Dvořák ‘New World’ Symphony
Usher Hall 14/5/26
Scottish Chamber Orchestra, Maxim Emelyanychev conductor
Steven Osborne piano, Aaron Azunda Akugbo trumpet
Tonight's Scottish Chamber Orchestra concert is the last of the season, and is dedicated to the memory of long-time SCO viola player, Brian Schiele (1959-2026). The programme contains appreciations from his former colleagues, and I would encourage you to read these tributes to Brian celebrating his love for music and for his fellow human beings. He will be missed by audiences too.
The concert contains two contrasting ninth symphonies, Shostakovich's, composed after the end of the war in 1945, and Dvořák's, written in 1893 during his stay in America. The SCO's online essay 'The Curse of the Ninth' and, as ever, David Kettle's programme notes are invaluable references. Shostakovich's five movement work for chamber orchestra - at under thirty minutes his shortest
symphony - defied everyone's expectations (or as principal viola, Max Mandel says in his introduction. “for 'everyone' read 'Stalin'”). Its often light-hearted tone found disfavour with US critics, one of whom remarked on its 'childishness'. Conductor Mark Wigglesworth in notes on his recording pointed out that 'Animal Farm' was written in the same year.
Maxim Emelyanychev conducts 53 musicians in total, an impressive sight and sound, six brass and four horns flanking the four basses ranged in the front of the choir stalls. The power is there for dramatic outbursts, but overall there's a springy feel to the quick-fire opening movement, with rapid strings leading to a trombone intervention, contrasted with a shrill piccolo, a first subject which is repeated in the manner of a classical symphony. There's no slackening of the pace in the development for all sections of the orchestra, with a solo on high strings for the leader (nicely played by guest leader, Simi Simonen). Maximiliano Martin's clarinet solo begins the restrained second movement, marked moderato, but any sense of unease is dispelled by the furiously fast third movement with dashing contributions from the brass. The fourth movement largo features the longest bassoon solo in the instrument's repertoire, a technical tour de force for Cerys Ambrose-Evans - who takes the first individual bow in the applause. Accompanied initially by flutes in a rhythmic theme which is passed around the orchestra, and concluding with a solemn brass fanfare, this is the reflective heart of the symphony. Then the bassoon provides the link to the allegretto finale, a return to the lightness and vigour of the opening, with the snare-drum providing a brief reminder of the 'Leningrad' Symphony. It's a fascinating work, given a committed performance by the orchestra.
Shostakovich composed Piano Concerto No 1 in 1933, before his troubles with the Soviet authorities began. Written for string orchestra, piano and trumpet, it was a popular work from the beginning. I last heard Steven Osborne perform it as part of the tented 2021 EIF, one of the rare brilliant performances that summer which overcame the cold and dodgy acoustics. Nigerian-Scottish Aaron Azunda Akugbo is the trumpeter, and the strings reassemble themselves with the basses tucked in at the left. After an allegretto opening for strings and piano, conductor and pianist work on a blisteringly fast account of the allegro, the sometimes percussive piano matched by the trumpet and the rattling of bows on wood. The return to the initial tempo lead to a quiet conclusion for piano and trumpet. First violins, in a high lyrical legato theme, begin the slow second movement. Piano trills and careful chords eventually develop into a lush, more dramatic section accompanied by the strings. The muted trumpet picks up the theme, and the piano joins in to take the piece to its end. The allegro con brio finale allows the soloist full rein to his virtuosity, Akugbo's trumpet proving a worthy counterpart in the jazzier moments as well as in those which pelt along. The breathtaking piano cadenza which concludes the concerto is brilliantly matched by the trumpet in a top-speed fanfare. Both soloists, the orchestra and conductor are greeted with cheers, which don't stop until Osborne and Akugbo return for an encore, this time the pianist accompanying the trumpeter in a slow jazz classic, its title elusive to me and others around.
The 'New World ' is an exceptionally well-known symphony which has retained its ability over a century and a quarter to entertain, inspire and move audiences. Maxim Emelyanychev likes nothing better than to take such a work and put his and the orchestra's unmistakeable stamp on it. Dvořák wrote it to celebrate his stay in America, and it formed part of a movement to establish a distinctively American style of music. The composer became interested in American folk music including African American spirituals, and although he claimed he had not borrowed any material directly, parts of the first movement and the theme from second (made famous on the Hovis ad) sound very like spirituals. The folk music which had inspired him in his homeland in the mix too.
What we have in this work of melodic invention is the sense of discovery that Dvořák, other immigrants and more settled Americans shared. The symphony is completely suited to Maxim Emelyanychev's style of conducting, and the all-round excellence of the orchestra. He drives the first movement onwards on a journey of optimism, overcoming the struggle heard in the heavy brass. The last section, started in the flutes, is passed to violins and other woodwinds before being picked up by the brass, an exhilarating progress. The conductor makes space for the cor anglais theme -an outstanding solo from Katherine Bryer - which with its variations dominates the slow second movement. This belongs largely to the woodwinds and strings, Emelyanychev ensuring that the individual layers are heard. The diminuendo near the end drops almost to silence before the muted horns and other brass add to the warmth of the closing section. Timpani and brass dominate the rapid rhythms of the scherzo-like opening to the fourth movement, a theme which returns later, alternating with more cheerful, melodies in strings and woodwinds, to which the triangle adds an extra sparkle. The mighty finale allegro con fuoco begins with a new heroic march by trumpets and trombones. Themes from earlier movements reappear, some apparently in competition, others shared around the orchestra. The 'coming home' theme makes a last solo appearance before conductor and orchestra enjoy the exuberant conclusion.
A tremendous end to this remarkable concert, the last of the season. Look out for SCO concerts in many parts of Scotland in their summer season, and their fourth EIF Mozart opera, 'Don Giovanni' in August
