BBCSSO, 17/01/2019
Dvorák : Slavonic Dances Op. 46, Nos. 1, 2 & 7
MacMillan : Trombone Concerto (Jörgen van Rijen, trombone)
Tchaikovsky : Symphony No. 1 "Winter Daydreams"
BBC Scottish Symphony Orchestra
Martyn Brabbins
The orchestrated versions of Dvorák's Slavonic Dances have never been quite my cup of tea. Much as I like Dvorák, I find the orchestrations quite thick, and sometimes a little clumsy - what jumped out tonight was the enthusiastic use of bass drum and cymbals, which became, to be frank, somewhat tiresome. These were otherwise respectable performances of these dances, but it did seem like a slightly odd choice as an opener, unless the intent was to link Dvorák's nationalism with Tchaikovsky's, to come later on.
James MacMillan's Trombone Concerto was created in Amsterdam in 2017 by tonight's soloist, with his home orchestra, the Royal Concertgebouw. In MacMillan's, and van Rijen's hands, the trombone becomes a surprisingly lyrical instrument, often singing with as much intensity, and quality of tone, as any stringed instrument, and the contrast of colour, of brass to string in particular, is richly exploited. It's a work in a single movement that nevertheless roughly falls into the traditional three sections of the standard concerto, with the second and third 'movements' introduced by the wailing of a siren, somewhat reminiscent of Varèse's Amérique. I wasn't getting much from the first part, save in patches, but the second was a lovely, quiet meditation.
It's the last section that was the most striking, however, first from its initial stamping dance rhythm, then in a brief cadenza where the soloist literally turns around and 'converses' directly with the three trombones of the orchestra, and finally in the solemn, chorale-like coda which ends, startlingly, with a radiant diatonic chord. As contemporary composers go, MacMillan is one of the most approachable, without coming across as facile. He offers much to the listener, in forms that challenge while promising - and delivering - satisfaction, and this concerto is no exception.
The other thing that links Tchaikovsky to Dvorák, in this context, is that in both cases, their last three symphonies have completely occluded all the prior ones. There are plenty of recordings, many conductors want to do complete sets of the symphonies, but in concert, it's rare indeed to hear any of Tchaikovsky's first three symphonies. "Winter Daydreams" was Tchaikovsky's first major orchestral work, and the creative process was not an easy one for Tchaikovsky. It's an uneven piece; the first two movements are fascinating, the last two require really exceptional playing to keep the listener's interest, and you can tell it's a young man's symphony. However, Tchaikovsky's characteristic fingerprints are all over it, his voice is absolutely clear from the first bars.
Brabbins got things off to a vibrant start, with bright fanfares, and a boldly assertive manner in presenting the main themes. I was reminded of the Borodin symphonies (which were being written at around the same time, although Borodin was a very slow composer, and they weren't completed until much later) in the 'Russian-ness' of the subjects, something which Tchaikovsky more or less grew out of in later years. In the second movement, there was lovely playing from Principal Oboe Stella McCracken, presenting the soulful principal theme, and then from the five horns when it was their turn to present this material, a magnificent, gleaming, (near) perfect unison that was genuinely thrilling to hear.
The scherzo flitted by airily, which might seem quite suitable, but there was a lack of character here, even in the trio, which was the first of Tchaikovsky's numerous orchestral waltzes. The movement left little impression, and, regrettably, the last movement simply did not gel at all, and came across as lumbering and awkward. The slow introduction was tedious, then it picked up somewhat, only to flag again as it went along. Brabbins had a good tempo, brisk and effective, but the movement felt too fragmented, and some passages seemed to flounder in a kind of pointless academism, Tchaikovsky going through the exercise just to show that he could, more than because it was the right thing for the symphony at that point. A mixed result, therefore, rather than a really inspired performance, but enjoyable nonetheless.
[Next : 20th January]
MacMillan : Trombone Concerto (Jörgen van Rijen, trombone)
Tchaikovsky : Symphony No. 1 "Winter Daydreams"
BBC Scottish Symphony Orchestra
Martyn Brabbins
The orchestrated versions of Dvorák's Slavonic Dances have never been quite my cup of tea. Much as I like Dvorák, I find the orchestrations quite thick, and sometimes a little clumsy - what jumped out tonight was the enthusiastic use of bass drum and cymbals, which became, to be frank, somewhat tiresome. These were otherwise respectable performances of these dances, but it did seem like a slightly odd choice as an opener, unless the intent was to link Dvorák's nationalism with Tchaikovsky's, to come later on.
James MacMillan's Trombone Concerto was created in Amsterdam in 2017 by tonight's soloist, with his home orchestra, the Royal Concertgebouw. In MacMillan's, and van Rijen's hands, the trombone becomes a surprisingly lyrical instrument, often singing with as much intensity, and quality of tone, as any stringed instrument, and the contrast of colour, of brass to string in particular, is richly exploited. It's a work in a single movement that nevertheless roughly falls into the traditional three sections of the standard concerto, with the second and third 'movements' introduced by the wailing of a siren, somewhat reminiscent of Varèse's Amérique. I wasn't getting much from the first part, save in patches, but the second was a lovely, quiet meditation.
It's the last section that was the most striking, however, first from its initial stamping dance rhythm, then in a brief cadenza where the soloist literally turns around and 'converses' directly with the three trombones of the orchestra, and finally in the solemn, chorale-like coda which ends, startlingly, with a radiant diatonic chord. As contemporary composers go, MacMillan is one of the most approachable, without coming across as facile. He offers much to the listener, in forms that challenge while promising - and delivering - satisfaction, and this concerto is no exception.
The other thing that links Tchaikovsky to Dvorák, in this context, is that in both cases, their last three symphonies have completely occluded all the prior ones. There are plenty of recordings, many conductors want to do complete sets of the symphonies, but in concert, it's rare indeed to hear any of Tchaikovsky's first three symphonies. "Winter Daydreams" was Tchaikovsky's first major orchestral work, and the creative process was not an easy one for Tchaikovsky. It's an uneven piece; the first two movements are fascinating, the last two require really exceptional playing to keep the listener's interest, and you can tell it's a young man's symphony. However, Tchaikovsky's characteristic fingerprints are all over it, his voice is absolutely clear from the first bars.
Brabbins got things off to a vibrant start, with bright fanfares, and a boldly assertive manner in presenting the main themes. I was reminded of the Borodin symphonies (which were being written at around the same time, although Borodin was a very slow composer, and they weren't completed until much later) in the 'Russian-ness' of the subjects, something which Tchaikovsky more or less grew out of in later years. In the second movement, there was lovely playing from Principal Oboe Stella McCracken, presenting the soulful principal theme, and then from the five horns when it was their turn to present this material, a magnificent, gleaming, (near) perfect unison that was genuinely thrilling to hear.
The scherzo flitted by airily, which might seem quite suitable, but there was a lack of character here, even in the trio, which was the first of Tchaikovsky's numerous orchestral waltzes. The movement left little impression, and, regrettably, the last movement simply did not gel at all, and came across as lumbering and awkward. The slow introduction was tedious, then it picked up somewhat, only to flag again as it went along. Brabbins had a good tempo, brisk and effective, but the movement felt too fragmented, and some passages seemed to flounder in a kind of pointless academism, Tchaikovsky going through the exercise just to show that he could, more than because it was the right thing for the symphony at that point. A mixed result, therefore, rather than a really inspired performance, but enjoyable nonetheless.
[Next : 20th January]