One of the treats we look forward to each year as December darkens is a candlelit concert from the Scottish Ensemble, here dramatically set in the ancient St John’s Kirk in Perth. The programmes are deliberately reflective rather than festive, and with Mozart’s Eine kleine Nachtmisik as an opener, these Night and Day themed concerts have been selling out from Inverness to Edinburgh.
A much loved and treasured recording does create a rather fixed imprint of how a work should sound. A trademark of the Scottish Ensemble is to take a piece we think we know backwards, and stamp it with a fresh interpretation shedding new light on the familiar. Eine kleine Nachtmisik is something of an enigma as there is no occasion for which Mozart might have written it, nor any record of a performance during his lifetime. As there is no indication of how many players the composer intended to perform this work, Artistic Director Jonathan Morton perhaps had more of a blank canvas than is usual when deciding how to approach the notes. Standing in a semicircle to play, the Ensemble took this Mozart boldly at a fair lick throughout with unexpected phrasing, fresh dynamics and exquisite minute nuances. Placing the first and second violins left and right brought some exciting antiphonal sounds in the development of the Romanze in particular. This most popular Mozart, found in shops, lifts and even down the phone, was played as if Morton had been handed a freshly discovered score. If you like your Mozart dreamy, then this was a bit rushed perhaps, but I found it exciting.
Staying with night time, the Ensemble commissioned composer David Matthews to arrange two of Chopin’s Nocturnes of his choice. While most nocturnes are for solo and accompaniment, Matthews felt that Op.37 no. 2 in G major and Op.55 no. 1 in F minor would provide most interest. Both pieces were meltingly beautiful in their own way, the first a happy barcarolle with two solo violins taking the tune, with some gloriously rich divisi cello playing bursting through the song. Op.55 was composed for Scottish pianist Jane Stirling who would become Chopin's pupil, secretary and business manager. The beautiful sad melody was shared between the two solo violins, dovetailing seamlessly across the church and eventually soaring off into the heights.