Perth Concert Hall
One of the great advantages for a pianist teaming up with key wind principals from a single orchestra to form the required ensemble for Mozart’s and Beethoven’s only Quintets for Piano and Winds is its diminishing of the risk factors regarding coordination.
For pianist Susan Tomes, therefore, spearheading this pairing of works for the last of Perth Concert Hall’s engaging week-long Easter Lunchtime Concert Series, the integration here with her RSNO friends is akin to a joining of two minds rather than five. The unified, easeful enjoyment of these performances translate as such.
What didn’t happen as planned was Friday’s associated BBC Radio 3 broadcast, given that the BBC turned over its entire radio network to coverage of the death of the Duke of Edinburgh, so the concert’s only current availability is via the film version purchasable via the Concert Hall’s website.
It, too, has its unplanned moments, such as the false start to the opening of the Beethoven: a strangely unedited moment (uncorrected at the time of writing), but at the same time offering a touchingly human moment that could easily have happened in any live context. Such are the vagaries of these uncharted times.
That aside, these are both exceptional works that are a joy to experience anytime in any way, and when the essence of chamber music is adhered to – no place for egos here – the music truly sings. Not even in the Beethoven, who places more soloistic emphasis on the piano than Mozart, does Tomes feel any need to play the prima donna. She is, and always has been, a naturally sensitive chamber musician.
Her interaction with the RSNO players – Adrian Wilson (oboe), Timothy Orpen (clarinet), David Hubbard (bassoon) and Christopher Gough (horn) – is both generous and empathetic; their familiarity with each other in return gives a natural homogeneity and precision to the complementary wind unit.
Nonetheless, the real joy of these performances are those moments where self-expression shines through – a penetrating horn melody perhaps, the surprisingly bullish emergence of the bassoon, or of course the many opportunities for the piano to capitalise on concerto-like opportunities.
It’s in the slow movements where the most melting musical moments arise. The lyrical warmth of Mozart’s central Larghetto and Beethoven’s Andante cantabile find Tomes and her colleagues at their most spontaneously and most comfortably expressive. The outer movements vary in consistency.
Should a slight hesitancy of attack in Mozart’s opening Largo – Allegro moderato concern us? Only when the initial mist clears to reveal a crisper, more vital team spirit. And are the solo piano openings to both the Mozart and Beethoven finales deliberately understated? Again, the instant shifts of gear as the winds enter in each case leave you wondering.
But there’s no escaping the unique brilliance of these hybrid works, the fascinating sound world they explore, and the powerful affection and instinctive musicality elicited in these genuinely inspired performances.
Available to watch via www.horsecross.co.uk
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Perth Concert Hall
Perth Concert Hall
One of the most exhilarating aspects of the online experience we are currently enjoying in response to Covid is the freedom it has given for experimental concert presentation, none more informative and characterful than when the very players themselves are given screen time to offer their own illuminating introductory thoughts on the music.
Here is a prime example – a gorgeous cornucopia of relatively peripheral Baroque music selected by violist Brian Schiele and harpsichordist/organist Jan Waterfield, introduced by them and baritone Marcus Farnsworth, and played by a stylish coterie of fellow SCO players. Yes, the music itself is rendered with lively affection and stylistic panache, but the intervening introductions are what bring the connection up close and personal. We shouldn’t lose this factor when things get back to the so-called new normal.
It’s to the early Baroque that this programme turns first, a lush and stately Pavan à 6 by Johann Schop, the late 17th century Lower Saxon who made his name in Copenhagen and Hamburg. Foremost in this performance is the clarity of texture emanating from the purity of tone, particularly the fruits of inner detail issuing from the second violin and violas.
It sets an anticipatory atmosphere for Telemann’s Devil-slaying solo cantata So grausam mächtig iso der Teufel, which Farnsworth, as solo protagonist, imbues with determined and triumphant fervour. Then to Sperantis Gaudia from Florilegium 1 by the much travelled Georg Muffat – a composer, we are informed, whose Scottish grandparents fled 16th century Catholic persecution to mainland Europe – and an instrumental work enriched by the multiple viola presence and consequentially soulful inner voices.
