Back to HOMEPAGE Scottish Chamber Orchestra, Queens Hall
Edinburgh 10th April 2008
MacRae: Birches
Hallgrimsson: Cello Concerto (Truis Mørk)
Strauss: Metamorphosen
(Conductor: John Storgards)
James Irvine
Editor: www.land-care.org.uk
Filed 12 Apr 08
©www.land-care.org.uk
This was an interesting concert for a number of reasons, though it was a concert that many might think twice about attending. Clearly some had such doubts, as reflected by the less than capacity house in this modest sized but charmingly intimate hall.
As commendable encouragement, the organisers had arranged a free pre-concert talk (compered by Svend Brown) by the composers of the two very recent pieces that were about to be performed.
Haflioi Hallgrimsson
Edinburgh-based Icelander Haflioi Hallgrimsson, born in 1941, introduced his second Cello Concerto (Op 30), describing how it came about through his friendship with internationally acclaimed cellist, Truis Mørk. He described his approach to writing the single movement piece, both emotionally and technically. He referred to the mood of the piece as a "somber musical impression", "a large scale lullaby, dreaming strange dreams, soothing my mind while fully awake". His manner of presentation was that of a man of considerable charm and intellect.
The work was co-commissioned by the Scottish Chamber Orchestra, Oslo Philharmonic and Iceland Symphony.
Hallgrimsson warned that the piece would be best heard in a bigger hall.
Stuart MacRae
Stuart MacRae, born 1976, is a Scot through and through. He was commissioned by the Scottish Chamber Orchestra to compose a piece that would be appropriate for the annual tour the orchestra does to the Scottish Highlands, but with a wide latitude as to how he might approach such a brief. He chose to use his fondness for the birch trees where he was brought up, and to contemplate on man's interaction with nature - "symbolising the separateness we often perceive between ourselves and nature," as he put it. But perhaps this is a somewhat urbanised view of nature. Speaking from my own experience in managing a farm in the uplands of Perthshire , I would rather have thought that working with nature, rather than being separate from it, would be nearer the mark. But, as he said, he did not really mind what emotion the listener experienced, just so long as the piece did induce an emotional response.
Hallgrimsson: Cello Concerto Op 30
The partnership between Hallgrimsson and his friend, the soloist Truis Mørk, worked beautifully.
The only reservation is perhaps in keeping with the composer's warning that it would be better heard in a bigger hall. There were parts where, instead of loudness contributing to the mood of the piece, it caused discomfort and distraction. No doubt in these days of limited rehearsal time, it is asking too much of an orchestra to adapt its playing to the size of the hall. The following evening the piece was to be played in a larger hall in Glasgow. So Edinburgh, it seemed, just had to have the loud version destined for Glasgow.
The cello playing of Truis Mørk was a delight: lovely tone, masterly technique and obvious commitment to the spirit of the piece. The subtlety of the composer's orchestration demanded attention.
This modern composition was warmly received. It is likely to be recognised as a major work in the cello repertoire.
MacRae: Birches
This short 10 minute composition posed some problems. Was it just gimmicky sound effects? Certainly, without the introductory talk and the programme notes to go with it, I would have been lost. The composer's intention of "creating a metaphorical journey" did little for me.
Impressionist music can indeed be gratifyingly impressive, but I doubt if this piece will come into that category. Other persons may think otherwise, but for myself as a lover of the country it was unconvincing.
Strauss: Metamorphosen
A study for 23 solo strings, written in 1945 by a composer with alleged Nazi affiliations lamenting the destruction of every major opera house and concert hall in Germany, was perhaps not the best bit of programming. On this occasion Metamorphosen, which did not metamorphose into anything, followed two pieces of "mood music". To have a third piece, with appalling associations to the tragedy of World War 2, was perhaps a bit much.
Richard Strauss is a master of orchestration. Yet, with this performance, possibly because it followed a concerto of such varied character, it sounded almost monotonous in its gloom. Was it wise to put it at the end of the programme?
What its performance did show, was how pleasant it is to listen to music that is not played too loudly: when the nuances of tone can be appreciated.
But Metamorphosen was in the wrong place. The result was that one left the concert hall feeling profoundly depressed, instead of being elated at hearing a superb performance of a very recent composition of substance, Hallgrimsson's second Cello Concerto.
©www.land-care.org.uk
| 
