Tag Archives: Poulenc

SCO & SCO Chorus / Emelyanychev

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City Halls, Glasgow

The clue was in the title. The odds of an SCO programme labelled Gloria! being anything less than euphoric and uplifting were slim. Maxim Emelyanychev and his band, with their in-house SCO Chorus never failed to deliver, but we shouldn’t leave Poulenc off the credits, whose mischievously seductive music dominated the longer first half.

Across the entire programme there were, in fact, two Glorias composed centuries apart by Poulenc and Vivaldi respectively, but as fascinating for their similarities as their fundamental differences. Both thrived on the flawless precision of the SCO Chorus, the stylistic adaptability of the SCO, a thrilling assortment of vocal soloists and the singularly-minded dynamism of conductor Maxim Emelyanychev. 

To whet the appetite, however, Emelyanychev had turned to a rarer Poulenc, the 1940s post-war Sinfonietta he wrote for the BBC celebrating the first anniversary of the erstwhile Third Programme. Bang and we are off: a fearsome explosion of Stravinsky-infused joy immediately capturing the mood and establishing a journey through which Poulenc frequently tempers the exuberance with breezy wit, elegiac schmalz, and a specific way with melody that tugs on the heartstrings. 

Emelyanychev grasped the seething ambiguity of the music, its pungent similarities at times to the  earlier Organ Concerto, the breezy joie de vivre of the second movement Scherzo, the spectral delicacy of the Andante cantabile, and the undisguised echoes of Tchaikovsky, even Dvorak, surfacing occasionally above the transient hubbub of a truly sparkling score. He got the very best from a visibly energised SCO.

It offered the ideal preparation for the same composer’s Gloria, the perfection of the ensuing performance – with its renewed allegiance to Stravinsky, this time owing much to A Symphony of Psalms – critical to its gripping success. Again, there was electrifying playing from the orchestra, at times screamingly brutal, at others liquid and ephemeral. The Chorus – if slightly overwhelmed at the very start by the band – quickly found its feet in a performance ranging from idyllic reverence to declamatory exultation, yet always within the bounds of crystalline homogeneity. 

Soprano soloist Anna Dennis was breathtaking, picking notes seemingly from nowhere with pinpoint accuracy in the Domine Deus, casting an otherworldly spell over the gorgeous Agnus Dei.

The remarkable thing about the Vivaldi performance was the complete transition of the players and singers to authentic Baroque-style performance, Emelyanychev now directing from the harpsichord. The same precision applied, but now with a silver purity (vibrato-less strings, ravishingly pure oboe, agile single trumpet, with organ and theorbo completing the continuo group) and stylish persona. 

It introduced further soloists – Dennis joined by Glasgow-born soprano Rachel Redmond for a spritely duelling account of Laudamus te, countertenor Alberto Miguélez Rauco bringing an alluringly fresh dimension to the line-up. Oboist José Masmano Villar took the limelight in the Domine Deus, Rex coelestis, spinning out the solo obligato with increasingly rapt ornamentation.

The SCO Chorus was again a distinguished, life-giving presence, appropriately so in a week that welcomed the news of chorus master Gregory Batsleer’s decision to extend his SCO contract till August 2028. Definitely something to sing about!

Ken Walton 

SCO/Poulenc/Farrenc

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Queen’s Hall, Edinburgh

“Let’s go party in Paris”. Scottish Chamber Orchestra principal flautist Andre Cebrian might easily have uttered such an invitation – he more or less did – in his spoken introduction to Poulenc’s saucy 1932 Sextet, a work for wind quintet and piano that opens with a champagne pop and enjoys itself to the last.
It was the opening work in the latest of the Scottish Chamber Orchestra’s digital chamber music series.

The other was the substantial Nonet by Louise Farrenc, a 19th century Parisian composer, known as “the female Beethoven”, and notable not just for the fact she was a woman who stamped her forcible mark in a 19th century man’s world, but because her music was especially good.

Poulenc’s “pop of the cork” had the impact it should, an immediate explosion of musical fizz to set in motion the raucous comedy, wicked satire, anarchic sentiment and rollercoaster energy that forever distinguishes his bittersweet style. 

These SCO players lapped it up, capturing the acerbic inevitability of the opening Allegro vivace with its fruity melodies underpinned by vamped grotesquerie; filling the easeful comfort of the central Andantino with hints of exotic colour; and conquering the spicy duplicity of the Finale – where solo virtuosity vies with collegiate solidarity – through to its simmering conclusion.

Written around 100 years previously, Farrenc’s Nonet is more sobering, but no less intriguing. Symphonic in all but name, and scored for a mini-orchestra texture – wind quintet in partnership with violin, viola, cello and double bass – this was a performance that respected its shapely, stylish refinement.

The warmth that radiated from its gentle, meaningful slow introduction established a mood of composure that informed the ensuing graceful Allegro and subsequent movements. Farrenc’s writing flows effortlessly but with calculated brilliance – as the only female professor at the Paris Conservatoire she famously campaigned for equal pay and got it – which the ensemble embraced, minuscule slippages aside, in a deliciously tasteful, engaging performance.
Ken Walton

Image: André Cebrián credit Nacho Morán