Sunday Classics 2022-23: Romanian National Philharmonic Orchestra

Usher Hall - 27/11/22

The Sunday Classics 2022-23 season at the Usher Hall continued on 27th November with an evening appearance by the Romanian National Philharmonic Orchestra, conducted by the Armenian conductor Sergey Smbtyan in a programme of works by Sibelius and Tchaikovsky, also featuring the Russian violinist Maxim Vengerov in Alexey Shor’s Violin Concerto No.1 ‘Seascapes’ and Prokofiev’s Violin Concerto No.1.  There were no printed programmes available. 

The well-attended concert opened with Sibelius’ ever-popular Karelia Suite, a three-movement early concert piece drawn from a longer work which established his credentials as a Finnish nationalist composer.  It is optimistic spirited music and a great concert opener.  This concert was to have been part of a tour by the Malta Philharmonic, but it would appear that the Romanians have stepped into the breach for all the UK engagements – I could not ferret out an explanation, but I can confirm that the RNPO have a great ensemble sound and responded well to the direction of Maestro Smbtyan, who conducted them sans baton and sans podium.  The tone of the horns, both muted and unmuted, in the Intermezzo, the clarinet solo and muted strings in the Ballade and the cheery piccolo and burbling clarinets near the end of the Alla Marcia were particularly scrumptious, while the spirited brass playing in the outer movements was equally fine. 

This concert marked my first encounter with the music of Ukrainian-born composer Alexey Shor.  I read that he holds a Ph.D. in mathematics, so as a fellow-mathematician, I must first accord him a certain kudos.  His music appears to have a tuneful, neo-Romantic quality, with elements of occasional whimsy and much wistful melancholy.  It is very pleasant to listen to, certainly inoffensive, but I cannot say I find it particularly compelling.  First up, we were treated to a world premiere of his short piece, ‘Enchanted Moment’.  Whatever the intention of the programmatic name, it was surprisingly brisk and evoked for me a short train journey with various details of scenery flashing by, underpinned by a rhythm like that of wheels clipping rail joints. 

It would be flippant indeed of me to suggest that Maxim Vengerov arrived on the stage of the Usher Hall wearing blue jimjams and baffies, but that was my immediate visual impression.  His playing of the four-movement Shor concerto was, of course, virtuosic and committed and he clearly rates this music, which could not realistically be described as a bravura showcase.  The first movement, a romance in the minor key, was pleasant but not memorable.  The dynamic balance was excellent and the orchestral texture was warm with some lovely moments from the harp, supported by the warm acoustic of the Usher Hall.  The major key slow movement was melodic and lyrical and felt filmic, perhaps because of an unmistakable reference to the music of ‘Schindler’s List’.  The 3/4 scherzo featured Latin dance rhythms impressed onto a waltz-like melody with a more wistful slow section.  The finale was reel-like and whimsical.  Pleasant enough easy listening but I won’t be rushing out to buy a CD. 

We were on surer ground after the interval with Prokofiev’s First Concerto.  Technically challenging and compellingly engaging, it is a masterpiece of the genre and, although the Second Concerto is my favourite of the two, I am always glad to catch a performance of the First.  This is Vengerov’s core repertoire and his technique and interpretative skills are flawless, so it was predictably excellent.  The lyrical dreamy shimmering opening was delicious, while the episodic first movement holds the attention with passages of spiky brilliance, radiant lyricism and even Russian folkdance.  The orchestral playing was delightfully sympathetic and responsive.  The scherzando second movement is a frantic perpetuum mobile of daunting difficulty, which Vengerov took in his stride.  Particularly stunning was some characterful sul ponticello playing.  The finale is the ‘slow’ movement of the concerto and has a narrative character found also in the slow movement of the Second Concerto, suggestive of many a melancholy Russian legend where a doll, puppet or automaton develops a soul and experiences life’s joys and, especially, sorrows.  If the character in the Second Concerto is a ballerina pirouetting on a clockwork music box, that of the First Concerto is equally clockwork-driven but falls in love, as the motor rhythms of the opening morph into a Romance for violin and orchestra.  The work concludes with the same dreamy cadence as the first movement, a magic spell woven by the flutes.  Truly excellent and very well received by the Edinburgh audience. 

The final work in the programme was Tchaikovsky’s Fantasy Overture: ‘Romeo and Juliet’.  Never shy about wearing his heart on his sleeve, this programmatic work features Tchaikovsky’s very best tragic ‘Love Theme’, as well as depictions of Friar Lawrence’s cell with a very Russian Orthodox-sounding hymn tune, sword-fighting and a funeral march.  It was performed with a great sense of dramatic tension and awarded the same rapturous appreciation as the Prokofiev, bringing an evening of fine music-making to a close.