“Edinburgh’s loss is Berlin’s gain”
I started checking the website the previous evening. And every couple of hours on the day. Would the great man show up? He has been plagued by back problems, and has publicly announced he is “doing less, to give himself more space”. Tell that to Valery Gergiev. A number of recent concerts have been missed.
Well he did, and well he had to, didn’t he? For this was the official farewell concert of Robin Ticciati as Principal Conductor of the SCO having taken up the position of Music Director of the Deutches Symphionie-Orchester Berlin. Pleasing that as Rattle leaves the BPO another Brit takes over at the DSO. Lucky Berlin to have such talented Brits.
As expected, there was a full house. Everybody knew they were in for something special. Robin and the band did not disappoint. Whilst mainstream repertoire was chosen, it was played with insight, intuition and zest. This was not a case of bashing out a few lollipops to keep the punters happy.
That having been said, the choice of Bach’s Orchestral Suite No 4 in D did not in my opinion sit well with the post romantic nature of the rest of the programme. It was played enthusiastically and fluently, notwithstanding the somewhat stilted, staccato-esque scoring. The standing violins and violas reminded me of Christopher Warren-Green’s London Chamber Orchestra and like them played from memory. This gave an effective theatrical turn to the interplay between solo first violin and viola, creating an atmosphere of baroque’n’roll.
Unusually scored for strings, harp and piano the Copland Clarinet Concerto is a hybrid work in the classical/jazz idiom akin to some of the music of Leonard Bernstein. In two movements and but 18 minutes long, it is a work of depth, intensity and contrasts. The first movement “Slowly and expressively” was exquisitely played by Maximiliano Martin and is a real tearjerker akin to Samuel Barber’s Adagio for Strings. Seldom has the harp and viola introduction been played so sensitively intoned, followed by the lyricism and restraint of the soloist. Following a demanding and striking cadenza the second movement, “Rather fast – trifle faster” was virtually jazz (it was written for Benny Goodman) and was delivered with aplomb by Martin, light on his feet as if he were the Pied Piper. With much applause Martin stood next to the game pianist and granted us an encore.
Following the interval it was time for the party piece, Dvorak’s Symphony No 9 ‘From the New World’. These accursed titles do one no good in trying to get in touch with the music. Like the Moonlight Sonata they are publishers’ whims to help with their marketing. The work is a wonderful example of post-romantic symphonic form (1893), well constructed in four movements, tuneful and melodic throughout. And while there may be influences of Native American music and American Folk Song, it is on record that Dvorak thought that there was nothing much to distinguish between Native American, African –American or even Scottish music. We take the music on its merits, which are considerable.
The piece is so well known it is difficult to avoid cliché, but the orchestra played with such convincing phrasing and freshness that there was nothing hammy or schmaltzy at all, it was almost as if listening with fresh ears, albeit to a superbly classic interpretation. A wonderful note for Robin Ticciati to go out on, save for the lyrical “Song without Words” encore.
Robin Ticciati will be back conducting the SCO in the Brahms symphonic cycle for the Edinburgh Festival. In the meantime, Edinburgh’s loss is Berlin’s gain.
Reviewer: Charles Stokes (Seen 22 March)
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