The Hallé’s new Principal Conductor, Kahchun Wong, is quickly gaining a fine reputation in Manchester. A large audience came to the Bridgewater Hall to hear his latest concert with an intriguing programme mixing the familiar and unfamiliar. It started with Malcolm Arnold’s exuberant Four Scottish Dances. Arnold makes use of immediately recognisable Scottish features like the “Scotch snap” in the opening Strathspey. The smooth, peaceful Allegretto reminds us that Arnold was a master of film and light music but the overall impression of this set of dances was one of a lively, good-natured party. The Hallé and Wong gave an enthusiastic performance, making the most of special features such as the tipsy bassoon in the second dance. Wong has already conducted the Hallé in Arnold – they did two versions of the Peterloo Overture in May – let’s hope that they will be performing more of this underrated composer.
Veni, Veni, Emmanuel, Sir James MacMillan’s concerto for percussion and orchestra, was first performed in 1992. The performance I attended (one of three) was on the first day of Advent which is appropriate as the concerto is based on an Advent plainchant and the composer started work on it on the first Sunday of Advent in 1991. The plainchant theme appears or is alluded to several times throughout the concerto. In his programme note the composer explains that the work is “a musical exploration of the theology behind the Advent message” but also mentions that it can be seen as a purely abstract work.
The composer states that he treats the soloist and orchestra as equal partners and Colin Currie could be seen playing close attention to the orchestra, especially in those sections where the orchestra was playing alone. Wong focused on the percussionist while ensuring that the Hallé supported the soloist or contrasted with him, depending on the requirements of the moment. However, Currie was very much the star of the performance. Near the beginning he conjured up some extraordinary sounds as he moved from one instrument to another as if demonstrating the range of instruments at his disposal, creating a special visual element to the concerto. Currie’s atmospheric marimba solo with the quietest of orchestral accompaniments was quite magical. The work's conclusion was stunning, enhanced by another visual device; while Currie walked to the tubular bells positioned at the back of the stage the orchestral players played little tinkling chimes and then the soloist launched into a magnificent peal of bells until the last note faded away. A dramatic ending.
The second half of the concert presented familiar but no less exciting music: Beethoven’s Symphony no. 7 in A major. The orchestra (except for cellos and basses) played standing up. It is hard to tell what effect this had, but this performance felt particularly spirited, as if this symphony and this conductor were ideally matched. Wong’s demeanour always suggests limitless energy – surely right for Beethoven’s most exuberant symphony. The slow introduction created a sense of anticipation which prepared us for the following Vivace; this build up and release of tension became a feature of the performance. Wong’s expansive gestures are audience-pleasing; sometimes it looked as if he was channelling the music from the performers to the audience in a very visual way. The third movement was fast but light and airy so the finale came as a contrast. The Hallé played superbly.
