SCO, 29/04/2022

Mozart : Symphony No. 32

Chopin : Piano Concerto No. 2 (Benjamin Grosvenor, piano)

Beethoven : Symphony NO. 6 "Pastoral"

Scottish Chamber Orchestra

Joana Carneiro

Mozart's so-called 32nd Symphony is a particularly apt start to a concert programme, because there is much speculation that this piece was never actually intended to be a symphony at all, but the overture to some theatrical piece, quite possibly by another composer.  It is very short, eight to nine minutes long, and continuous, though in three clear sections, with the third referring back to material from the first.  Joana Carneiro and the orchestra launched into it keenly and with a bright, brisk vigour, that they maintained (where appropriate) for most of the evening.  Although this is not the first time I've heard Carneiro live, it's the first time I've seen her, because the last time she was in the pit at the opera house for Scottish Opera's Nixon in China, which was the last show I saw before lockdown.  She's rather a balletic conductor, arms gesturing in circular motions, body leaning forward eagerly for emphasis, with one leg extending back almost in an arabesque, and the enthusiasm is almost palpable.

The orchestra takes a bit of a back-seat for the Chopin concerto, but the conductor certainly doesn't, as it is essential to coordinate with the soloist, especially when there's a good deal of rubato being exercised throughout, as was the case here.  Carneiro demonstrated excellent interaction with Benjamin Grosvenor so that the orchestra was always absolutely on time as required.  Grosvenor is another artist I've known of for a long time but not seen, and in his case, it really has been a long time, close on 20 years!  I spent the first ten of those telling my Continental friends and acquaintances (who would not necessarily be aware of the BBC Young Musician competition) that there was a major British pianistic talent in the pipeline, he just had to finish his education first.  I've spent the time since smugly saying "I told you so", it's been very satisfying.  His Chopin is actually quite muscular, assertive while remaining poetic, and not really inclined to languishing hyper-romanticism, but no less expressive for all that, and this was a clear-eyed, classy interpretation from start to finish.

That sense of forward momentum, of driving energy that Carneiro had shown in the two previous works carried through into the Beethoven, which was alert and energetic, and remained keen-eyed even in the more contemplative slow movement.  There was a pleasing transparency to the orchestral texture which gave a freshness of sound overall.  In conclusion, though, the last movement was, though appropriately refreshing, quite down-to-earth in its approach, Nature renewed and revivified by the cleansing storm, to be appreciated for its fresh colours.  This was a clear, conscious choice on Carneiro's part, and was completely logical in the light of the previous movements, but I have to admit I missed the more cosmic approach, the impression that Beethoven is reaching out to something greater than this world.  Still, it was a fine performance, unsentimental and eloquent, and drew fine playing from the orchestra, particularly its sterling wind section.

[Next : 30th April]