Famed for its Slavic colours, the Czech Philharmonic arrived at the Edinburgh International Festival for a two night stopover, this first evening devoted to Czech composers. The sense of homeland was powerfully emotional, magnified by world events. Bohuslav Martinů fled to America to escape the Nazis, and when conductor Semyon Bychkov emigrated to America from the Soviet Union he was initially unable to listen to Shostakovich (whose music he adored) because it reminded him of what he had just left behind. On the eve of Russia’s invasion of Ukraine, Bychkov was conducting Janáček’s Glagolitic Mass in Prague, making the work his political marker, adding a bittersweet edge of anticipation.
Bychkov enjoys music on a grand scale, so Dvořák’s lively Carnival Overture was a welcome chance to put away dark thoughts and simply enjoy this jubilant opener. He let the lyrical music breathe – a mellow theme emerging in the violins, a lovely clarinet depicting nature in the slow section. But the emphasis was on the hustle and bustle of a street carnival, the growling brass signalling chaotic excitement as vivid Slavic colours were depicted.
Before moving to Paris, Martinů played in the second violins of the Czech Philharmonic. His Concerto for two pianos and orchestra was composed in America where initially Martinů found it difficult to concentrate in noisy Manhattan. Sisters Katia and Marielle Labèque were the enthusiastic soloists, the first movement a dense percussive toccata with odd jazzy touches. Bychkov balanced his forces with dreamy violins giving way to violent unison swipes across all string sections with rich woodwinds adding depth. The slower central movement showcased both pianists individually, their rhapsodic introduction reflecting against more sombre orchestration, a solo viola an enchanting highlight as the Labèques played block, hymn-like chords. After the welcome respite, a noisy vigorous finale with the energetic sparkling pianos taking liquid runs at pace reminded me of the sounds of a busy American city, the orchestra occasionally overshadowing the pounding soloists. The Labèques returned for an inspired encore, the final movement of Philip Glass’s Four Movements for Two Pianos showcasing the sisters’ musical empathy as the spotlight shifted between them, the perpetual motion building to an entertaining and immersive finish. A truly delightful surprise.
The story goes that Leoš Janáček complained about the poor quality of church music to Archbishop Leopold Prečan who suggested that he compose something to suit. An agnostic, Janáček decided on the Latin Mass, but in Old Church Slavonic text. Composed after most of his operas, it was fascinating to hear familiar idioms melded into the work with vivid original ideas creating his Glagolitic Mass, a unique piece in the choral repertoire. The Czech Philharmonic knows this work inside-out, but Bychkov led a huge performance, harking back to the original edition, bookended by the Intrada, trumpets and insistent rhythms setting the scene. The Edinburgh Festival Chorus was on visceral form, brilliantly prepared by Aiden Oliver, perfect from the hushed “Gospodi pomiluj” (Kyrie) to the declamatory force of the “Věruju” (Credo) and “Svet” (Sanctus) sections, which pushed us back into our seats. Janáček does not make it easy for his soloists who have to rise above the heady orchestral and choral mix, but soprano Evelina Dobračeva had Slavic bite in the “Slava” (Gloria) and tenor Aleš Briscein was stentorian in his Amens. Mezzo Lucie Hilscherová and bass Jan Martiník completed the line-up. Daniela Valtová Kosinová gave the splendid Usher Hall organ a thrilling workout before the blazing trumpets returned to finish. The Glagolitic Mass is a physical experience for all, and Bychkov’s Edinburgh forces gave it an awesome edge.
