A sparkling evening between light and darkness
The Scottish Chamber Orchestra and Edinburgh’s Usher Hall are always an excellent combination, and this concert was no exception. Split in two – the first half was devoted to Sergei Prokofiev (Symphony No 1 in D major, Op 2, followed by Violin Concerto No 2, Op 63), and the second half to Johannes Brahms and his Symphony No 2, Op 73.
Before the arrival of the conductor Maxim Emelyanychev, we opened with some charming remarks from cellist Eric de Wit, who was celebrating being with the orchestra for 15 years. He spoke touchingly of his colleagues, of what we were about to hear of Prokofiev, and of his fondness for the Brahms second half and the nostalgia for his early days with the SCO.
Onward into Prokofiev’s Symphony No 1, and the playful strings of the orchestra take the lead in the Allegro, through the emphatic swells of the second movement Larghetto, the rousing Gavotta, and a bold Finale. Tonight’s theme of light and dark, with one being unable to exist without the other, was evident throughout – with the frequent changes in pace and volume, and various orchestra sections taking the lead at different times, before coming together as a swaggeringly harmonious unit, energetically conducted by Emelyanychev. The whirling Finale was a particular favourite here, big and bold, and a fitting conclusion to the compact Symphony.
Next, we were joined on stage by violinist Aylen Pritchin for Violin Concerto No 2, a darker, richer entity, with frenetic energy and shadowy, twisting elements. Whilst the orchestra were wonderfully proficient in these evocative movements, the star quality of Aylen was mesmerising, performing with skill and panache (and notably, no sheet music) throughout the Concerto. Dreamy and sinister elements went hand-in-hand, with trepidatious timpani building suspense. Following Aylen’s well-deserved ovation, we were treated to a skilled solo performance, where it almost felt like he was playing multiple instruments at once, such was the force of sound produced, and the audience kept in rapt attention. The orchestra looked on, and it was very touching to see Maxim watching too, perched up in the seats behind the orchestra.
After the interval to take a breath and recover, we were back into brighter, sunnier, climes, with Brahms. The clever programming here meant that the brighter movement here was not anticlimactic after the dramatic violin concerto, but served as a reflection of the first Symphony, thus retaining the balance of the concert, and finishing with aplomb. Whilst the entire orchestra deserve plaudits, George Strivens on horn was particularly dazzling. Cellist Su-a Lee’s gloriously sequinned trousers also deserve a mention, and added a festive sparkle to the proceedings.
Where there might have been darkness through the concert, only lightness remained as evidenced in the final applause. It was particularly lovely to see the individual ovations for various sections, in addition to the whole orchestra, and the volume of applause befitting the performance we’d just witnessed. It is also worth noting the effort that the SCO put into their insightful and accessible programmes, which is a real testament to their belief that access to world-class music is not a luxury, but something everyone should have an opportunity to participate in. It’s also worth seeking out their Spotify playlists, perfect for reliving your favourite concert moments. With the sparkling form on show that evening, I can’t wait to see what 2025 brings for the SCO.