Cristian Măcelaru
conducted a programme with the Hallé that drew a decent crowd, perhaps as much
as a result of astute programme planning as by the presence of a notable local
hero as its soloist.
Whichever it was, the
presence of virtuoso organist Jonathan Scott at the controls of the mighty
Marcussen of the Bridgewater Hall, plus music by Sibelius, Poulenc, Dvořák and
Janáček, made an attractive combination.
The American conductor
began with a sumptuous account of Sibelius’ tone poem, The Oceanides, building
to a weighty climax and ending with beautifully blended wind and brass as calm
returned.
The Poulenc organ
concerto is almost unique in concert repertoire, using the full power of the
king of instruments and yet charming and quite jazzy, at times, also. Jonathan
Scott was completely on top of the work’s demands, registering with great
faithfulness to Poulenc’s instructions and making every aspect of his writing
count. The orchestra, led by Lyn Fletcher, enjoyed their role, too, with lively
playing of the Dick Barton-style theme of the first Allegro, under Măcelaru’s
hand.
Six of Dvořák’s
Legends came after the interval, in an all-Czech second half, and Sir Mark
Elder’s orchestra know how to play this composer well by now. While he was away
preparing Rusalka for the Met, they and Măcelaru graced this music with deep
affection, lovely nuances of rhythm and expression, and wind solos of great
individuality, especially from principal clarinet Sergio Castelló López.
Janáček’s Taras Bulba
rhapsody made a vivid finale to the concert, with Jonathan Scott returning to
the organ, this time in a ‘backing’ role. Janáček was an organist who found
love and creativity in late middle age (so there’s hope for anyone), and his vivid
sonic effects were given full rein as the story-telling music wove its spell.
No comments:
Post a Comment