SCO, 13/12/2019
Beethoven : Symphony No. 2
Beethoven : Symphony No. 4
Beethoven : Symphony No. 5
Scottish Chamber Orchestra
Andrew Manze
With 2020 marking the 250th anniversary of Beethoven's birth, as might be imagined, the celebrations are gearing up early, because there's a great deal of ground to cover. Many orchestras are, at the very least, producing cycles of the complete symphonies, including two out of the three orchestras appearing regularly in Glasgow. Where the SCO tends to score points even before actually hearing them is that their approach can be more historically informed than the bigger symphony orchestras, and for this period of repertoire, they use natural horns and sometimes (definitely, in tonight's case) trumpets too. They are also using three different conductors, which, for those attending the full cycle, should keep things fresh.
Considering it was written at one of the darkest periods of his life, just when he was having to face facts about his deafness and was, indeed, contemplating suicide, Beethoven's Second Symphony is remarkably upbeat. The solemn introduction swiftly gave way to a fast-paced, lively delivery of the main Allegro con brio, with the switches back and forth from major to minor keys well highlighted for added drama. The second movement was smoothly paced, calm but not placid, while the Scherzo bounded along lightly. The Finale was taken at a near break-neck pace and concluded the symphony with a flourish.
The even-numbered symphonies (excluding the Pastoral, of course) are often considered the 'little' symphonies, light-weight pieces set between the titans for a breather, which is not really a very fair assessment. The Fourth in particular suffers from this. Superficially it resembles the Second, with a similar, overall smiling aspect, but its drama is more acutely drawn, there is more of a sense of a veiled power within it. Again, Manze's tempi were brisk, not overly so, but certainly not lingering much anywhere, and the slow movement, with its steady, measured pulse, was particularly effective. The Finale here too went at quite a clip - I think the bassoonist deserved hazard pay for tonight's playing!
I've heard Manze conduct the Fifth before, some years ago, but with a symphony orchestra rather than a chamber orchestra. Then, he gave it the full romantic treatment, here, there was more restraint, and more subtlety to it. Somewhat to my surprise (because I've heard them in full cry in the Eroica) the natural horns and trumpets were relatively discreet; when the last movement lights up in a blaze, you normally hear the brass going at it full tilt, making the boldest possible statement, but here their texture was not quite so prominent. It was the Scherzo that was especially interesting, ghostly and mysterious, and the transition into the last movement was beautifully handled. This was a thoughtful interpretation, not, perhaps, as visceral as some, but eloquent and persuasive.
[Next : 14th December]
Beethoven : Symphony No. 4
Beethoven : Symphony No. 5
Scottish Chamber Orchestra
Andrew Manze
With 2020 marking the 250th anniversary of Beethoven's birth, as might be imagined, the celebrations are gearing up early, because there's a great deal of ground to cover. Many orchestras are, at the very least, producing cycles of the complete symphonies, including two out of the three orchestras appearing regularly in Glasgow. Where the SCO tends to score points even before actually hearing them is that their approach can be more historically informed than the bigger symphony orchestras, and for this period of repertoire, they use natural horns and sometimes (definitely, in tonight's case) trumpets too. They are also using three different conductors, which, for those attending the full cycle, should keep things fresh.
Considering it was written at one of the darkest periods of his life, just when he was having to face facts about his deafness and was, indeed, contemplating suicide, Beethoven's Second Symphony is remarkably upbeat. The solemn introduction swiftly gave way to a fast-paced, lively delivery of the main Allegro con brio, with the switches back and forth from major to minor keys well highlighted for added drama. The second movement was smoothly paced, calm but not placid, while the Scherzo bounded along lightly. The Finale was taken at a near break-neck pace and concluded the symphony with a flourish.
The even-numbered symphonies (excluding the Pastoral, of course) are often considered the 'little' symphonies, light-weight pieces set between the titans for a breather, which is not really a very fair assessment. The Fourth in particular suffers from this. Superficially it resembles the Second, with a similar, overall smiling aspect, but its drama is more acutely drawn, there is more of a sense of a veiled power within it. Again, Manze's tempi were brisk, not overly so, but certainly not lingering much anywhere, and the slow movement, with its steady, measured pulse, was particularly effective. The Finale here too went at quite a clip - I think the bassoonist deserved hazard pay for tonight's playing!
I've heard Manze conduct the Fifth before, some years ago, but with a symphony orchestra rather than a chamber orchestra. Then, he gave it the full romantic treatment, here, there was more restraint, and more subtlety to it. Somewhat to my surprise (because I've heard them in full cry in the Eroica) the natural horns and trumpets were relatively discreet; when the last movement lights up in a blaze, you normally hear the brass going at it full tilt, making the boldest possible statement, but here their texture was not quite so prominent. It was the Scherzo that was especially interesting, ghostly and mysterious, and the transition into the last movement was beautifully handled. This was a thoughtful interpretation, not, perhaps, as visceral as some, but eloquent and persuasive.
[Next : 14th December]