If anyone set Baroque string writing ablaze, it was surely Bohemian-born Heinrich Biber, famous for the often extreme literalism of his instrumental effects, heard here in much more tempered vein, though no less rewardingly, at the core of his Serenata “The Night Watchman” – that dramatic moment when Farnsworth appears on stage with an apparently authentic 17th century nightwatchman’s song, to the serenading accompaniment of a pizzicato string band.
Then a palate-cleanser, Waterfield’s crystalline solo performance on harpsichord of Froberger’s Toccata III – crisply disciplined finger-work with neatly-judged expressive fluidity – before an unexpectedly reflective finale from the pen of Johann Christoph Bach, uncle and one-time guardian of the younger Johann Sebastian.
Again, Farnsworth is at the forefront as soloist in this mesmerising lament, Ach, dass ich Wassers g’nug hätte, and the Bach signature is unmistakable: aching musical sighs that penetrate to the very core of the texts (taken from Jeremiah and the Psalms) and a musical offering as consummate as any of the more famous Bach. If Farnsworth’s interpretation very occasionally eschews complete focus, the bigger picture wins out. The ending is magical.
Available to watch on www.sco.org.uk
Perth Concert Hall
How very well chosen were this pair of crucial works of the string quartet repertoire, complementary in their forging ahead with the form, well short of two decades apart in their composition, and each utterly emblematic of the voice of the composer.
Just as significantly, Haydn’s “Rider” Quartet, Opus 74 No 3, and Beethoven’s “Harp”, his 10th String Quartet and also, curiously, Opus 74, are works for an experienced group to explore fully. Just as they are mature works by their respective composers, they are pieces for a well-established quartet. The Maxwells are that group, no longer youths who met at the Royal Conservatoire of Scotland and won their first international recognition at the Trondheim competition. Even the flowing lockdown locks and bushy beards cannot disguise that.
The crisp and vibrant opening Allegro of the Haydn made that intent immediately obvious, but it was the rich, blended sound in the Largo that follows that confirmed it, with first violin Colin Scobie on special form on top. The short Menuetto began and ended with as much flourish before the Finale that gives the work its nickname through its galloping rhythms. This is Haydn at his most playful and smile-provoking, and there were smiles all round to confirm that.
If it is possible that Haydn indeed had horse-riding in his mind, it is less likely that Beethoven was in any sense trying to mimic the harp with his pizzicato writing in the opening movement of his Opus 74. Although the composer was already battling encroaching deafness, the first movement is all about the particular character of the plucked string resonance on these instruments, a responsibility that is passed around the ensemble and was sparklingly played and recorded here. Once again, Scobie was on fine robust and lyrical form with his lead line.
As in the closing Allegro of the Haydn, the Adagio second movement is as much about the spaces between the notes as the notes themselves, and here again the Maxwell displayed their mature, unhurried but decisive, approach to the score. The Finale is a very close rhythmic cousin of the opening of the Fifth Symphony, which Beethoven had premiered only a year earlier, and that was made very clear in the quartet’s coherent attack from bar one. Classic performances of two pivotal pieces.
Available to watch via horsecross.co.uk
May’s Perth Festival of the Arts has maintained a classical music core to its programme even as it has diversified into other areas of music, theatre and a popular art fair. This year, although it will not be able to welcome live audiences to its concerts, it has doubled down on that commitment, with a fine line-up of local and visiting artists.
The 49th festival opens on May 20 with a concert by the Scottish Ensemble, filmed in the Byre at Inchrya as the string group continues its eye-catching exploration of different venues in its own response to the current crisis. The programme will be an international journey, visiting the Balkans, Central Europe, the Americas and Scandinavia and culminating in Tchaikovsky’s Serenade for Strings, the work that had been due to close Perth’s 2020 Festival.
