others wouldn’t.

So what would he, and what would Benedetti, make of a work that MacMillan composed during lockdown, additionally dedicating it to a Polish composer he much admired, Krzysztof Penderecki, who died in 2020? In recent interviews, he had alluded to a work of sincere intimacy, freshly explored musical solutions and very personal flashes of wit and reflection.

If this initial performance didn’t appear to capture all of these, it did challenge the listener to make sense of a work that is dizzily transient in style, novel in the imaginative relationships it explores between soloists and orchestra, and tough in the perception of its overall shape.

In this initial performance, both Benedetti and Emelyanychev seemed, at times, preoccupied with resolving the last of these points. There were so many individual moments to savour: the playful succession of “conversations” to be had with individual players in the orchestra, from the soloist’s pugnacious encounter with timpani to a lustrous engagement with lead violin, Joel Bardelot; or such lighter episodes where MacMillan slackens the tension with parodic interjections of Scots reels or German burlesque. But there was also a discomforting fragmentation in Benedetti’s overall presentation that suggested this is a work she has to live with for a while to get fully to grips with. 

That said, the poise she brought to that heart-stopping moment where the opening material recapitulates, and the delicacy of those final bird-like exchanges with the flutes, were as ravishing as they were conclusive. 

As for the rest of this programme, the term mixed fortunes comes to mind. It opened brilliantly with John Adams’ The Chairman’s Dances, extracted by the composer from his first opera, Nixon in China. The impact was immediate, Emelyanychev’s vital downbeat setting the incessant mechanised energy in motion as if switching on a light, then drawing endless detail from the constantly shifting textures, and variously caressing the score’s more restful episodes with wit, airiness and finesse. 

Where he succeeded with the Adams in extracting the absolute best from the SCO, that was not always the case in Tchaikovsky’s Pathétique Symphony. Emelyanychev took massive liberties with this – an opening Adagio so laboured-over it risked being dismembered, and a general overindulgence that threatened the symphony’s natural momentum, provoked nervous mishaps with exposed entries, and ignored some dubious brass intonation. 

Not all of it fell flat, the central movements far tighter in spirit and execution than the outer ones, and therein a sizzling clarity from the orchestra. But as a whole, this was not a performance that always knew where it was going.

Ken Walton

Further performances at the Usher Hall Edinburgh on Thu 29 Sep; and City Halls, Glasgow on Fri 30 Sep

EIF: SCO / Emeyanychev

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Usher Hall, Edinburgh

Max Bruch would surely be dismayed to know how much he is still identified with the first of his three violin concertos (which he sold to a publisher for a pittance), his later Scottish Fantasy its only real rival in the modern repertoire.

Nicola Benedetti plays both, of course, and few regular concertgoers in Scotland will never have heard her perform the concerto during her starry early career. It is a box office favourite, and best known for the Hungarian dance music of the Finale, written for the work’s virtuoso dedicatee Joseph Joachim, who had no small hand in the shaping of the piece.

If you were fortunate enough to be hearing it for the first time at the start of the final week of the 75th Edinburgh International Festival, however, you will have heard another side to the concerto – and one that might have gratified its long-dead composer.

Benedetti, the Scottish Chamber Orchestra and its Principal Conductor Maxim Emelyanychev put the focus firmly on the central Adagio movement, treating the faster music around it almost as supporting furniture. It was a glorious account of a beautifully structured part of the work that takes its themes through many changes of key, falling figures in the winds playing against climbing ones in the solo line, and lush interplay that owes much to Mendelssohn and to Schubert.

With little more pause before the Finale than there is between the first and second movements, Emelyanychev and Benedetti made a wonderful arc of the whole piece, the violinist allowing neither her cadenza at the end of the Vorspiel nor her first bar of the Allegro energico to disturb the flow.

Of course, the faster showier music was still there, and few play it with more panache than Benedetti, but it was far from the whole story here.

For an encore, Emelyanychev was at the piano for another familiar favourite recorded early on by Benedetti – the Meditation from Thais by Massenet.

After that, Tchaikovsky’s ballet music for The Sleeping Beauty could almost seem an exotic choice, but Emelyanychev chose to play a sequence of music that eloquently told the tale that everyone knows, even if some of the score is much more familiar than other parts.

