How do composers write music in the middle of a devastating war? How do orchestras perform, when the air waves bombard us with such sad news? In the case of the Royal Northern Sinfonia, the answer to the second, was a performance of the Ukrainian National Anthem, then the audience stood for a minute’s silence.
Now to that first question. Ravel composed Le Tombeau de Couperin in 1917 after he’d suffered a breakdown serving as an ambulance driver during the First World War, written in memory of fallen comrades. What a breath of fresh air the survivors must have felt – right from the start the music is as cheerful as a stroll on a sunny day. And what a tonic for this audience too, because the orchestra played as if neither they nor anyone else had a care in the world. The Prelude rippled through the air with the added clarity that a chamber orchestra gives. This was particularly true of the woodwind section – there are only two of each instrument rather than three or more. So, for instance, the cor anglais’ rich tone was heard in the ensemble as well as the solo work. The Forlane was sprightly, the Menuet graceful and the Rigaudoun, with its quirky rhythms, was ebullient, victorious you might say, yet tightly controlled by Thomas Zehetmair.
Zehetmair began his career as a solo violinist, and then began a parallel career as a conductor with, of course, the Royal Northern Sinfonia. He is now the orchestra’s Conductor Laureate, and in Mozart’s Sinfonia Concertante for Violin and Viola, he returned as violin soloist, with Ruth Killius playing the viola. Cheering music again, but perhaps less tightly controlled, as Zehetmair only occasionally turned round to conduct. The other disadvantage of having a soloist as director is the balance, as it must be hard to gauge the volume of the orchestra when you’re playing. That said, the RNS was only occasionally – and slightly – too loud.