SCO, 11/10/2019
Mozart : Symphony No. 1
Mozart : Adagio and Fugue in C minor, K. 546
Mozart : Masonic Funeral Music
Mozart : Requiem
Susanna Hurrell, soprano
Hanna Hipp, mezzo-soprano
Markus Brutscher, tenor
Markus Suihkonen, bass
SCO Chorus
Scottish Chamber Orchestra
Klaus Mäkelä
The first half of this all-Mozart programme saw the three programmed works played without a break, the bubbly symphony flowing directly, and startlingly, into the darkly tormented world of the Adagio and Fugue, whose key then provided an easy link into the similarly mournful, though more serene Masonic Funeral Music.
I can't be the only person to have noticed the unfortunate resemblance between the first theme of Mozart's 1st Symphony and the nonsense song "Ging Gang Goolie", but I daresay that's entirely the fault of the anonymous (presumed) Scandinavian author of the song, consciously or unconsciously plagiarising the 8 year-old Mozart. For that was his age when he wrote this three-movement work, and there were many full-grown composers of the period who would no doubt have been happy to have penned something as fresh and accomplished. What stood out in the orchestra's reading tonight was the distribution of material of interest. The bass lines, even in the hands of great composers, can sometimes be almost relegated to accompanying figures, providing harmonic support, but Mozart keeps cellos and double-basses both busy and significant. Their gentle stalking figures are a lightly atmospheric breeze beneath the veil of the sustained chords from the other instruments in the slow movement, for example. Very strong playing from these sections made this particularly evident in tonight's performance.
It was not constrained to the symphony, however, for they gave unusual weight to the rhythmically stilted sections of the Adagio, though interrupted by smoother, less formal passages. This is a work I know best in string quartet form, I've rarely heard it in full string orchestra version, and in this version the sharply accented outbursts really sound as if Mozart was going to launch into a full-scale French Overture.
The Masonic Funeral Music got off to a shaky start, with uncertain notes from the winds and horns, and although that passed quickly, I was never too happy with the balance here, despite some fine playing from the winds. However, again, the work was very bass-heavy (a splendidly growly contrabassoon!) and the violins not quite full enough to tint the piece with light. This is Mozart that's not heard all that often, and it's a particularly beautiful work that did not quite get the outing it deserves.
The same, regrettably, was true of the Requiem. It's difficult to define why, because the components - chorus, orchestra and soloists - were all good, but the whole was not greater than the sum of its parts, which it should be. It's been eight years since I heard this orchestra and chorus perform the Mozart Requiem, but this was not a patch on that performance. To begin with, someone (Mäkelä?) had chosen an odd arrangement with the chorus, which was not sitting up in the choir stalls, but behind the orchestra, with the soloists front and centre, rather than level with the conductor. Furthermore, instead of being arranged in their vocal blocks (often, in concert, BATS going clockwise from the north), they were all mixed up, like an operatic chorus in a crowd scene. It is, perhaps, a good way of making sure the chorus members listen to each other, but the effect is to attenuate the focus. I won't call it weaker, the sound was still there, but it was softer, less clean-cut, and it lacked a little attack. There were some very detailed dynamics being marked, strong swells on "Dies irae" for example, which were interesting, but sometimes more distracting than anything else.
Again, the orchestra sounded bass-rich, with fine wind-playing, and a really beautiful trombone solo from Helen Vollam in the "Tuba mirum", and on the whole, this was the most interesting part of the performance for me. The soprano soloist tonight should have been Simone Kermes, who is a singer who seems to excite some controversy - I've heard her described as a "Marmite" singer, in that you love her or hate her. I've certainly heard some recordings or broadcasts which have been frankly peculiar, and others which I've thought admirable, so I was quite keen to experience her live. Unfortunately, she was indisposed, and replaced by the sweet-toned Susanna Hurrell. Hanna Hipp is no stranger to Glasgow, she's appeared with Scottish Opera on several occasions, and her warm mezzo is always a pleasure to hear. Markus Brutscher was the veteran of the soloists, a strong, piercing voice that I wouldn't call particularly attractive, but very assured, while Markus Suihkonen did justice to the "Tuba mirum". All that said, I did not find the quartet particularly well-assorted as an ensemble.
In all, this was a performance of the Requiem that did not lack appeal, but never quite conjured the spiritual element of the piece. Mäkelä seems an intriguing, very meticulous conductor who I would like to see again, but in the hopes that he can conjure a greater emotional response from the music he would be playing.
