RSNO / Lowe / Cargill
RSNO Centre, Glasgow
A “technical issue” resulted in Friday’s planned release of the RSNO’s first 2021 digital concert being delayed until Saturday. Given this glitch offered a version that chopped the final bars off Dvorak’s New World Symphony, the decision to delay was wise. There’s nothing worse than experiencing the same fate as the long distance runner whose legs buckle a few metres short of the finish line.
Be assured, the rectified version takes us all the way, with a rousing end to a performance in which conductor James Lowe and the orchestra finally feel at home with each other and a mutually conducive spark is lit.
Lowe was brought in to replace Ryan Bancroft and a programme originally intended to feature violinist Midori in the world premiere on Glanert’s Violin Concerto No 2. In its place comes the popular Dvorak symphony and Wagner’s Wesendonck Lieder with mezzo soprano Karen Cargill.
The opening work remains unchanged, Errollyn Wallen’s surging Mighty River, written in 2007 to commemorate the bicentennial of the signing of the Abolition of the Slave Trade Act. Like the political momentum gathering pace then for a lengthy ongoing liberation campaign, Wallen’s metaphor of choice is the unstoppable power of water, its vitality, the unceasing journey that a mighty river undertakes in search of the open sea.
Familiar tunes make their presence felt: Amazing Grace feeds through the opening bars like a shared opening prayer; the spiritual Deep River more immersed within the later fabric of increasingly frenetic textures. The language encompasses echoes of Copland’s fresh-faced dissonances, powering minimalism à la Reich or Adams, besides Wallen’s own lyrical, occasionally mystical fingerprints. It is a compendium of 20th/21st century Classical Americana underpinned by incessant, pulsating energy.
This performance doesn’t quite get to grips with all that. It’s more matter-of-fact than edge-of-the-seat, more routine than gripping, especially where the vital underpinning rhythmic motor seems more content to chunter along than switch to overdrive.
Cargill’s presence in the five songs that make up Wagner’s gorgeous Mathilde Wesendonck settings provide a welcome instant transformation. The rich sonority of her lower range channels their emotional depth from the offset, Cargill brilliantly fractious in Stehe Still – a touch of the Wagnerian nasties – and glowingly ecstatic in Im Treibhaus, spine-chillingly intense in Der Engel and aptly dreamy in Traume.
Hans Werner Henze’s orchestration poses its own challenges, the highly exposed solo lines and curious colour mixes dependent on super-refined management. While Lowe’s direction provides inoffensive, efficient support for Cargill, it struggles to find the vital essence of Henze’s weird and wonderful intentions. They are more convincing than they sometimes appear here.
No lack of conviction when it comes to the Dvorak, despite niggling aspects of (recording?) balance that occasionally vulgarise the opening Allegro molto. Thereafter, there’s the leisurely Largo, sprightly Scherzo and wholesomely conclusive Allegro con fuoco to seal the deal on a programme that takes its time to fully settle.
Available to view on www.rsno.org.uk