Royal Scottish National Orchestra - Petrushka

Glasgow Royal Concert Hall - 27/12/23

Royal Scottish National Orchestra | Joana Carneiro (conductor), Philippe Quint (violin)

RSNO Petrushka

A fresh breezy Spring evening brought the Royal Scottish National Orchestra under Portuguese conductor Joana Carneiro to the Glasgow Royal Concert Hall, reprising the Edinburgh programme of the previous evening. The headline work, presented after the interval, was Stravinsky’s 1911 ballet, ‘Petrushka’. The first half consisted of two 21st century works, one receiving its Scottish premiere, the other a UK premiere of an RSNO co-commission. The Scottish premiere of Finnish composer Esa-Pekka Salonen’s 2011 symphonic poem ‘Nyx’ was followed by Belize-born British composer Errollyn Wallen’s Violin Concerto, with the violinist for whom it was written, Russian-born American Philippe Quint, as soloist. The concert was quite well-attended.

In February last year, I reviewed a Scottish Chamber Orchestra “symphony concert sans symphony”, conducted by Joana Carneiro and was moved to write: “Joana Carneiro’s conducting style is remarkable and a sight to behold: the hands certainly communicate the beat with clarity and precision, but her whole-body movements are elegant, sinuous and balletic and convey to players and audience alike a wealth of subtle information about the shaping of phrasing and dynamic balance. Live performance always offers a visual element to our aural experience, but it is special indeed when the two not merely complement but augment each other so magnificently.” Back then, the SCO responded to her conducting with playing of the very highest quality; last night the RSNO did the same. Diminutive of physical stature, she is a giant of musicality.

A primal goddess in the pantheon of Greek creation mythology, Nyx represents night. In this work, conductor/composer Salonen sought to extend his mastery of orchestration to sonic picture-painting on a larger canvas with an extended palette. I would say that he succeeded magnificently. The piece is scored for a huge orchestra and, when it is unleashed in the many climactic moments, the texture remains clear, yet awe-inspiring. The recurring polyphonic contrapuntal writing for the horn section was harmonically pleasing and radiant. A very prominent solo part for clarinet received a characterful expressive outing from principal clarinettist Timothy Orpen. Magical tonal colours and textures, too numerous to list, abounded, celeste over pianissimo cellos and double basses a particularly memorable example. A sense of huge vistas and epic events was ever present, in musical language that was individual, but with an occasional nod to Messiaen. Joana held it all together, the cogent logic never lost, yet no hint of restraint. Powerful and a great concert-opener.

Errollyn Wallen’s Violin Concerto, premiered in Calgary just 6 weeks ago, follows the familiar fast-slow-fast 3-movement plan, yet is permeated by a freshness and expressive immediacy, tailored to Philippe Quint’s engaging musical personality and charisma. In the past, I have expressed reservations about the acoustics of the GRCH and the difficulties with achieving dynamic balance, but I have to admit that recent experiences with the RSNO have been entirely positive in this regard. I mention this because, although this concerto employs quite a big orchestra and the concertante writing frequently features dialogue between the soloist and whole sections, wind, brass or strings, Philippe’s Strad sang clearly at all times. After a slow introduction that nods to the Sibelius concerto, the first biographical reference, church bells in Philippe’s native Leningrad emulated by tubular bells, launches the faster movement proper. The solo instrument is very much the protagonist, the material alternating between striding and confident, and more contemplative, yet always virtuosic. Every moment held the attention of the listener. A more syncopated material concluded the movement. The slow movement, with elements of dreamscape, barcarolle and lullaby, was exquisitely melodic and featured another biographical element, the Yiddish lullaby ‘Shlof Mayn Fegele’ (Sleep, My Little Bird). Mastery of bow technique and vibrato made the phrasing breathtakingly beautiful. The wonderfully atmospheric writing for harp, tubular bells and pianissimo trombone chording were among the many magical elements of this movement. The finale, episodically jazzy and dancelike, with plenty of American syncopation and swagger, was a thrilling romp from start to finish. Phenomenally virtuosic rapid pizzicato introduced the main theme on the solo instrument, picked up and garnished with Latin American and Mexican tropes by the orchestra Royal Scottish National Orchestra - Petrushka . There were also some gestures to the finale of the Stravinsky concerto. After a short cadenza, a joyous rhapsodic songlike episode brought a new colour to the festive ambience. Another short cadenza led to a 3/4 syncopated dance, bringing the work to a joyous close. The composer was present and joined soloist and conductor on the stage to acknowledge the enthusiastic applause.

Just three months ago, I enjoyed a performance of ‘Petrushka’ with the BBC Scottish Symphony Orchestra under Ilan Volkov, and very satisfying it was too. Comparisons are inevitable and I can immediately say that Joana and the RSNO have nothing to fear from any such. Indeed, I would say that there was extra freshness, immediacy and vividness to the RSNO’s picture-painting, and also a grittier paciness to the unfolding narrative. Stravinsky is both generous and demanding in the solos he entrusts, especially to the winds. Principal flautist Katherine Bryan brought stamina and expressive virtuosity to her part and deserves the highest praise, but if I were to give deserved mention to all who played their hearts out to Joana, I would have to list the whole orchestra. Failing that, I shall add just one more name: Associate Leader Lena Zeliszewska, whose solos caught the perfect mix of pathos and ardour.

In summary: a memorable concert combining commitment to optimal advocacy of new repertoire with a fresh vibrant reading of evergreen favourites. Excellent.