Eine kleine Nachtmusik

Queen’s Hall 12/12/24

Scottish Chamber Orchestra, Maxim Emelyanychev conductor, Maximiliano Martin clarinet, William Stafford clarinet

 Tonight’s Scottish Chamber Orchestra concert features one of the best known orchestral works, Mozart’s ‘Eine kleine Nachtmusik’.  Second violin, Gordon Bragg, introducing the concert, tells us that its score wasn’t published until the 1880s, so for some time after the composer’s death the work shared the fate of the “forgotten” works which make up most of the programme: Krommer’s 1803 ‘Concerto No 1 in E-flat for two clarinets’  and Wranitzky’s ‘Symphony in D Opus 36’ written around 1799.

Haydn’s 1779 overture to his opera ‘L’isola disabitata’ (the uninhabited island) is the first work performed. Haydn’s operas, though not forgotten, receive only rare outings. I’ve enjoyed the ones I’ve heard, a concert performance of Orlando Paladino, and a fine recording of ‘Armida’  by Nikolaus Harnoncourt with the young Cecilia Bartoli and wonder if like Handel’s operas and some lesser known ones by Rossini and Donizetti they may yet get their full due.

Maxim Emelyanychev often directs from the harpsichord, and although it’s unannounced in the programme, his appearance behind the keyboard assures us of great music-making to come. There may be a harpsichord part written for the Haydn Overture but I imagine that Maxim Emelyanychev’s own more decorative arrangement is what gives an extra sparkle to the orchestra’s performance. That and the two natural  horns provide an authentic feel, with the harpsichord arpeggios lightning the solemnity of the opening adagio. The allegro is played with bounce and the gavotte with delicacy. A splendid concert opener.

Two trumpets and the timpanist join the orchestra as the SCO’s own Maximiliano Martin and William Stafford arrive at the front of the stage for Krommer’s ‘Concerto for two clarinets.’  Krommer, who was born as František Vincens Kramár in Moravia, was known in Vienna by the German form of his name.  A near contemporary of Mozart, he shared his interest in the development of the clarinet as an orchestral instrument, and this large-scale tuneful work certainly puts the two instrumentalists through their paces.  Trumpets and timpani contribute to a brisk opening, and when the clarinettists enter accompanied by the strings, their partnership is quickly established, as they echo and sometimes complete each other’s phrases.  Maxim Emelyanychev continues to direct the orchestra from the harpsichord, and at one point he and the clarinettists harmonise nicely together.  There are no solo or duo cadenzas, but towards the end of the movement, more intricate runs and decorations are exchanged by Maximiliano Martin and William Stafford.

The adagio second movement begins in ominous fashion on the lower strings and horns before a dissonant entry by the clarinets, which then begin a reflective melody accompanied by strings and harpsichord. More intricate clarinet playing using the lower notes builds a threatening atmosphere. The change to a major key heralds Maximiliano Martin’s serene solo melody, soon taken up by his partner, and the music changes into a more traditional lovely slow movement.  The third movement’s jolly dance tune with a stop-start rhythm has a tootling accompaniment from the clarinets over pizzicato strings. The duo’s playing becomes ornate, with trills in the lower registers and sliding scales.  At times Maximiliano Martin throws his head back to play like a jazz musician: William Stafford is less expressive in his movements but equally accomplished. The concerto is an intriguing work, beautifully played by the clarinettists and the rest of the orchestra. After appreciative applause, the pair return, with William Stafford carrying the large bass clarinet.  As an encore they play a slow duet in which the deeper bass clarinet notes perfectly complements those of the higher pitched instrument.

There’s a surprise after the interval as the conductor introduces the Scottish premiere of a recently discovered short work by Mozart.  It’s a quintet for two violins (Marcus Barcham Stevens, tonight’s leader, and Afonso Fesch), cello  (Donald Gillan), double bass (Jamie Kenny) and harpsichord. This ‘Ganze Kleine Nachtmusik’ (very small night music) is in seven movements and Maxim Emelyanychev  announces each one. As he and his orchestra are not averse to the odd musical joke, I wondered if it might be a pastiche. However, it was soon obvious that it was a work worth listening to, and later research confirmed  that a Serenade written by Mozart when he was about 12 was found earlier this year in a Leipzig library, not in his own handwriting but probably copied by his sister. Originally a trio, the adaptation is a charming piece, which encourages other orchestra members out to listen at the side of the stage, and the audience to applaud each movement.

The strings stand, first violins facing the seconds with Maxim Emelyanychev on harpsichord between them for ‘Eine kleine Nachtmusik.’ Standing to play always drives a special energy in the musicians, and here the visual “stand-off” between the two groups helps us to note the collaborative tutti moments, and the parts where the melody is passed from one to section to another. The harpsichord adds an extra strand to the sound, as well as working with the double basses and cellos on the percussive elements in the score. This is a convincing and agile interpretation of a familiar piece; the slow movement is kept moving along, with the section principals playing the central section as a sextet. If the minuet is a little staid, the scampering last movement (the ‘Brain of Britain’ theme) sounds light and airy, and there’s justifiably enthusiastic reception.

Wranitzky, also from Moravia, changed his name from Vranicky when he moved to Vienna. Born in the same year as Mozart, he became a good friend, and the large forces in his ‘Symphony in D’ have much in common with the line-up in Mozart’s later symphonies. A vigorous martial opening provides the full sound of period brass and timpani (Peter Franks and Shaun Harrold, trumpets, Boštjan Lipovšek and Jamie Shield, horns and Stefan Beckett, timpani), an effect which recurs a number of times in the movement, alternating with a gentler melody and some lovely passages for flutes (Marta Gómez and Adam Richardson, also in fine form in the Krommer). It’s easy to see why this music was popular, and it provides an apt and vigorous conclusion to the programme. Sometimes the drama becomes repetitive, and I would have liked to have heard more of the gorgeous writing for woodwind alone which begins the final movement. But as ever in concerts conducted by Maxim Emelyanychev there has been much wit, panache and entertainment tonight. And a Mozart premiere!

Tom Service recently asked Maxim Emelyanychev what music he would like to explore. “Everything,” he said.  We are so lucky in Edinburgh that much of his exploration takes place here, with such exciting results.