Guest principal clarinet Yann Ghiro, first trumpet Shaun Harrold, principal cello Philip Higham and harpist Eleanor Hudson all made telling solo contributions, but it was the precision tempi of the ensemble – playing as if in a pit for a performance – that impressed most. The music at the end of Act I built to a sumptuous peak from which the marvel was being able to continue, although the Entr’acte Symphonique of Act 2 matched it.

Keith Bruce

Picture by Ryan Buchanan

Scottish Chamber Orchestra / Emelyanychev

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Stirling Castle

Controversial though its appearance was at the turn of the millennium, the restored Great Hall of Stirling Castle cuts a fine figure on the skyline on a sunny day. It is none too shabby on the inside too, and possibly the sort of concert venue Mozart and his contemporaries would have recognised, if a little more austere.

Although we were on familiar repertoire territory for the SCO in this summer tour concert under Principal Conductor Maxim Emelyanychev, there was little that was routine or predictable about what a capacity audience heard. Most obviously, that was in the symphony after the interval by Moravian composer Pavel Vranicky, born the same year as Mozart and outliving him only into the first decade of the 19th century.

Hugely prolific and much admired in his time, Vranicky (aka Paul Wranitzky) may well lack a place in the modern canon simply because he is not Mozart or Beethoven or Haydn, although his music is attractive enough. Perhaps, in the way that more obscure Baroque composers have recently been rediscovered, his day will come again.

In Emelyanychev’s hands, his Opus 36 Symphony in D (of which there seems to be just a single recording, by Matthias Bamert and the London Mozart Players, in the catalogue) emerged as much Beethovian as Mozartian, which is perhaps unsurprising from the pen of the man who conducted the Vienna premiere of Ludwig’s Symphony No 1. The young Russian conductor also brought his Baroque sensibility to the interpretation, especially on the third movement Polonese, an ideal encore piece for this orchestra if ever there was one. Hearing the whole work, however, gave a particular delight to the symphony’s extravagant conclusion. In another genre it would be called a “jam ending” – cue smiles all round.

SCO principal clarinet Maximiliano Martin had a generous share of the melody line in the Vranicky and he was the undoubted star of the evening for his immaculate performance of the Second Clarinet Concerto by Carl Maria von Weber, cheered to the historic building’s visible rafters at its end. Ever the showman, the Spaniard was at his theatrical best on a work that displayed his precision articulation and lightning-speed fluency. Weber wrote more demandingly for clarinet than Mozart, but Martin delighted in the bold leaps across the range of the instrument. Nor is the work merely a showpiece for the soloist, with some dramatic writing for the orchestra as well, and a particularly lovely pizzicato strings conclusion to the slow second movement here.

As many would have been hoping and expecting, Martin had an encore up his sleeve: one of the nine Hommages for solo clarinet by Hungarian Bela Kovacs, who died late last year. He chose not the one for Weber, or the de Falla which can still be seen online as part of the Scotsman’s award-winning pandemic-initiated “Sessions” project, but the penultimate of the series, for Zoltan Kodaly.

The programme had begun with Mozart’s Symphony No 38, the “Prague”, with Emelyanychev setting the theatrical tone of the evening from the first bar, in an interpretation full of drama and dynamic colouring. Those colours are often dark at the start of the ground-breaking first of the composer’s big four final symphonies, and the conductor then found something slightly sleazy in the languid chromatics of the second movement. The playful rhythmic games of the Presto finale are also right up his street, with precise, crisp work in the winds and a beautifully integrated string ensemble.

Keith Bruce

Programme repeated tonight in Dunoon’s Queen’s Hall; Emelyanychev and the SCO then match the Mozart with Haydn in Glenrothes and Musselburgh with Principal Cello Philip Higham as soloist.

SCO 22/23 Season

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Two premieres from the pen of Sir James MacMillan and a focus on the work of Brahms by Principal Conductor Maxim Emelyanychev are the headline attractions in the new season unveiled by the Scottish Chamber Orchestra.

The first of the MacMillans will be his Second Violin Concerto, with soloist Nicola Benedetti, for whom it has been written. The world premiere will take place at the end of September, shortly after the violinist has taken up her new post as director of the Edinburgh International Festival. It will be conducted by Emelyanychev in a concert that also includes John Adams’ The Chairman Dances and Tchaikovsky’s Pathetique Symphony.