On the days following there is a concert from Perth Concert Hall, with Spanish saxophonist Manu Brazo, violinist Claudia Uriarte and pianist Prajna Indrawati, a performance by chamber choir The Sixteen followed by a live Q&A with its founder and conductor Harry Christophers, and a solo piano recital by Isata Kanneh-Mason featuring works by Mozart, Barber, Chopin and Gershwin.
The following week, the festival has concerts at Perth Museum and Art Gallery with the Gesualdo Six singing Monteverdi and Palestrina, and at Perth Theatre Studio with the Sitkovetsky Trio playing Schumann and Tchaikovsky and soprano Ilona Domnich, pianist Sholto Kynoch and critic Michael White exploring the songs of Rachmaninov.
The classical series closes at Perth Concert Hall with the Scottish Chamber Orchestra and soloist Nicola Benedetti playing the Mendelssohn Violin Concerto.
Other ingredients of the programme include traditional music from Ross Ainslie and Ali Hutton and jazz from the Fergus McCreadie Trio and big band Fat-Suit.
Tickets and Festival passes are on sale and full details are available at perthfestival.co.uk
Maximiliano Martin/Scott Mitchell
Perth Concert Hall
During the entire duration of this live concert hiatus, opportunities to hear Maximiliano Martin have not been rare at all. The Scottish Chamber Orchestra’s Principal Clarinet has popped up in many a chamber music series, he has his own new concerto album out with an orchestra from his native Tenerife, and been a mainstay of the SCO’s stream of digital transmissions from Edinburgh, Perth and St Andrews.
The final work in this recital of sonatas in the company of pianist Scott Mitchell was, in fact, a feature of one of those, in October of last year, with Simon Smith at the piano. Leonard Bernstein’s two-movement Sonata for Clarinet and Piano is the sound of a young composer finding his own voice, and quite compelling for that reason: the first movement in the academic mode of 1941, the second exploring the jazzy showbiz style that would take him to Broadway and Hollywood.
As the presenter of this concert on BBC Radio 3, Tom Redmond, pointed out, chamber works for clarinet are associated with the final years of Mozart and Brahms as well as two of the French composers that made up the bulk of this programme. However, the first of them, Ernest Chausson, was also represented by a piece from the tail-end of his student years at the Paris Conservatoire. The explosive Allegro of his Andante and Allegro is a real showpiece for clarinet and was a great sparkling start here.
The Saint-Saens sonata that followed is a wonderfully-constructed work, no less flashy in places but with a deliciously sombre tone in the middle that then leaps from the bottom of the clarinet’s range to the higher register before a piano-led segue into the last movement.
In what was a compact history-lesson in works for these instruments, it was the perfect bridge to the meaty fare of Poulenc’s Clarinet Sonata. Commissioned by Benny Goodman, its composer died before he could play the piano part with the King of Swing, so a young Leonard Bernstein stepped up. It is a big work that is also, like those on either side of it, full of variation, with an ear-catchingly repetitious song-like slow movement and a cinematic rapid car chase of a finale.
The video presentation from Perth’s Easter Festival was characteristically understated, marred only by a minor captioning error and occasional vision-mixing glitch. Radio listeners were treated to a brief Debussy encore.
Available to watch via horsecross.co.uk
PERTH EASTER FESTIVAL: QUARTET FOR THE END OF TIME
Perth Concert Hall
While it’s tempting to compare the enforced incarceration Olivier Messiaen would have experienced as a French prisoner of war in 1940-41, when he wrote the incredible Quartet for the End of Time, to the “imprisoned experience” we’ve all been facing in recent months combatting Covid, it’s also perhaps too convenient.
