United Kingdom Montgomery, Mozart, Beethoven: Nicola Benedetti (violinist), Scottish Chamber Orchestra / Benjamin Marquise Gilmore (director / violin). Metropolis Halls, Glasgow, 15.12.2023. (GT)
Jessie Montgomery – Strum
Mozart – Symphony No.34 in C main, KV 338
Beethoven – Violin Concerto in D main, Op.61
Following a practice of introducing new music within the Scottish Chamber Orchestra live shows throughout their fiftieth anniversary season – the programme began with a bit by a composer unknown beforehand to myself and I believe many of the viewers. Jessie Montgomery’s Strum was written for a string quintet in 2006 and was revised for a string orchestra in 2012. Montgomery is a New York-based violinist and works with the Sphinx Group, which promotes Afro-American music. Strum is concentrated on American folks music, and reasonably like Bartók, Montgomery makes use of the opening pizzicato theme to provide rhythmic impetus all through the whole piece. The driving rhythm takes us from a nostalgic temper to a festivity. The title of the piece comes from the strumming that was opened by Max Mandel on viola earlier than the theme was heard on the cello of Philip Higham – after which by the entire orchestra – a reasonably unhappy, mournful theme which hinted at Britten and a bit of Vaughan Williams. The beautiful passage from the violin of Benjamin Marquise Gilmore was on the coronary heart of this efficiency – the extent of enjoying was outstanding earlier than the thrilling climax. Montgomery has a robust individuality and character – and it will likely be fascinating to listen to extra from this younger American composer.
The virtuosity and cogency of the efficiency of the Scottish Chamber Orchestra reveal that they hardly want a conductor for his or her music-making, and, on this event, Benjamin Marquise Gilmore was the chief for the sometimes heard Mozart Symphony No.34. From the primary desk, Marquise Gilmour launched the primary phrases with a dashingly majestic and nearly festive Allegro vivace heralding a bit of swish eloquence evinced with virtuosity by the oboes and bassoons. There was a considerably subdued and reflective temper remodeled by a magical passage of vibrant invention by means of beautiful enjoying from Marquise Gilmore – reminding one in all Mozart’s good operatic overtures.
The gradual motion (Andante di molto) for strings was swish and intimate, with the violins making a passage of achingly expressive magnificence, heralding the Finale: Allegro vivace which exploded with the upbeat, full of life oboes and a playful concept imbuing a vibrancy which developed a bursting excessive power and gaiety earlier than closing in excessive spirits.
It was the Beethoven Violin Concerto which took up the second half of the night, and Scotland’s widespread Nicola Benedetti took centre stage attired in a protracted black costume, gave a slight nod, and with 4 light faucets on the timpani by Louise Lewis Goodwin, there opened the primary motion (Allegro ma non troppo) sparking off enjoying from the violins and the woodwind group enhanced by the colourful brass. Benedetti moved gracefully with the opening passage of the Beethoven concerto, listening rigorously to the marvellous concord evincing humanity and majesty – most explicitly within the secondary hymn-like theme – but with out disguising the ethereal temper. There was some terrific virtuosity from Benedetti – and right here she revealed better depth and involvement with the work than I’ve heard earlier than – admirably assisted by Marquis Gilmore. We heard the improvisation of a cadenza (from Christian Tetzlaff’s association) wherein the violin is accompanied by the timpani in a magical passage creating an intriguing various to the extra celebrated cadenza.
The Larghetto was launched by the strings, and the theme was picked up by the horns and the clarinets, immaculately ornamented by Benedetti, but then there was a passage considerably missing depth within the orchestra. However the soloist quickly returned for a few of her most interesting enjoying and led the orchestra into the joyous finale (Rondo-Allegro). The ‘looking horn’ theme opened with the wonderful solo passage from the horn of George Strivens and was enhanced by beautiful vibrant enjoying from the oboes of Robin Williams and Katherine Bryer supporting Benedetti’s exhibition of virtuosity and marvellous playful runs earlier than tearing away to a triumphant fruits.
This live performance supplied a wonderful near the primary half of the Scottish Chamber Orchestra’s fiftieth anniversary season, and a splendid ship off earlier than the Christmas festivities.
Gregor Tassie
