Maxim Emelyanychev and the Scottish Chamber Orchestra offer a Baroque-inspired programme of Bach, Handel, Britten, a modern take on Scarlatti and wonderfully zany Schnittke.
In Edinburgh’s Usher Hall, Mozart’s final three symphonies are given a vibrant interpretation by the Scottish Chamber Orchestra conducted by the effervescent Maxim Emelyanychev.
Andrew Manze conducts an all-Adams programme in Glasgow, Maximiliano Martín the fearless soloist in Gnarly Buttons, bookended by mesmerising Shaker Loops and exuberant Fearful Symmetries.
Three sopranos, two Glorias and one French composer who isn’t great box office: the Scottish Chamber Orchestra and Chorus sound great, but where is the audience?
Linda Holt writes about classical music for broadstreetreview.com and newyorkclassicalreview.com, with a special interest in the life and works of Beethoven. She has a doctorate in arts-and-letters from Drew University (U.S.), studied music theory and history at Rider University, and teaches humanities courses. She is president of the Princeton Research Forum ( princetonresearchforum.org ) and member of the Philadelphia Classical Guitar Society and American Beethoven Society. As L.L. Holt, she is the author of two acclaimed novels based on Beethoven’s early years: Invictus (Harvard Square Editions, 2019) and The Black Spaniard (Unsolicited Press, 2016).
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