We’ve at least maintained our basic home comforts; Messiaen and his fellow prisoner-musicians, who premiered the work in 1941, did so on salvaged instruments in the bitter January cold of an overcrowded spartan Stalag VIIIA in what is now southern Poland. Yet the music arising from such adversity is gloriously ecstatic, fuelled by inspiration from the seven angels and trumpets of the Book of Revelation, full of infinite hope and lustrous conviction.
It was a fitting choice of repertoire, then, with which to start this week’s daily series of chamber concerts from Perth Concert Hall, featuring musicians based in Scotland and available to watch on Vimeo via the hall’s own website, or to listen to daily at 1pm on BBC Radio 3. In this single-work opener, pianist Steven Osborne is joined by members of the Scottish Chamber Orchestra: violinist Maria Włoszczowska, clarinetist Maximiliano Martin and cellist Philip Higham.
The visual experience is simple but effective, warmed by a blue-wash backdrop, highly appropriate for a composer who envisaged colour as intrinsic to the textures he invokes. The sound recording is rich and penetrating. Above all, the quality of performance is unerringly virtuosic and expressively profound.
From the calm awakening of Liturgie de cristal to the transcendent acceptance of Louange à l”Immortalité de Jésus, this is a paradoxical 8-movement journey of introspective outpouring. Even the infinite timelessness of Abîme des oiseaux (Martin’s soliloquising breathtakingly magical) and Louange à l’Éternité de Jésus (the unending elasticity of Higham’s cello melody cushioned by Osborne’s gently pulsating chords) bears a mystical effusiveness.
There is, nonetheless, unbridled drama where Messiaen prescribes it: the abrupt violent outpourings that embrace the otherwise mesmerising lyricism of Vocalise, pour l’Ange qui annonce la fin du Temps; the biting unisons, like plainsong on steroids, of Danse de la fureur, pour les sept trompettes; or the sugary ecstasy that defines the work’s ripest climax in Fouillis d’arcs-en-ciel, pour l’Ange qui annonce la fin du Temps, where the richest textures unfold before being quelled ultimately by Włoszczowska’s sublime interpretation of the final Louange à l’Immortalité de Jésus.
Only momentarily – the final bars of the sixth movement – does a slight unhinging of the tight ensemble occur. Otherwise, there’s very little to complain about in a truly gripping performance of a thoroughly awesome piece.
Available to watch via www.horsecross.co.uk.
Perth Concert Hall
It is not only in its three-hour duration that Bach’s St Matthew Passion is an epic undertaking, and the hiatus of last year’s cancellation – the first victim of the coronavirus lockdown at Perth Concert Hall – has had the useful effect of reminding us just how important is the Dunedin Consort’s annual performance. As the choir’s chief executive Jo Buckley points out in her introductory remarks to this “as live” stream to start Perth programmer James Waters’ Easter Festival, it is a work that contains every possible human emotion and there is an added poignancy this Easter to its message of hope and salvation.
More than that though, this concert hall presentation, with all the required social distancing, makes the remarkable ingredients of Bach’s masterwork apparent in ways that could not have been predicted. There is a clarity about the ingenious storytelling, and use of the narrative voices, both musical and in the cast of characters, that is very special indeed.
Most obviously that is in the way the concert looks, with its two choruses, two orchestras and soloists, as well as how it sounds, the Perth hall’s wonderful acoustic beautifully recorded, a full, rich instrumental sound (no period instrument weediness here), and the singers placed in widescreen stereo across the stage. With effective and undistracting lighting, the video work is understated, usually (but not obsessively) matching the voices and instruments to be heard, with the occasional cross-fade as arias are accompanied by soloists or conductor John Butt directs a particular transition.
He has an A-team to conduct: Andrew Tortise is a measured and dramatic Evangelist with immaculate diction, and Matthew Brook a weighty and compelling Christus. However, it is the early outings of the women soloists that really make you sit up, alto Jess Dandy accompanied by the pair of flutes, soprano Jessica Leary stepping out of the second chorus and Anna Dennis just as expressive in partnership with the oboes. The other three solo voices, bass Benedict Nelson, tenor David Lee, and alto Judy Brown are no less impressive when their opportunities come around.
