How to you celebrate being 90? The BBC Scottish Symphony Orchestra brought a work to reflect its beginnings, a ground-breaking piece they have made their own and an epic symphony to round off in jubilant style. Birthday conductor was Martyn Brabbins who has a close affinity with this orchestra, conducting them on and off for over three decades.
Can it really be 35 years ago since The Confession of Isobel Gowdie launched the international career of Sir James MacMillan at the BBC Proms in 1990? A film clip from that historic event was playing at Glasgow’s City Halls, the young composer taking his bows in the Royal Albert Hall, MacMillan now with us in the audience to catch this performance of the haunting, brutal tale of a murdered woman. He said that he might have written an opera, but instead wrote a requiem for Isobel Gowdie, burned at the stake in 1662, accused of witchcraft. Beginning quietly, a Lux aeterna theme and threnody passage for strings was the calm before the storm, violas soft disruptors as the flow turned uneasy, Brabbins marking slow steady beats. The mood darkened and the music became more violent, a pair of percussionists arranged antiphonally duelled it out on congas as the brass raged and double basses attacked their strings ferociously, building to 13 hammer-blow chords, a savage beating from the full orchestra. Trombones went into a feral rhythmic frenzy driving a chaotic turmoil, when suddenly the quiet strings emerged, overcoming fierce interruptions from the other players, finding an uneasy peace as a single unison note grew into a final blast. A vivid, heartfelt journey, it was quite the moment as MacMillan acknowledged the cheering crowd.
Ian Whyte founded what was to become the BBCSSO and was its Principal Conductor until he died in 1960. The incomplete score of his Violin Concerto has been discovered recently, composer and musicologist Robin McEwan preparing the performing edition here receiving its world premiere with Stephanie Gonley as soloist. Light and pastoral in tone, the orchestration sounded rich and fluid, Brabbins working hard at times to balance his considerable forces with the soloist. Gonley’s initial chirpy approach gave way to flowing passages and an extended cadenza, thoughtful rather than showy. Shimmering strings and a filmic orchestration was a showcase for Gonley’s lovely mellow violin sound. Although the work meandered somewhat, it picked up in the third movement with lively rhythms, increased vigour and purpose as players and soloist raced to a spirited finish.
Rachmaninov’s Symphony no. 2 in E minor is an immense work for large orchestra, packed full of tunes and a jubilant way to round off a celebratory concert. Brabbins’ moves were measured and considered rather than flamboyant, and it was a joy to watch his meticulous attention to detail as he created an organic performance, tantalisingly holding the music back ever so slightly, then letting it go giving it an engaging unpredictable edge. I enjoyed the ebb and flow in the opening Largo, full of tonal warmth as the sweeping nostalgically Russian phrases developed, and the more angular second movement with its sparkling string fugato development. The well-known Adagio melted hearts, Yann Ghiro’s expressive clarinet solo beautifully shaped. The exuberant finale was packed with detail, Brabbins on top of everything, bringing out light and dark in a thrilling climax as the music soared, developing the new themes with echoes of previous movements thrown in.