The other new Macmillan work is a short piece on a football theme that had its world premiere in Antwerp last week as part of the repertoire the SCO took on its European tour. The first UK performances of “Eleven” will be next March in concerts Emelyanychev is directing with himself as soloist on Mozart’s Piano Concerto No 22, K482.

The conductor is at the harpsichord for a programme of “Baroque Inspirations” in November that teams Vivaldi with Grieg, Hindemith and Gorecki. At the end of  February he conducts an all-Brahms concert with the Symphony No. 1, preceded by the Violin Concerto with Aylen Pritchin as soloist, and at the start of March an all-Mendelssohn one with the Italian Symphony and the Incidental Music from A Midsummer Night’s Dream.

The season concludes next May with Brahms’ German Requiem, Sophie Bevan and Hanno Muller-Brachman the soloists and Gregory Batsleer’s SCO Chorus concluding a busy year. The same two singers are joined by tenor Andrew Staples for The Creation by Haydn in October, with Emelyanychev again conducting, and Richard Egarr directs Handel’s Israel in Egypt in December, with Rowan Pierce, Mary Bevan, Helen Charlston, James Gilchrist and Andrew Foster-Williams the soloists.

Other familiar faces conducting and directing concerts include Clemens Schuldt, with a November concert that includes Alban Gerhardt giving the Scottish premiere of the cello concerto written for him by Julian Anderson, Peter Whelan with music of the Scottish Enlightenment, Andrew Manze, Joseph Swensen, Joana Carniero, Francois Leleux and violinist Anthony Marwood.

Next Spring, Bernard Labadie directs an evening of music Handel wrote for Royal occasions, joined by singers Lydia Teuscher, Iestyn Davies and Neal Davies, following a fortnight residency by Finnish violin maestro Pekka Kuusisto who has singer-songwriter Sam Amidon and tenor Allan Clayton, singing Britten’s Les Illuminations, as soloists and composer Nico Muhly featuring in both programmes.

The star names keep coming at the season’s end, with mezzo Karen Cargill singing Berlioz and cellist Laura van der Heijden playing Shostakovich in April and Lawrence Power giving the Scottish Premiere of Cassandra Miller’s Viola Concerto, under the baton of John Storgards, in May.

Full details at sco.org.uk

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SCO/ Emelyanychev

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Perth Concert Hall

The Scottish Chamber Orchestra’s marketing department sold this season-closer under the banner “Maxim’s Firebird” and energetic Principal Conductor Maxim Emelyanychev obliged by delivering a singular account of Stravinsky’s score that was only predictable in its unpredictability.

Preceded by the encapsulation of Beethoven’s craft that is the Leonore Overture No 3 and the equally compact and radical First Violin Concerto of Prokofiev, with Alina Ibragimova as soloist, this was a concert of music usually heard by larger orchestras performed by a big edition of the SCO that made explicit use and purpose of its chamber music sensibilities.

In all cases, but especially in the Stravinsky, the result was revelatory. There were details in the music that appeared fresh and newly-minted; from Simon Smith’s celesta and piano and Eleanor Hudson’s harp on the one hand, and from first horn Zoe Tweed, first flute Daniel Pailthorpe and the regulars on the reed instruments on the other.

Just as important, though, was the dynamic control the conductor produced from the musicians all evening. That was evident in his clear insistence on playing more softly at the start of the Beethoven, and reached its apotheosis in the sequence of Rondo, Infernal dance, Lullaby and Hymn at the culmination of the Stravinsky. There have been louder Firebirds, but few with such contrasts in sound and mood, turning on a sixpence with breath-catching impact, and with a momentum that was truly magnificent.

Towards the end of Overture, following a perfectly positioned off-stage trumpet, there was a brief sense that the winds were overloud, even as the strings produced an impressive pianissimo, but in the Firebird Suite (the version Stravinsky made in 1945) the balance was always fascinating. It should be remembered that this is the hall in which Emelyanychev and the SCO worked on filmed music during lockdown, so they know the acoustic well.

That applied to the concerto as well, with Ibragimova fully on board with the project and projecting her own virtuosity at often daringly low volume. The opening Andantino began very quietly indeed and even the central, speedy Scherzo: Vivacissimo was working to hairline tolerances in terms of balance between soloist and ensemble. The concerto may not have had the narrative of the other works on the programme, but it lacked nothing in drama. The lyricism that reappears in the final movement was combined with a powerful edge, honed like tempered steel.