It is the clever matching of the arias, providing the commentary of the faithful on the Passion story with the singers who have been characters in that narrative, that is so spectacularly clear here. This is Butt’s Bach scholarship made flesh in a way that anyone coming to the work for the first time will instantly appreciate.
The conductor takes his time over his tale, with none of the regulation briskness that can blight historically-informed performance, secure in the knowledge that Bach’s version of Matthew’s telling of the Easter story is unique on its own terms. Similarly, there is nothing clinical in the playing of featured instrumentalists like flautist Katy Bircher and first violin Huw Daniel or in any of the singing, with the occasional natural imprecision enhancing the narrative flow.
If the restrictions of social distancing have no negative effect on any of the individual elements, it is also impossible to detect any diminishing in the ensemble instrumental sound, or the varied colours of the continuo – to which Butt adds chamber organ – or those moments when the two choirs combine for the glorious punctuation of Bach’s chorales.
That hymn-tune may be the ear-worm of the work but this Passion could hardly be less austere and presbyterian. It is the operatic quality of this oratorio for which this concert performance decisively argues the case.
Image: credit Tommy Slack/0405 Photography
SCO / Prokofiev / Kaprálová /Bacewicz / Shostakovich
Perth Concert Hall
The search for workable repertoire by orchestras during the performance strictures of this pandemic has led to the unearthing of some pleasurable novelties. They are, of course, all geared to smaller ensemble sizes, but they are by no means diminished in interest and impact.
Who for instance, in normal times, would ever have programmed Prokofiev’s Sonata for Solo Violin, intended by the composer not just for a single player, but – with teaching purposes in mind – for several players in unison? With this, the latest SCO online concert from Perth, comes an ideal opportunity.
Led by Stephanie Gonley, whose presence whips up a valiant head of steam from the outset, the SCO violin coterie make homogenous mischief out of Prokofiev’s angular devilry and softer lyrical sweetness playing musical tag with each other.
The whole programme offers a similar bittersweet sensation. Two wind pieces by Viteslava Kaprálová and Grazyna Bacewicz maintain that mood, the first a flighty Wind Trio, the latter a punchy Wind Quintet. The playing is extraordinary, which in a way makes up for the neoclassical dryness that is, up to a point, this music’s piquant charm.
Kaprálová’s Trio – her premature death in 1940 at the age of 25, left works such as this unfinished – is heard in Stéphane Egeling’s reconstruction which utilises material from her piano music to plug the compositional gaps. The result is a testament to her craftsmanship and caustic wit, all of which is captured by oboist Robin Williams, clarinettist William Stafford and bassoonist Alison Green.
They are joined by Patrick Broderick (horn) and Bronte Hüdnott (flute) in the Bacewicz Quintet, where the fuller, more diverse, wind ensemble revel in its joyous virtuosity and riot of energy and repose. The spacious Perth Concert Hall and its warm acoustics provide a warm embrace.
It’s back to strings for the final work, Shostakovich’s early Two Pieces for String Octet, Op 11, written with a discernible nod to Mendelssohn’s more famous Octet, which the SCO ensemble acknowledge through the natural meatiness of this wholesome instrumental grouping. A rueful opening piece is countered by the robust second, the expansiveness of Shostakovich’s expressiveness, from plaintiff reflection to searing aggression, fully and resolutely explored.
Available to watch via www.sco.org.uk
The intrepid Dunedin Consort, whose early lockdown adventures provided the only authentic example of the currently much-invoked “Dunkirk Spirit”, will not be permitting the continuing health emergency to cancel this Easter’s performance of Bach’s epic St Matthew Passion.
With Andrew Tortise as the Evangelist and Matthew Brook as Christus, the ensemble will be presenting a streamed performance of the work on the evening of Saturday March 27 to launch Perth Concert Hall’s Easter festival of classical music.