[Next : 12th October]
Mozart : Adagio and Fugue in C minor, K. 546
Mozart : Masonic Funeral Music
Mozart : Requiem
Susanna Hurrell, soprano
Hanna Hipp, mezzo-soprano
Markus Brutscher, tenor
Markus Suihkonen, bass
SCO Chorus
Scottish Chamber Orchestra
Klaus Mäkelä
The first half of this all-Mozart programme saw the three programmed works played without a break, the bubbly symphony flowing directly, and startlingly, into the darkly tormented world of the Adagio and Fugue, whose key then provided an easy link into the similarly mournful, though more serene Masonic Funeral Music.
I can't be the only person to have noticed the unfortunate resemblance between the first theme of Mozart's 1st Symphony and the nonsense song "Ging Gang Goolie", but I daresay that's entirely the fault of the anonymous (presumed) Scandinavian author of the song, consciously or unconsciously plagiarising the 8 year-old Mozart. For that was his age when he wrote this three-movement work, and there were many full-grown composers of the period who would no doubt have been happy to have penned something as fresh and accomplished. What stood out in the orchestra's reading tonight was the distribution of material of interest. The bass lines, even in the hands of great composers, can sometimes be almost relegated to accompanying figures, providing harmonic support, but Mozart keeps cellos and double-basses both busy and significant. Their gentle stalking figures are a lightly atmospheric breeze beneath the veil of the sustained chords from the other instruments in the slow movement, for example. Very strong playing from these sections made this particularly evident in tonight's performance.
It was not constrained to the symphony, however, for they gave unusual weight to the rhythmically stilted sections of the Adagio, though interrupted by smoother, less formal passages. This is a work I know best in string quartet form, I've rarely heard it in full string orchestra version, and in this version the sharply accented outbursts really sound as if Mozart was going to launch into a full-scale French Overture.
The Masonic Funeral Music got off to a shaky start, with uncertain notes from the winds and horns, and although that passed quickly, I was never too happy with the balance here, despite some fine playing from the winds. However, again, the work was very bass-heavy (a splendidly growly contrabassoon!) and the violins not quite full enough to tint the piece with light. This is Mozart that's not heard all that often, and it's a particularly beautiful work that did not quite get the outing it deserves.
The same, regrettably, was true of the Requiem. It's difficult to define why, because the components - chorus, orchestra and soloists - were all good, but the whole was not greater than the sum of its parts, which it should be. It's been eight years since I heard this orchestra and chorus perform the Mozart Requiem, but this was not a patch on that performance. To begin with, someone (Mäkelä?) had chosen an odd arrangement with the chorus, which was not sitting up in the choir stalls, but behind the orchestra, with the soloists front and centre, rather than level with the conductor. Furthermore, instead of being arranged in their vocal blocks (often, in concert, BATS going clockwise from the north), they were all mixed up, like an operatic chorus in a crowd scene. It is, perhaps, a good way of making sure the chorus members listen to each other, but the effect is to attenuate the focus. I won't call it weaker, the sound was still there, but it was softer, less clean-cut, and it lacked a little attack. There were some very detailed dynamics being marked, strong swells on "Dies irae" for example, which were interesting, but sometimes more distracting than anything else.
Again, the orchestra sounded bass-rich, with fine wind-playing, and a really beautiful trombone solo from Helen Vollam in the "Tuba mirum", and on the whole, this was the most interesting part of the performance for me. The soprano soloist tonight should have been Simone Kermes, who is a singer who seems to excite some controversy - I've heard her described as a "Marmite" singer, in that you love her or hate her. I've certainly heard some recordings or broadcasts which have been frankly peculiar, and others which I've thought admirable, so I was quite keen to experience her live. Unfortunately, she was indisposed, and replaced by the sweet-toned Susanna Hurrell. Hanna Hipp is no stranger to Glasgow, she's appeared with Scottish Opera on several occasions, and her warm mezzo is always a pleasure to hear. Markus Brutscher was the veteran of the soloists, a strong, piercing voice that I wouldn't call particularly attractive, but very assured, while Markus Suihkonen did justice to the "Tuba mirum". All that said, I did not find the quartet particularly well-assorted as an ensemble.
In all, this was a performance of the Requiem that did not lack appeal, but never quite conjured the spiritual element of the piece. Mäkelä seems an intriguing, very meticulous conductor who I would like to see again, but in the hopes that he can conjure a greater emotional response from the music he would be playing.
[Next : 12th October]