The Scottish Chamber Orchestra were on top form as they performed an all-modern programme of Gruber, Beamish, Wilson and Stravinsky. Two of these works took their inspiration from Bach's Brandenburg Concertos: Stravinsky's 'Dumbarton Oaks' (written for Mr and Mrs Robert Woods Bliss of Dumbarton Oaks for their thirtieth wedding anniversary) and Sally Beamish's Chamber Concerto for Saxophone Quartet and Strings.
Partly commissioned by the Scottish Chamber Orchestra, Beamish's Chamber Concerto received by far the most exciting and musically interesting performance of the evening. The piece comprises of three movements which engaged the Raschèr Saxophone Quartet (pictured) as both soloists and a crucial part of the larger ensemble. Shaped by the structure of the Fourth Brandenburg Concerto, the first movement was structurally dense with interesting articulation including col legno, pedal bass and glissandi. Conductor, Garry Walker's commitment to strict ensemble created an intense performance which illuminated the depth of Beamish's writing.
But it was the second movement, Adagio, which exposed the sonorous sound of the Raschèr Quartet. From its canonical beginning, this movement was marked by soprano saxophonist Christine Rall's haunting tone. Her wide vibrato and clear harmonics in the highest registers beautifully captured the Gaelic character of the movement, enveloped by scotch snaps and solo string lines.
Opening the concert was an energetic performance of Stravinsky's Concerto for Orchestra in E flat, 'Dumbarton Oaks'. The SCO's playing was strong and vibrant and made the most of the composer's individualistic orchestration. Out of the three short movements, the most charismatic was the final movement con moto, during which Walker brought out Stravinsky's rhythmic string writing whilst also championing a beautiful wind melody on top.
Contrasted with these pieces was Heinz Karl Gruber's 1968 Manhattan Broadcasts. Embracing the multi-faceted music of New York, this piece attempted to fuse two very different mediums: serious classical music and serious jazz. Although excellently and energetically performed, the performance was hampered by Gruber's conservative jazz orchestral writing. Short drum kit fills, double bass (plus bass guitar) soli and a pseudo-jazz trumpet melody in the second movement exposed a lack of authenticity for the jazz medium. That said, the SCO's performance was charming and delightfully performed.
The final work of the evening was Symphony No. 5 by Thomas Wilson. Commissioned and premiered by the Scottish Chamber Orchestra in 1998, it is a work of one movement constructed in three distinct parts. Beginning slowly with a solo timpani, the tonality of the first part became ominously determined by the glissandi of the timpani pedal which was excellently controlled. Fragmentary melodies (often in unison) showed off the SCO's impeccable intonation, especially when confronting the harsh intervallic clashes.
But it was the second part which really impressed. In stark contrast to the earlier first 'movement', the SCO coped under the quickening pace which soon gave way to a frenzied tempo as the piece climaxed in a wallowing mesh of sound. The melodic clarity that followed in the heavy bass and light expressive flute writing displayed the SCO's fast adaption to the changing ambiance of the piece. Walker captured the ending beautifully: after the recapitulative measures of the timpani pedal the piece drifted away as the sound finally turned into silence.
By Mary Robb
Read recent concert reviews, including the Scottish Chamber Orchestra and the Royal Scottish National Orchestra, here.