United Kingdom Montgomery, Mozart, Beethoven: Nicola Benedetti (violinist), Scottish Chamber Orchestra / Benjamin Marquise Gilmore (director / violin). City Halls, Glasgow, 15.12.2023. (GT)
Jessie Montgomery – Strum
Mozart – Symphony No.34 in C major, KV 338
Beethoven – Violin Concerto in D major, Op.61
Following a tradition of introducing new music in the Scottish Chamber Orchestra concerts during their fiftieth anniversary season – the programme started with a piece by a composer unknown previously to myself and I suspect most of the audience. Jessie Montgomery’s Strum was written for a string quintet in 2006 and was revised for a string orchestra in 2012. Montgomery is a New York-based violinist and works with the Sphinx Organization, which promotes Afro-American music. Strum is focused on American folk music, and rather like Bartók, Montgomery uses the opening pizzicato theme to give rhythmic impetus throughout the entire piece. The driving rhythm takes us from a nostalgic mood to a joyful celebration. The name of the piece comes from the strumming that was opened by Max Mandel on viola before the theme was heard on the cello of Philip Higham – and then by the whole orchestra – a rather sad, mournful theme which hinted at Britten and a little of Vaughan Williams. The gorgeous passage from the violin of Benjamin Marquise Gilmore was at the heart of this performance – the level of playing was remarkable before the exciting climax. Montgomery has a strong individuality and personality – and it will be fascinating to hear more from this young American composer.
The virtuosity and cogency of the performance of the Scottish Chamber Orchestra demonstrate that they hardly need a conductor for their music-making, and, on this occasion, Benjamin Marquise Gilmore was the leader for the infrequently heard Mozart Symphony No.34. From the first desk, Marquise Gilmour introduced the first phrases with a dashingly majestic and almost festive Allegro vivace heralding a section of graceful eloquence evinced with virtuosity by the oboes and bassoons. There was a somewhat subdued and reflective mood transformed by a magical passage of vibrant invention through exquisite playing from Marquise Gilmore – reminding one of Mozart’s brilliant operatic overtures.
The slow movement (Andante di molto) for strings was graceful and intimate, with the violins creating a passage of achingly expressive beauty, heralding the Finale: Allegro vivace which exploded with the upbeat, lively oboes and a playful idea imbuing a vibrancy which developed a bursting high energy and gaiety before closing in high spirits.
It was the Beethoven Violin Concerto which took up the second half of the evening, and Scotland’s popular Nicola Benedetti took centre stage attired in a long black dress, gave a slight nod, and with four gentle taps on the timpani by Louise Lewis Goodwin, there opened the first movement (Allegro ma non troppo) sparking off playing from the violins and the woodwind group enhanced by the vibrant brass. Benedetti moved gracefully with the opening passage of the Beethoven concerto, listening carefully to the marvellous harmony evincing humanity and majesty – most explicitly in the secondary hymn-like theme – yet without disguising the ethereal mood. There was some terrific virtuosity from Benedetti – and here she revealed greater intensity and involvement with the work than I have heard before – admirably assisted by Marquis Gilmore. We heard the improvisation of a cadenza (from Christian Tetzlaff’s arrangement) in which the violin is accompanied by the timpani in a magical passage creating an intriguing alternative to the more celebrated cadenza.
The Larghetto was introduced by the strings, and the theme was picked up by the horns and the clarinets, immaculately ornamented by Benedetti, yet then there was a passage somewhat lacking intensity in the orchestra. But the soloist soon returned for some of her finest playing and led the orchestra into the joyous finale (Rondo-Allegro). The ‘hunting horn’ theme opened with the glorious solo passage from the horn of George Strivens and was enhanced by lovely colourful playing from the oboes of Robin Williams and Katherine Bryer supporting Benedetti’s exhibition of virtuosity and marvellous playful runs before tearing away to a triumphant culmination.
This concert provided an excellent close to the first half of the Scottish Chamber Orchestra’s fiftieth anniversary season, and a splendid send off before the Christmas festivities.
Gregor Tassie