As former chief conductor Robin Ticciati steered the SCO into spheres of music it had previously not visited, as well as recalibrating more familiar repertoire, so too, in his own inimitable style, has Maxim Emelyanychev. He may, however, be bringing a more radical, and – crucially – more intimate approach to that aspect of his job.

Keith Bruce

Concert repeated at the Usher Hall, Edinburgh and City Halls, Glasgow tonight and tomorrow.
Picture: Alina Ibragimova

SCO / Emelyanychev

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City Halls, Glasgow

With the Edinburgh Royal Choral Union giving its annual performance of the work in Edinburgh’s Usher Hall on Sunday, re-scheduled from the early days of the New Year because of pandemic restrictions then, there has been ample opportunity for Central-belt Scots to hear Handel’s oratorio masterpiece, Messiah, in the run-up to Easter.

Unarguably, the work sits better at that point in the Christian calendar in terms of its libretto – the Nativity actually gets pretty short shrift after the “Pastoral Symphony” in the middle of Part 1 – but Messiah is much less a narrative of the life of Christ than an expression of some of the knottier philosophical issues presented by the faith, as outlined in the scriptures of the Old and New Testament. It is not to diminish the achievement of Charles Jennens, who supplied the composer with the clever text, to note that Handel himself was as well-versed in these arguments and highly Biblically literate. That is why he was able to set the words so successfully.

Led by Stephanie Gonley, who contributed some fine solo playing of her own, this edition of the Scottish Chamber Orchestra included some old friends, some early music specialists, and the keyboard talents of both the Edinburgh Choral’s director Michael Bawtree and the newly-announced director of the RSNO Chorus Stephen Doughty, alongside the harpsichord of SCO Principal Conductor Maxim Emelyanychev.

If the bouncy excitability of Emelyanychev seemed a little over-exuberant in the instrumental opening bars, there were some inspired touches in the conductor’s interpretation later on, notably the bagpipe-like drone with which he began the aforementioned “Pifa”, which here became more a stately dance. His ornamentation at the keyboard was a sparkling foil to the extra grace-notes the soloists added to their recitatives and arias.

They were a stellar quartet too. Tenor Hugo Hymas brought something of the personality of Bach’s Evangelist to his role, while Matthew Brook was as terrifically dramatic as only he can be on some of the most theatrical music of the work – and, of course, Why Do The Nations So Furiously Rage Together? seemed especially pertinent.

But there was magnificent animation in the performance of counter-tenor Xavier Sabata as well, with a memorably huge “Shame” in the middle of He Was Despised, and Anna Dennis revelled in some of Emelyanychev’s brisk tempos. The soprano was in spectacular voice, very possibly the best I have heard her, with Part 1’s Rejoice Greatly as precise as it was speedy and Part 3’s I Know That My Redeemer Liveth devastating.

Chorus director Gregory Batsleer has the SCO singers – at 50 voices a large chamber choir as much as a chorus – drilled to perfection. There were some startling moments from them throughout the performance, including a very gentle start to All We Like Sheep, a wonderfully crisp “Let us break” from the nine tenors after Brook’s furious “Nations”, and the pinpoint dynamics and pitch of the unaccompanied Since by man came death in the final section.

Keith Bruce

Pictured: Anna Dennis

SCO / Emelyanychev

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City Halls, Glasow

It’s not often you hear delirious cheering, verging on rock hysteria, at a classical music gig, but the noticeably young audience section, whose unrestrained appreciation crescendoed over the course of this all-Mozart SCO programme, certainly wasn’t backward in liberating its Friday night fizz.

This was heartwarming to say the least, as concert-going inches back to normal. Nor was it difficult to identify the source of their adulation, Maxim Emelyanychev, the orchestra’s fresh-faced Russian principal conductor, whose rousing frontman presence – punchy, unpredictable and a whisker short of anarchic – is to the SCO what Freddie Mercury was to Queen. 

To describe the SCO, though, as a Mozart tribute band on this occasion, is perhaps taking the pop analogy too far. Yet these were performances through which Emelyanychev seemed intent on marrying the impression of Mozart the disorderly showman of his day with Mozart the musical museum piece. 

