RSNO, 02/12/2017
Fauré : Pavane
Dvorák : Violin Concerto
Brahms : Ein deutsches Requiem
Augustin Hadelich, violin
Sarah-Jane Brandon, soprano,
Roderick Williams, baritone
RSNO Chorus
Royal Scottish National Orchestra
Peter Oundjian
It would have been more interesting to hear the choral version of Fauré's Pavane, but I imagine the chorus had quite enough on its plate tonight with the German Requiem. Otherwise, this came across as a pleasant, but slightly soporific make-weight.
Augustin Hadelich, however, dispelled any drowsiness with his forceful entry at the start of the Dvorák Violin Concerto. The Cello Concerto is such a magnificent work, it has very much occluded the two other pieces Dvorák wrote of this type (omitting the first, early cello concerto, which he never orchestrated), yet both have undeniable charms, particularly the Violin Concerto. Hadelich was a persuasive interpreter, particularly in the slow movement, while Oundjian and the orchestra romped into the Finale with vigour and endearing enthusiasm.
The first half of the German Requiem was disappointing; I found both chorus and orchestra muted, particularly in the great funeral march of the second movement, where the octave calls in the brass were barely noticeable, and the 'gear change' into the last section ("Die Erlöseten des Herrn") was decidedly rough. Roderick Williams's first intervention raised the bar noticeably, his bronzed timbre and forthright delivery admirably suited to the music, while Sarah-Jane Brandon delivered her consoling solo with touching simplicity and clarity.
From that point until the end, I was listening to an entirely different performance, with a much stronger delivery from the chorus, well-defined dynamics and greater engagement with the text, and details in the orchestra that had been muffled previously. If Williams had been good before, with this quality of support, his second solo was outstanding, and the final movement was as spiritual and as uplifting as could be desired.
[Next : 3rd December]
Dvorák : Violin Concerto
Brahms : Ein deutsches Requiem
Augustin Hadelich, violin
Sarah-Jane Brandon, soprano,
Roderick Williams, baritone
RSNO Chorus
Royal Scottish National Orchestra
Peter Oundjian
It would have been more interesting to hear the choral version of Fauré's Pavane, but I imagine the chorus had quite enough on its plate tonight with the German Requiem. Otherwise, this came across as a pleasant, but slightly soporific make-weight.
Augustin Hadelich, however, dispelled any drowsiness with his forceful entry at the start of the Dvorák Violin Concerto. The Cello Concerto is such a magnificent work, it has very much occluded the two other pieces Dvorák wrote of this type (omitting the first, early cello concerto, which he never orchestrated), yet both have undeniable charms, particularly the Violin Concerto. Hadelich was a persuasive interpreter, particularly in the slow movement, while Oundjian and the orchestra romped into the Finale with vigour and endearing enthusiasm.
The first half of the German Requiem was disappointing; I found both chorus and orchestra muted, particularly in the great funeral march of the second movement, where the octave calls in the brass were barely noticeable, and the 'gear change' into the last section ("Die Erlöseten des Herrn") was decidedly rough. Roderick Williams's first intervention raised the bar noticeably, his bronzed timbre and forthright delivery admirably suited to the music, while Sarah-Jane Brandon delivered her consoling solo with touching simplicity and clarity.
From that point until the end, I was listening to an entirely different performance, with a much stronger delivery from the chorus, well-defined dynamics and greater engagement with the text, and details in the orchestra that had been muffled previously. If Williams had been good before, with this quality of support, his second solo was outstanding, and the final movement was as spiritual and as uplifting as could be desired.
[Next : 3rd December]