Pekka Kuusisto (c) Maija Tammi
Prom 27; Royal Albert Hall, 5 August 2016
For sheer musical enjoyment this Prom took some beating.
Right from the start it was clear the players of the BBC Scottish Symphony Orchestra were at the Royal Albert Hall to enjoy their Friday night, and in Pekka Kuusisto they had a more than willing accomplice.
It was Kuusisto’s first appearance at the festival, and as he arrived onstage he gazed in wonder at the full hall, taking in its scope and bidding a cheery ‘hello’ to the front ranks of the Prommers. At that moment you sensed his performance, even before he played a note, had gone up a gear.
Sure enough, his performance of Tchaikovksy’s Violin Concerto was dazzling, but he was careful not to let technical feats overshadow the core of the music’s emotion. As the longer first movement unfolded so did the ardent, lyrical phrases, until we reached the solo cadenza, where just a flick of the eyes and arms were enough to get the audience laughing. Kuusisto plays a lot of his music as though for the first time, the childlike innocence (not to mention his boyish face!) a combination of pure enjoyment. The audience, wrapped up in the occasion, applauded as though he had finished, fully aware there were two more movements to come.
These were the doleful Canzonetta, reminding us of the serious circumstances in which the piece was composed (Tchaikovsky’s disastrous and shortlived marriage, made in spite of his convictions around his homosexual orientation) and a finale that brushed all that aside, its main tune from the violin scampering all over the orchestra as they tried to keep up.
Both violinist and orchestra rightly received a rapturous ovation, but Kuusisto was not done, returning for a traditional Finnish song. Following Sol Gabetta’s lead from the First Night he did the singing, while BBC SSO leader Laura Samuel gamely added a rustic accompaniment. Even the audience were involved, singing one of the phrases as Kuusisto brought the house down.
Even after that the enjoyment was yet to peak, for Thomas Dausgaard – who had shaped Tchaikovksy’s phrases rather beautifully – led them in a vibrant account of Stravinsky’s Petrushka. The composer’s second ballet is perhaps his most tuneful, full of Russian folk song references as it tells the tale of the ultimately doomed puppet. The colours of this performance were given by the BBC SSO at their very best, with superb contributions from Mark O’Keeffe and Eric Dunlea (trumpets), a beautiful, child-like solo from flautist Charlotte Ashton, and wonderful contributions from solo woodwind, brass and percussion alike – not to mention the brilliant efforts of pianist Lynda Cochrane and Julia Lynch on celesta.
Dausgaard was enjoying himself, and although on occasion the music was a little fast it was never less than energetic, the players relishing the shades of colour in The Shrovetide Fair, and the irresistible hooks and dance rhythms Stravinsky threads through the music.
Dausgaard is due to take over full time as chief conductor of the orchestra in the autumn, and on this evidence the two look set for a fruitful musical relationship.
Catterline in Winter (c) The estate of Joan Eardley.
Beginning the concert was the first part of Helen Grime’s Two Eardley Pictures, a new piece commissioned by the BBC and with its second part today. This one, Catterline in Winter, portrayed the fishing village of the North of Scotland, capturing it in steely, metallic colours – reflecting the dark grey sky and the icy blasts of a seemingly ever present wind. It is always difficult to appraise a new piece on first hearing, but this was an impressive and brightly lit score that is well worth hearing for a second time – preferably in the company of the second, Snow.