RSNO: Dvořák String Sextet
Glasgow Royal Concert Hall New Auditorium - 12/11/23
Maya Iwabuchi, violin | Kanako-Ito, violin | Tom Dunn, viola | Felix Tanner, viola | Pei-Jee Ng, Betsy Taylor, cello
The New Auditorium at the Glasgow Royal Concert Hall was the venue on the afternoon of Sunday 12th November for a chamber recital by string players from the Royal Scottish National Orchestra, led by the orchestra’s leader Maya Iwabuchi, who introduced the programme. The headline work was Dvořák’s 1878 String Sextet, but the programme opened with the lesser-known 1834 String Quartet in E-flat major by Fanny Mendelssohn, a revelatory first hearing for this reviewer. Maya spoke movingly of the importance of the chamber music concert series for the orchestral musicians, a “more artistically fulfilling opportunity to converse in a more convivial way”. No argument from me, though I am on record as observing that Scotland’s orchestral musicians already deserve renown for savouring and satisfyingly exploiting any opportunities to converse with soloists in their performances of concerto repertoire, whilst retaining the thrill of participation in the rich harmonic texture of Romantic symphonic repertoire, most notably and recently for the RSNO in sumptuous Dvořák. Maya also revealed that, her RSNO associate leader colleague Lena Zeliszewska being indisposed, the second violin part would be played by associate leader of the BBC Scottish Symphony Orchestra, Kanako-Ito, whom she described as her “Japanese sister”.
For the Mendelssohn, Maya and Kanako were joined by RSNO principal viola Tom Dunn and principal cello Pei-Jee Ng. The opening Adagio ma non troppo was a fantasia-like play between two themes, one resolute, the other melancholy. The sound world was reminiscent of Fanny’s brother Felix with a similar awareness of Beethoven and an emotional intensity that really grabbed me. A gorgeous dialogue between Maya and Tom was for me the highlight of the movement. The second movement, a minor-key scherzo fusing the lightness of touch of Felix Mendelssohn with something gutsier and Brahms-like, was an absolute delight for performers and audience alike. A thrilling fugato central section launched by the viola was offset by an impossibly agile and equally exciting Paganini-like passage for Maya. Stunning playing. The enigmatic Romance was harmonically and tonally adventurous. Far from happiness and fulfilment, it seemed to speak of a life constrained by spirit-crushing bourgeois convention, soaring major-key phrases on the first violin answered by descending figures in the melodic minor key. The conclusion on a major chord spoke less of resolution than of melancholy resignation. I found this very moving. The finale, marked Allegro molto vivace, blew away the cobwebs with a cheerful, if somewhat demonic, triple-time dance, which I am sure I have heard before. Lots of virtuosic scurrying in and out of major and minor for everyone, it was thrilling from start to finish, a headlong major scale descent through the compass of the first violin. In Fanny Mendelssohn’s Quartet, we meet a hugely gifted musical personality, constrained by stultifying convention to eschew a career, baring her soul and revealing her heartache, but resolving to make the best of a bad lot. Full marks and my heartfelt thanks to the RSNO musicians for revealing this neglected masterpiece and giving it a committed and unforgettable performance.
After a short interval, the quartet was joined by RSNO associate principals, violist Felix Tanner and cellist Betsy Taylor, for the Dvořák String Sextet. The beefy first movement took two principal melodies, one lyrical and cantabile, the other tripping and dancelike, both suffused with Slavonic charm, through a fairly conventional Germanic sonata form development. The second movement, a Dumka in name and character, was actually fashioned from two examples of the Slavic song-and-dance form, each a brooding air followed by a contrasting dance in a lighter mood and triple metre (though not faster, as found in the ‘Dumky Trio’). After the first Dumka was reprised, a coda based on it brought the movement to its bewitching close. The scherzo, a presto Furiant, was not as hemiolic as usual with Dvořák, but was driven by the same sense of fun. After a slightly slower central section, and in a nice touch of variety, the reprise of the Furiant sported slightly more offbeat stresses. Very satisfying. The theme-and-variations finale displayed Dvořák’s skill in the form to be no less accomplished than that of his friend and mentor Brahms. The march-like theme, solemn but with a hint of mischief, aired on the lower voices sans violins, before receiving imaginative treatment in the ensuing contrasting variations. Throughout, the ensemble sound was rich and perfectly balanced, the tone warm and engaging, and the phrasing characterful and mutually responsive. Chamber Dvořák how it is meant to be, and a great way to spend a Sunday afternoon.
Heartwarming and satisfying though the Dvořák was, it was the poignant Fanny Mendelssohn that captured my soul. Unforgettable. Thank you, RSNO chamber strings, for something very special.