SCO, 02/11/2018
C.P.E. Bach : Symphony No. 2
Mozart : Symphony No. 29, K. 201
Mozart : Piano Concerto No. 24, K. 491
Mozart : Rondo in A major, K. 386
Scottish Chamber Orchestra
Kristian Bezuidenhout, conductor / harpsichord / piano
C.P.E. Bach often seems to bring a degree of piquancy to a concert programme. A bridging figure between the Baroque and the Classical, there's a vitality to his idiom, and an originality to his writing that speaks of an awareness of his position, that he is pushing boundaries and opening up new avenues. It's the first movement of this 2nd Symphony that's really arresting. Bach creates almost violent contrasts, full ensemble against small ensembles, but not at all in the manner of the concerto grosso, which it might, on paper, resemble. The small ensembles here are usually one or two wind soloists with a couple of supporting string players, but they change each time, here a flute and two violins, there an oboe and bassoon, with two or three lower string instruments, and the contrasts in texture between these and the full orchestra are really striking. The SCO's wind section is particularly prized, and demonstrated exactly why with the colour and expressivity of their playing in this piece.
I wish I could have remained as enthusiastic about the rest of the evening, but as we progressed through the symphony, then the concerto, and finally a delightful rondo for piano and orchestra, I grew increasingly unhappy with the interpretation. The playing was lovely. Tonight the SCO's strings had chosen to play with gut strings, which gave them a particularly sweet, rounded sound, and softened the attack at the start of phrases, while the winds, as mentioned, were excellent from start to finish. Kristian Bezuidenhout himself, playing on a modern piano for the second half, has a delicate touch and clear articulation. However, I can only call his Mozart languid. It was all very pretty, very nicely delivered, but too precious and perfumed. Meissen porcelain in music. I can appreciate it in small quantities, but a roomful of the stuff becomes unpalatable. I don't have the appetite for Mozartkugel anymore, and that's what tonight's concert mostly turned out to be.
[Next : 3rd November 2018]
Mozart : Symphony No. 29, K. 201
Mozart : Piano Concerto No. 24, K. 491
Mozart : Rondo in A major, K. 386
Scottish Chamber Orchestra
Kristian Bezuidenhout, conductor / harpsichord / piano
C.P.E. Bach often seems to bring a degree of piquancy to a concert programme. A bridging figure between the Baroque and the Classical, there's a vitality to his idiom, and an originality to his writing that speaks of an awareness of his position, that he is pushing boundaries and opening up new avenues. It's the first movement of this 2nd Symphony that's really arresting. Bach creates almost violent contrasts, full ensemble against small ensembles, but not at all in the manner of the concerto grosso, which it might, on paper, resemble. The small ensembles here are usually one or two wind soloists with a couple of supporting string players, but they change each time, here a flute and two violins, there an oboe and bassoon, with two or three lower string instruments, and the contrasts in texture between these and the full orchestra are really striking. The SCO's wind section is particularly prized, and demonstrated exactly why with the colour and expressivity of their playing in this piece.
I wish I could have remained as enthusiastic about the rest of the evening, but as we progressed through the symphony, then the concerto, and finally a delightful rondo for piano and orchestra, I grew increasingly unhappy with the interpretation. The playing was lovely. Tonight the SCO's strings had chosen to play with gut strings, which gave them a particularly sweet, rounded sound, and softened the attack at the start of phrases, while the winds, as mentioned, were excellent from start to finish. Kristian Bezuidenhout himself, playing on a modern piano for the second half, has a delicate touch and clear articulation. However, I can only call his Mozart languid. It was all very pretty, very nicely delivered, but too precious and perfumed. Meissen porcelain in music. I can appreciate it in small quantities, but a roomful of the stuff becomes unpalatable. I don't have the appetite for Mozartkugel anymore, and that's what tonight's concert mostly turned out to be.
[Next : 3rd November 2018]