The Scottish Chamber Orchestra rarely puts a foot wrong – or a note out of place – and, under the baton of Principal Conductor Maxim Emelyanychev, there was never any doubt that this was going to be a magnificent performance.
After a slightly faltering introduction, Emelyanychev sprang onto the stage, swept back his hair, smoothed down his billowing shirt, and the orchestra responded. So did the audience – a pretty packed Usher Hall crowd, where regular and knowledgeable concert-goers abound.
The ‘last three Symphonies’ are a treat – a more ‘Mozarty’ Mozart combination would be hard to imagine. Even if you’re not an aficionado, you’d recognise several of the movements.
A ‘Mozarty’ Treat
Mozart buffs will know that there is some speculation about the wonderful burst of creativity from Mozart that culminated in these three Symphonies in short order. Did he mean them to be one huge mega-symphony? We’ll never know, I don’t suppose, but it can’t be denied that hearing them one after the other in the skilful hands of the SCO and Emelyanychev is a real treat and one that I can only imagine Mozart himself would have loved.
There is no evidence these symphonies were performed in public during his lifetime: he died three years after they were composed.
“…under the baton of Principal Conductor Maxim Emelyanychev, there was never any doubt that this was going to be a magnificent performance.”
The Symphonies each have their own character, but lead cleverly from one to the next, and there is so much interest and variation that each piece is sure to keep the audience entranced. Symphonies are, by definition, separate pieces of music (usually four) unified by the use of the same key and/or musical theme, and so the apparent repetition can help a newcomer to feel at home in the concert hall and feel that they ‘recognise’ the music they are listening to.
Three of the best
The SCO is a wonderful ensemble, and the musicians certainly appear to love what they do and relish the virtuoso turns of their fellow players. Symphony 39 precludes the oboes and champions the clarinets instead. My ear is not well-enough attuned to have realised that just by listening, though it was obvious from seeing which instruments and musicians were on stage, until the beautiful clarinet and flute duet in the third movement.
Symphony 40 starts as it means to go on, with wholly recognisable and ‘famous’ melodies. It is generally considered Mozart’s finest and is classed as one of the all-time ‘best’ symphonies ever written. It’s hard to argue with that; played with vigour yet often lightness of touch by the SCO, it’s an absolute crowd pleaser. I loved it.
Symphony 41 – Jupiter – is a rip-roaring finale to these three fine pieces and the audience was spell-bound. In this performance, 39 and 40 were played before the interval, leaving this masterpiece for the grand finale. It was mesmerising.
The woodwind section of the orchestra deserves special mention, as not only are there few of them compared with the strings, for example, but Mozart seems to have wished to give them centre stage a great deal of the time throughout. They were impeccable. Sub-Principal William Stafford and flautist Marta Gómez should deserve special mention, and I also loved the timpanist Louise Lewis Goodwin and her impeccable timing – she was fascinating to watch.
“Symphony 40… is generally considered Mozart’s finest and is classed as one of the all-time ‘best’ … It’s hard to argue with that; played with vigour yet often lightness of touch by the SCO, it’s an absolute crowd pleaser. I loved it.
But of course, a fabulous orchestra is more than the sum of its part and this orchestra can play! Boy, can it play! And it might be my imagination – or bias, as, full disclosure, I adore Mozart – but I feel they have a real soft spot for his music.
Emelyanychev – leading from the front
And this review would not be complete without more than just a mere mention of the fantastic conductor Maxim Emelyanychev. He is intimate and yet expansive in his style, conducting from the floor of the stage, not from a podium and really gets in amongst his orchestra. He’s been described as flamboyant, but I’d say enthusiastic is more fitting. He’s no show-off, but he makes his presence known.
I imagine his orchestra loves him – but I think the feeling is mutual and that they get the best out of each other due to that reciprocity. He’s beautiful to watch – almost balletic – and his passion for the work is wholly self-evident. His conducting is nuanced, and he conducts with his hands, not a baton, but actually, he uses his whole body. It’s a joy to behold.
The whole performance was faultless and entrancing, joyful and uplifting, which is what we could all do with on a cold January night. The audience members I talked to there – and at a different concert the following evening – couldn’t find enough words or facial expressions to describe how much they’d enjoyed this performance. I can’t wait for their Requiem in April (Usher Hall, Edinburgh; May in Glasgow City Halls)
Featured Image: Maxim Emelyanychev leads the Scottish Chamber Orchestra – Credit Christopher Bowen
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