At this concert, the Royal Scottish National Orchestra performed a lively programme of Grieg, Nielsen and Shostakovich at the Festival Theatre in Edinburgh. And although it was comparatively short, the RSNO rose to a top performance under the direction of conductor Kristjan Järvi.
Grieg's Lyric Suite got the RSNO off to a flying start. This performance of the four-movement work delicately balanced the expressive indulgences of Grieg's score with the vivacious writing in the final movement. Using the full range of colours, the work was beautifully poised, creating seamless gestures and a good strong string sound.
Only in the second movement, 'Norwegian March', did the muddy texture hamper the fullness of character which one might expect from Grieg's writing. But with Järvi urging the orchestra on, this suite (especially the famous final movement, 'Dance of the Trolls') was otherwise excellently played.
A standard part of the flute repertoire, but less well known to general concert audiences, Nielsen's Flute Concerto is an energetic work presenting the character of the solo flute in many different textural guises during its two movements. There was obvious rapport between the soloist and the orchestra who welcomed back their principal flautist Katherine Bryan to perform the solo flute part. Having joined the orchestra at just aged twenty-one in 2003, Bryan's performance here was that of a mature soloist, playing the Nielsen concerto with passion, flair and considerable agility.
With a reduced orchestra, this delightful piece was an intimate affair which blossomed under Bryan's beautifully clear tone. She looked and played radiantly allowing the two (very different) quasi-cadenzas in the first movement to show off her faultless technique. Beginning low and quiet in the flute register, the music weaved its way into complex runs and flutter tonguing in the cadenza proper, paving the way for the finale of the first movement.
Although the ensemble in the orchestra did not match the energy or skill given by the soloist, the piece was an exciting and graceful concerto proving Bryan's worth as an excellent soloist as well as a highly regarded orchestral player.
However, the highlight of the evening was Shostakovich's Sixth Symphony. The structure of the piece is unusual, opening with a slow and dark movement and followed by two livelier shorter movements. Järvi balanced the unusual structure of this symphony with sheer concentration, ensuring the long opening movement maintained the character of Shostakovich's dark emotional tone.
The central section in the first movement was nicely held together through its fragmented sections and featured some excellent woodwind nuances including a haunting cor anglais solo by Zoe Kitson. Intense attention to Shostakovich's sinister musical tone was most impressive, creating a moving and atmospheric performance.
Järvi's interpretation of the remaining two movements pivoted on displaying Shostakovich's dynamic and flamboyant gestures but with its implied serious grotesque tone. Bringing out the glaring and vulgar 'screams' of the movement, Järvi created a credible performance of first class standard: the boisterous final movement Presto was particularly stylistic with the stark themes performed at furious speed.
By Mary Robb