Broadcast via Vimeo, the concert will be directed by John Butt from the organ, and available to view for a month, with tickets priced at £11.50 per receiving device, including booking fee.
The Dunedin Passion precedes four recitals from Perth featuring musicians from the Scottish Chamber Orchestra and Royal Scottish National Orchestra and the award winning Maxwell String Quartet. Running at 1pm from Tuesday April 6 to Friday April 9, in partnership with BBC Radio 3, they will also be available to view in the same way and for the same charge.
The series begins with pianist Steven Osborne playing Messiaen’s Quartet for the End of Time with soloists from the SCO and continues with clarinettist Maximiliano Martin and pianist Scott Mitchell, the Maxwell Quartet playing Haydn and Beethoven, and pianist Susan Tomes and members of the RSNO with quintets by Mozart and Beethoven.
Full details of the concerts from the Perth Concert Hall website: horsecross.co.uk
The Scottish Chamber Orchestra has followed the RSNO in announcing a new clutch of digital concerts which will be recorded at Edinburgh’s Queen’s Hall and Perth Concert Hall and broadcast free on Thursday evenings on the SCO’s YouTube channel and Facebook site.
The six concert season in March and April concludes with a world premiere from the orchestra’s Associate Composer Anna Clyne. Overflow, inspired by the poetry of Emily Dickinson and Jalaluddin Rumi, is for a group of wind soloists and will be directed from the oboe by Nicholas Daniel. That concert, on April 15, also includes music by Caplet and Dvorak, and it will, like everything in the season, be available to view free for 30 days after first transmission.
The season begins with an established showpiece for the orchestra’s principal clarinet, Maximiliano Martin. Sir James MacMillan’s Tuireadh, a lament for the victims of the Piper Alpha disaster in the North Sea, features on Martin’s recent Delphian disc with the Orquesta Sinfonica de Tenerife. It will be played on March 4 in its original version for clarinet and string quartet in a programme that also includes Britten’s Phantasy Quartet and Prokofiev’s Quintet in G Minor.
Piano Quartets by Mozart and Faure feature in the other new Queen’s Hall concert, on March 11, when violinist Maria Mloszczowska, Felix Tanner on viola, and principal cello Philip Higham are joined by pianist Susan Tomes.
The first of the run of concerts from Perth, on March 18, is an all-20th century programme of chamber music, pairing two familiar male names from Russia, Prokofiev and Shostakovich, with a wind quintet by Poland’s Grazyna Bacewicz and a trio for oboe, clarinet and bassoon by Czech composer Vitezslava Kapralova.
The following week has a focus on percussion in a programme that sees Reich, Part, Andriessen and Britain’s Dani Howard, who is still in her 20s, bracketed by two works from Henry Purcell.
The penultimate concert, on April 8, features baritone Marcus Farnsworth, who is also due to appear alongside soprano Susanna Hurrell with the RSNO in May. In Perth he features in a recital of rare baroque repertoire including works by Telemann, Biber, Froberger, Muffat, Schop and J C Bach.
Full details and instructions on watching and listening to the concerts are available at sco.org.ukKeith Bruce
Perth Concert Hall
Never underestimate the individual virtuosity of orchestral musicians who sit more anonymously, week after week, amid the wider ranks of their respective bands. Here was a typical illustration: SCO principal cellist Philip Higham breaking ranks to feature in his orchestra’s latest digital presentation from Perth Concert Hall as soloist in Tchaikovsky’s Variations on a Rococo Theme.
Tchaikovsky’s balletic concert piece – it’s the closest he got to writing a full-blown cello concerto – is exquisite and fanciful, as the title suggests. But that shouldn’t imply anything lightweight or superficial. As the opening orchestral gambit of this iridescent performance under SCO principal conductor Maxim Emelyanychev asserted, here also is music of infinite character and substance.
