One would expect Dvořák’s well-known Ninth Symphony to be at the heart of a New World programme but the accompanying works from the RSNO were an intriguing choice, with two very different American pieces. Samuel Barber’s compelling Violin Concerto was a fascinating centrepiece and to open, Duke Ellington’s take on Tchaikovsky’s Nutcracker Suite was instant fun. The concert marked a new beginning for Austrian conductor Patrick Hahn in his first official concert as the RSNO’s Principal Guest Conductor.
The 1960 album cover of The Nutcracker Suite famously gave equal typographic billing to Duke Ellington, Billy Strayhorn and Tchaikovsky – in that order – for the jazzy arrangement for Ellington’s Big Band. Jeff Tyzik cleverly adapted it for a symphony orchestra retaining that big band feel, pruning the saxophones but keeping the brass, the strings filling in for Ellington’s piano. The RSNO forces were sensibly augmented by established Scottish jazzers: Martin Kershaw on tenor and alto saxes; Calum Gourlay on bass' and, jumping in from the Scottish National Jazz Orchestra, drummer Alyn Cosker powering the piece along and making it swing. Hahn, an accomplished jazz pianist and cabaret enthusiast knows how this goes, taking us through the sleepy late nightclub vibe in the Overture and pepping it up in the Dance of the Reed Pipes (or Toot Toot Tootie Toot as Ellington had it). The selected five movements had fine solo work from saxophone, clarinet and bass clarinet, Hahn balancing the accompanying strings perfectly, but the brass had lots of big band fun with splendid solos, deft mute work and letting rip in the big blow moments.
The introspective first two movements of Samuel Barber’s Violin Concerto were composed in Europe, the composer fleeing homeward from Paris as the Second World War broke out, the strikingly different third movement reflecting turbulent times being written at home. American violinist Randall Goosby, this season’s Artist-in-Residence, made the lyrical opening sing sweetly, full of warm intimate tone especially on the lower strings. The clarinet introduced more turbulent themes with a dotted snap rhythm, the piano adding to the orchestral texture, calmed to some extent by the soloist, but a persisting restlessness. A tender extended oboe solo characterised the slow movement, Goosby oozing soft mellow sounds as Hahn’s sensitive dynamics built his players to a climax before fading away. By contrast, the final Presto in moto perpetuo saw soloist and players in an extended scurry, Goosby shedding notes in a blisteringly urgent finale. Keeping to the American theme, Goosby’s encore of Coleridge Taylor Perkinson's Jettin’ Blues from his Blue/s Forms was an excitingly effervescent study with virtuosic complicated loops and an infectious groove.
Dvořák’s New World Symphony is a piece on many a classical playlist and, as Hahn admits, his players will have performed it more times than he has conducted it. Players and audience know all the tunes – this work has more than its fair share – but watching Hahn shape each movement and guide his orchestral sections and soloists, it was as if we were all hearing the work anew. Taking a refreshingly brisk approach, Hahn’s crisp dynamic contrasts and sensitive phrasing allowed the music to breathe as if rediscovered, the lovely cor anglais solo not sentimentally wallowing but moving along brightly. Hahn appears a collegiate conductor, making clear but measured gestures on the podium and, standing happily among his players to take his bows, a very promising beginning to his appointment.