Full credit to the Russian, these performances really brought the music to life, not simply as if the ink was still wet on the score, but that some bits had even been left unfinished, to be made up on the spur of the moment.

That was literally the case in Emelyanychev’s solo number as performer/director in the Piano Concerto No 20 in D minor. He’d hardly sat down at the Steinway when he cut the applause dead, defying expectations with a short improvised fantasy, allegedly based on a harmonic sequence from Mozart’s Requiem (the Lacrimosa), delivered with a sort of pre-Lisztian demonism that eventually hung endlessly on a dominant chord in preparation for the concerto proper.

It was daring and electrifying. With the SCO tuning vigorously into this spirit of deflection and danger, grittily and spontaneously, the concerto’s familiarity was jeopardised in the best of senses. Yes, the purity of Mozart’s content and construction was judiciously maintained, its motivic interplay and seamless melodic invention bound by integrity, but this was also an object lesson in dynamic, on-the-spot music-making, which can only happen when an orchestra has such absolute belief in the man at the front. 

They won over their audience with interactive spontaneity and unheralded surprise. There was no second-guessing Emelyanychev’s chosen course, which sometimes involved walking away from the piano and into the midst of his colleagues. His own performance was fiery and fickle, just occasionally, in softer passages, failing to communicate the fullest of tone. And why make such an issue of retuning the orchestra between movements? It seemed more like an act than a necessity.

The concerto sat between the curiosity that is Mozart’s Serenade No 6, “Serenata notturna”, introduced by Emelyanychev who then disappeared to let this unconventionally orchestrated delight take care of itself, and the late Symphony No 39 in E flat.

The Serenade played its part as a showpiece opener, the central “concertante” group (a string quartet with double bass instead of cello) encased within the exuberance of the wider band. Louise Goodwin’s timpani, placed centre front stage, unleashed a solo break to rival Buddy Rich. 

Emelyanychev was back in harness to direct the closing symphony, predictably unpredictable, set ablaze by a freedom that invited snatches of improvised ornamentation from the woodwind and febrile gutsiness from the strings, but nearly burned to the ground when Mozart’s mischievous false finish, riskily exaggerated, set off premature applause and subsequent laughter. 

Was that the intended response? I wouldn’t put it past the SCO’s charismatic enfant terrible.

Ken Walton 

SCO / Emelyanychev

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City Halls, Glasgow

Sold, on the undeniable attraction of its star soloist, as “A French Adventure with Steven Isserlis”, that title really told only half the story of this concert.

After the interval we were once again in the repertoire territory the Scottish Chamber Orchestra explored so successfully in its online films concerts during lockdown, the intimacy of which Principal Conductor Maxim Emelyanychev seems to relish projecting in live performance.

Just ten principals are required for Jean Francaix’s Dixtour, but these are not just any front-desk players, they are SCO front-desk players, not excepting guest leader Sophie Wedell who was outstanding all evening. Symphonic in structure, the work is one of those large chamber pieces that is vital, in all senses, and irresistibly vivacious. At its end principal flute Andre Cebrian, who also put in a full and colourful shift, swapped to the piccolo for the last bars, seeming to continue a conversation that had been started by Debussy at the concert’s opening.

No matter how often you may have heard the beginning of Prelude a l’apres-midi d’un faune, Cebrian’s flawless playing made you bring fresh ears to the job. So too did Emelyanychev’s dynamic control of the strings and winds, pointing up all the smallest details as well as the swells of sound.

It was a skill he demonstrated again in the far-from-French Divertimento for String Orchestra by Bela Bartok that concluded the evening. The SCO plays more propulsively for Emelyanychev that anyone else and he was hugely alive to the work’s folk rhythms while Wedell added a beautifully-shaped solo to the last movement.

There must also be few regular concert goers who have never heard Isserlis play the Cello Concert No 1 by Saint-Saens, a work he has proselytised for persistently. Yet this too sounded burnished and sparkling with the chamber orchestra. With Cebrian taking the lead in the winds’ work with the soloist, there was a real partnership in the performance, with a startling neo-baroque style in the string playing. Isserlis never seemed to be holding back at all, and yet the balance with the smaller forces was just about perfect.

He assuredly thought so too, as the generous encore he chose to play featured the whole orchestra in Faure’s Elegie.

Keith Bruce

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