It offered the perfect interpretational springboard for Higham, whose entrance established all the perfection, agility and poise that was to inform the ensuing variations. The nimble, airborne simplicity of the main theme, the natural zest that followed, even the sumptuous calm in Tchaikovsky’s more contemplative moments, were all effortlessly captured in a performance notable for its visual grace and instinctive musicality.
It was the centrepiece of a concert bookended by Schubert, whose music, Emelyanychev reminded us, should have been a focal theme in the originally-planned SCO season. A pairing of Schubert’s Symphony No 5 and the Entr’act No 3 from Rosamunde was telling proof as to why that was always such a good idea.
In a symphony indebted in its lyrical, spirited zeal to Mozart, Emelyanychev seemed in seventh heaven, light-footed and with delicate gestures that inspired the freshest of results from his players. There was spring-like effervescence in the opening Allegro, eliciting affectionate playfulness from the conversational woodwind. The free-flowing Andante con moto and breezy Menuetto then set the pace for a finale the went like the clappers and embraced dramatic turbulence as chilling as Mozart’s Don Giovanni.
No such pungency in the Rosamunde excerpt, which was all about eloquence and charm. There’s a gloriously ambient ring to the empty Perth hall acoustics that was fully embraced in this performance, evident in the poetic sheen and settled composure that coloured its every moment.
Perth Concert Hall
What a welcome sight. Thursday’s filmed concert by the Scottish Chamber Orchestra, introduced by cellist Su-a Lee, returned this week to Perth Concert Hall, its stage floor area extended over the front stalls to accommodate the fuller string complement required for Benjamin’s Serenade for tenor, horn and strings.
The setting also inspired the theatrical positioning of tenor Allan Clayton and horn soloist Alec Frank-Gemmill as spotlit protagonists out front, looking inward to the ensemble, which the camerawork in Mark Parkin’s film direction inventively captured.
Directing from the leader’s chair was Finnish violinist Pekka Kuusisto, who confessed to not ever having encountered Britten’s 1943 wartime song cycle while growing up in Finland. Evidence of that emerged in a performance entirely in tune with its movingly refined ecstasy, but much more interestingly coloured by a fresh-faced objectivity.
In all but a very few moments, it worked. There was a dryness in the string tone and articulation that underpinned Blake’s Elegy, for instance, robbing us of its blanket warmth and forward momentum. But in every other sense this was a truly compelling performance, set magically in motion by Frank-Gemmill’s pitch-perfect playing (even the jarring natural horn harmonics) of the solo Prologue, and sung throughout with candescent poise by Clayton.
Clayton – whose wild beard and distressed hair make him look as if he’d just walked off the final scene of Peter Grimes – is no vocal clone of Peter Pears, for whom the work was written. Nor does he ever pretend to be, allowing instead the more rounded purity of his tenor voice to express its own persuasive response to Britten’s masterpiece.
His partnership with Frank-Gemmill was compatible in every sense, generating musical dialogues capable of capturing the serene and thoughtful and the demonic and triumphant with equal conviction. The inexorability of the Dirge, unleashing those cascading horn counterpoints at its height, marked a thrilling moment, just as Ben Jonson’s Hymn elicited infinite expressive colours. And finally the horn Epilogue bringing the whole work full circle, this time offstage, its final dying note echoed by the emotive dimming of the lights.
Before the Britten, a smaller string contingent performed SCO associate composer Anna Clyne’s Within Her Arms, a heartfelt tribute to her late mother, written for the Los Angeles Philharmonic in 2009.
The caressing Perth acoustics served to amplify its tenderness and unhurried quiescence, and from the strings a glowing warmth inhabited every gentle, keening bar, whether expressed through the gradually intertwining sighs of the opening lament, the ensuing glassy Tippett-like washes of polyphony, or the exhaustive bass drones that reset the opening calm.
See this concert free at www.sco.org.uk
Image: SCO at Perth Concert Hall, credit Ryan Buchanan