Bohemian Rhapsodies
Queen’s Hall 16/4/2026
Scottish Chamber Orchestra, Jonian Ilias Kadesha director/violin
The Scottish Chamber Orchestra always seem to enjoy playing with different musical directors, and today’s concert of Czech music directed from the violin by Albanian/Greek virtuoso, Jonian Ilias Kadesha is no exception. Works from Dvořák and Martinů make up most of the programme, and we begin with the 1935 ‘Suite en Miniature’ by the little-known Vitezslava Kaprálová. Born in Moravia, she studied in Prague and Paris, where she and her teacher Bohuslav Martinů fell in love. The short suite, her Opus 1, was written when she was 20, and based on a theme she’d composed at 16. The first two movements contrast the all-string ‘Praesidium’ which Kadesha directs from the leader’s chair, with the second movement ‘Pastorale’ which features winds and four horns. Once the full orchestra plays in the “Lullaby”, Kadesha stands centre stage to conduct vigorously from the front. Trumpets and a selection of percussion join in for the rhythmic good-humoured ‘Menuetto’. A spirited piece which showed a promise not to be fulfilled as Kaprálová died shortly after being evacuated from Paris in 1940.
Martinů was also evacuated, from France to the United States, where in 1943 he wrote his Violin Concerto No 2 in G Major for Russian violinist, Mischa Elman. It is a difficult work, and Kadesha immerses himself in it in an idiosyncratic way. He plays his violin centre-stage facing the audience, and turns towards the orchestra to conduct extended passages. But at moments when he’s playing intermittently, he turns his back to the orchestra, and balletically jumps, raising his arms to provide guidance to the orchestra. The unflappable Colin Scobie, sitting second tonight, is a secure back-up!
A large orchestra is required, with a big brass section and an array of percussion as well as timpani. Kadesha’s individual discordant lines often clash with the orchestral themes. Brass-driven syncopated rhythms threaten to take over, and the cadenza in the first movement is tentative, the violin, accompanied by chords on the lower strings, seeming to struggle to get free. The andante moderato second movement, written for a smaller orchestra of strings and winds, has a melodic pastoral Czech feel. The lyrical cadenza is at first unaccompanied, until quiet strings add harmonies to his theme. The third movement, marked poco allegro begins fiercely. To the full orchestra and solo violin is added a side drum providing a military effect. The third cadenza is the most difficult, a high speed mix of sliding effects, crunchy chords and decorated notes, with the side drum joining in towards the end. Kadesha’s biographical notes say that he enjoys writing his own cadenzas. If so, these are three to be proud of. There’s much applause which the violinist is keen to share with the orchestra. He is a terrific player, and his large-scale directing is, I think, a desire to do what is best for the music by working collegiately with the orchestra, rather than demonstrate any form of ego.
Indeed Kadesha plays no part in the next work whose style and instrumental forces surprise most of the audience. A clue comes when after the interval, some SCO players find seats in the auditorium - to hear six of their colleagues play Martinů’s 1927 ‘La revue de cuisine’. Written during the composer’s time in Paris, it’s ballet music featuring a squabbling couple, the Pot and the Lid. Its jazzy score found favour with the Prague audience too, and with tonight’s Queen’s Hall. Pianist Aaron Shorr is joined by Colin Scobie, violin, Philip Higham cello, Peter Franks, trumpet, Maximiliano Martin, clarinet and Cerys Ambrose-Evans bassoon. The trumpet plays a “call to arms” , and we’re off in a speedy ‘Prologue’ which puts everyone through their paces. A languorous ‘Tango’ is started by the cello, and the trumpet is muted in the full ensemble. After some meanderings and without a break, the Charleston starts, bringing out the best in the ensemble – the bassoon and clarinet swing their “horns” in jazz band synchronisation!. The bassoon starts the final movement with a flourish which is picked up by the other players in an exciting conclusion. Great fun!
Tonight’s last piece, Dvořák’s Czech Suite In D major from 1879, returns to the full expression of the Czech sounds, heard briefly earlier in Kaprálová’s ‘Pastorale’ and the central movement of the concerto. A warm-toned smaller orchestra, retains trombones, and two horns but no trumpets, and balances delicacy with bucolic humour. Kadesha directs the work from the leader’s chair. Despite the uncomplicated nature of the suite, it was written, as David Kettle writes in the programme notes, at a difficult period when, Dvořák was at financial odds with his publisher. It’s unashamedly nationalist music in the first movement ‘Pastorale’ with its hints of village life, and in the folk-dance ‘Polka’ and in the ‘Minuet’ with its off-beat rhythm. The lovely ‘Romance’ begins with a flute duet and continues with the deep notes of Maximiliano Martin’s basset horn. The ‘Furiante’ final movement is a fairly easy-going presto and brings the work to a cheerful conclusion. The applause shows much appreciation for Kadesha’s take on the Bohemian Rhapsody theme. There will be more Dvořák in a month’s time in the last concert of the season when Maxim Emelyanychev conducts the New World Symphony in the Usher Hall.
