SCO, 16/11/2012

Wagner : Siegfried Idyll
Mozart : Piano Concerto No. 17, K. 453 (Maria João Pires)
Beethoven : Symphony No. 6 "Pastoral"

Scottish Chamber Orchestra
Robin Ticciati



Wagner's a composer usually beyond the logistical reach of chamber orchestras, and the Siegfried Idyll, whether in its original 13-piece form, or in an amplified orchestration, is just about the only piece they can realistically tackle.  I have to say I usually prefer the original version; in fuller orchestral guise, I find the bigger string section tends to swamp the winds a little, which is a pity because there's some lovely writing there.  However, on top of that particular issue, this was a surprisingly and disappointingly cautious reading, lacking any real élan, which rather defeats the purpose of this most delicious of birthday gifts.  Also, on a purely technical level, there were a couple of portamento effects from the strings that really didn't come off at all, because they weren't properly synchronised, and that was distracting.

All questions of balance and imprecision, and of over-careful playing disappeared in the Mozart concerto, and the orchestra provided clear and generally confident support to the supremely elegant playing of Maria João Pires.  This was a really lovely performance, beautifully articulated and fluid, just the right weight behind the playing at all times, intensely musical and graceful.  The lines were distinct, the balance between left and right hands perfectly calculated, the tone singing, the whole a miracle of precision and intelligence made to appear quite effortless.  A moment of pure enchantment.

Ticciati's take on the Pastoral was singularly speedy.  While the upside of this was a bracing vigour, not at all disagreeable, there was a slight downside in a loss of serenity.  The second movement turned from what is usually a leisurely afternoon ramble on a fine summer day into a somewhat brisk walk because the sun was a few degrees cooler than originally anticipated!  On the other hand, the storm at first appeared rather too measured - cautious, like the opening Siegfried Idyll - but it served to set the right tempo for the final movement, where the compression of the earlier movements finally eased off and the music was allowed to breathe fully.  There was some very nice, pointed phrasing throughout the piece, a welcome attention to detail that often slips by when it's played by bigger symphony orchestras, and plenty of characterful playing from the winds and brass throughout, so although not perhaps my ideal version of the Pastoral, a fine conclusion to the evening.

[Next : 17th November]