Beethoven’s ‘Eroica’ Symphony
City Halls, Glasgow, 28/11/2024
BBCSSO, Ryan Wigglesworth (conductor), Jaemin Han (cello)
Link: https://www.bbc.co.uk/events/e88fbp
“Imagine a defiant musical revolution” – the tagline of the BBC Scottish Symphony Orchestra’s final Thursday night concert of 2024 under the baton of Chief Conductor Ryan Wigglesworth in Glasgow’s City Halls on the night of 28th November – was an unmistakable reference to Beethoven’s ground-breaking 1803 3rd Symphony, nicknamed ‘Eroica’, which was the masterwork performed after the interval. Also quite revolutionary, in terms of evocative 21st century nocturnal soundworlds, were the two pieces in the first half: the late Harrison Birtwistle’s 2004 ‘Night's Black Bird‘ and the UK premiere of Korea-born composer Donghoon Shin’s new Cello Concerto ‘Nachtergebung’, with compatriot Jaemin Han as soloist. Attendance was moderate but satisfactory. The usual Kate Molleson preamble for live broadcasts was absent, though the presence of microphones suggested that the concert was being recorded for later airing. Snippets of pieces not on the programme were heard being practised by principals early to the stage, notably a figure from the first movement of Shostakovich’s First Cello Concerto on James Horan’s oboe and the opening trumpet fanfare of Mahler 5 from Mark O’Keeffe, confirming for the alert listener some of the other repertoire that the orchestra is taking on tour to South Korea in the coming days. Roberto Ruisi was the latest in a series of Guest Leaders that have served the orchestra and its loyal supporters since the last time they performed the ‘Eroica’ under Ryan Wigglesworth in St Mary’s Church, Haddington in mid-June 2023’s Lammermuir Festival. The following heartbreaking announcement that I have been dreading since then appeared on the BBCSSO’s website dated 22nd November:
“It is with great sadness that we share the news of the passing of Laura Samuel, Leader of the BBC Scottish Symphony Orchestra since 2012, at the age of 48. This is an incredibly difficult day for all who admired and loved her. Everyone at the BBCSSO sends their deepest sympathies to Laura’s family at this time.”
On behalf of EMR, the audiences who will cherish Laura’s memory, and myself, I add our heartfelt condolences to those of her fellow music-makers. Among many, two salient indelible memories spring to mind: Laura’s exquisite interpretation of the Scheherazade solos in Rimsky-Korsakov’s symphonic suite, and her resolute determination, in an Usher Hall concert, to deliver the solos depicting the composer’s wife in Strauss’ ‘Ein Heldenleben’, unfazed by the seismic cannonade emitted from the Military Tattoo in the Castle, earning her one of the most enthusiastic ovations I’ve ever seen. Irreplaceable.
‘Night's Black Bird‘ appears in John Dowland’s song ‘Flow my Tears’ and Birtwistle’s piece is an exploration of melancholy in a dark and menacing dreamscape, making use of a large orchestra and a range of unusual timbral effects, with growling double basses, eerie sounds from bowed tuned percussion, tubular bells, vibraphone, marimba, xylophone and harp, birdsong from piccolo and E-flat clarinet and a host of other spooky sounds, a huge orchestral climax and a spooky morendo finish with a final soft tolling bell. Quite filmic and viewable as an extension of the palette of the master of ‘Night Music’, Bartók. Given the ambience of the Cello Concerto to come, this was an excellent choice of prologue, atmospherically and virtuosically delivered.
Donghoon Shin’s ‘Nachtergebung’ (Night Surrender) takes the macabre imagery of 5 poems by Austrian Expressionist Georg Trakl as its inspiration. The 5 sections are played without a break, with the solo cello in the role of a solitary individual wandering through a bleak, threatening nightscape portrayed by the orchestra (as large as that of the Birtwistle) and reacting with mixtures of melancholy, foreboding, dread and panic. The orchestral music matches and surpasses the innovative exploration of timbres in the Birtwistle with, among many other effects, bowed crotales resting on the pedal timpani while their resonance is altered, sandpaper blocks, violins played ‘col legno battuto’, spectral high violin harmonics, wire brushed cymbals, menacing brass and duelling percussion. The solo cello part is no less innovative and characterful, as well as phenomenally virtuosic, and Jaemin Han inhabited it fully. There are contrasting moments of icy stillness and eruptive violence. In the closing pages, the solo ‘hero’ surrenders to the night and sleep – whether literal or as a metaphor for death is left ambiguous. A super new piece given a compelling UK premiere, enthusiastically received by the Glasgow audience. Its Korean premiere will be also given by Jaemin Han as part of the BBCSSO tour. They will do us proud.
My relationship with Beethoven’s ‘Eroica’ Symphony goes back almost 60 years, to when I lived in Waterford in Ireland’s south-east. My father, a primary schoolteacher and amateur violinist, used to order his records from Sinnott’s of John Street and had placed an order for the Columbia mono LP recording of Klemperer with the Philharmonia. One Saturday morning when I was with my dad in town for the weekly messages, we passed the shop. Noel Sinnott came running out, shouting within the earshot of most of holy Catholic Waterford: “Tom, Tom! I’ve got your ‘Erotica’!” True story. I’ve often wondered if this incident had any bearing on our decision to move to the Dublin suburb of Killiney just over a year later, opening up the opportunity to attend regular concerts. If so, my eternal gratitude to Messrs Beethoven, Klemperer and Sinnott. For years, the Klemperer was my yardstick interpretation of the ‘Eroica’.
Addressing the audience in Haddington in June 2023, Ryan Wigglesworth described the ‘Eroica’ as “the greatest symphony”. I can’t disagree. When it was audaciously premiered to a private aristocratic audience in 1804, it was, as a symphony, unprecedented in length, complexity, emotional scope, cultural outlook and technical ingenuity and must have been virtually incomprehensible to most, if not all, listeners. The date says ‘classical’; the passionate music says ‘romantic’. Either way, it is mind-blowing, and Wigglesworth, the BBCSSO and the acoustic of the City Halls conspired to give a memorable performance. The 3+1 BBCSSO horns gave of their best in a symphony that glorifies the instrument (3 in the score, 1 to boost the sound in the tutti). The clarity of detail, in instrumental timbre, chording and line was also truly impressive. If Ryan’s remark “the greatest symphony” could be taken as a pledge to convince us of the fact through performance, I would say the pledge was honoured. From the heroic struggles and triumphs of the first movement, through the grief and hope of the funeral march and the good-natured rustic revelry of the scherzo to the celebration of humanity and diversity in the theme and variations of the finale, we were guided to the fullest appreciation of Beethoven’s genius and the joy of being alive. Pretty special. And unforgettable.
A confession: much of the above paragraph was adapted from my review of the Lammermuir concert in 2023, the start of Laura Samuel’s illness and absence. It fits the Glasgow performance perfectly. As we mourn Laura’s passing, although not stated explicitly, I consider the performance to be dedicated to her memory. As too, and with all my heart, is this review.