SEEN AND HEARD INTERNATIONAL

Roussel, Saint–Saens and Ravel: Steven Isserlis (Cello) RSNO Chorus, Timothy Dean (RSNO Chorus Director),  Royal Scottish National Orchestra, Stephane Deneve (Conductor) Royal Concert Hall, Glasgow, 29.3.2008 (GV)

Roussel: Symphony No4
Saint - Saens: Cello Concerto No1
Ravel: Daphnis et Chloe


This programme was clearly a celebration of the early twentieth century’s more luscious classical works, as all three composers demonstrated a fascination with melodic romanticism and an intense lyricism that occasionally bordered on the saccharine. Certainly, Stéphane Denève is an impressive interpreter of Roussel, bringing out his crisp, business-like classicism and Steven Isserlis’ rendition of Saint-Saens was effortlessly virtuosic. Only in Ravel’s wandering ballet score did the RSNO appear challenged - and even then, the problems were more the product of the composition itself rather  than lying with  the sharply honed orchestra.

By beginning the concert with Roussel, Denève established the mood as serious and conservative but not severe. The first movement is a moody Lento that gradually rouses itself into an allegro con brio. Initially slow and seductive, with the cor anglais and bassoon rising above the strings like lights over a mist, Denève gradually unleashed the woodwind and  the full brass section to create a pulsating thrust to the rapid triple-time. Returning to a Lento molto in the second movement, Roussel reveals his love of the classical symphony while here Denève showed his firm control of the orchestra, emphasising the lyricism of the middle section and the power of the ending.  The final movement, an almost cheeky Allegro molto was given plenty of aggression and bite. The RSNO took a work that is almost mannered and added to it enough passion to accentuate its melodic charm without loosing its formal discretion.

It is a testament to the discipline of the RSNO that their performance was almost eclipsed entirely by Steven Isserlis. They provided a solid platform for him to demonstrate his absolute mastery of the concerto. Isserlis’ touch was exceptionally light: he seemsed almost distracted, until he suddenly unleashed a flurry of triplets or-as in his encore- a blizzard of pizzicato notes that evoked medieval song. Saint-Saen’s concerto was delightfully rendered- the orchestra appeared gently to  challenge the cello - which holds steadily to its contemplative lyricism through the work - and Isserlis’ casual eloquence was  matched by the orchestra’s controlled tumult.

The orchestral accompaniment frequently follows a more exaggerated romanticism than the cello- as in the second movement Allegretto con moto, which threatens to capsize the delicate soloist as the strings rise and subside. Yet Isserlis managed to hold his own, like a soft-spoken school teacher unruffled by a mob of unruly children, enticing the most delicate melodies from his cello. This understated performance was nevertheless coherent and moving- all the more so for the lack of overplaying.

After the interval, the orchestra was joined by the  Chorus for Ravel’s Daphnis and Chloe. The use of overhead projection to describe the scenes in words as they were played helped to clarify a meandering score, which incorporates both sensuous pas de deux and the wild abandon of a pirate orgy. The overall impression is of a series of short tone poems, strung together with atmospheric interludes: the wordless singing, which has the sheen of modernism and invariably  heightens the tension, operates as a guide to the emotions beneath the music- by turns it is threatening, passionate and calming.

Once again, the discipline of the orchestra drove along a work that could easily disappear into uneven dynamics. The love scenes between Daphnis and Chloe were wisp-like, ethereal while Part II was as melodramatic as a silent movie, with both pirates and the arrival of the god Pan conjured through bold brass and escalating violins. The finale, dominated by the flute and a series of increasingly exuberant- even erotic- dances washandled steadily. Denève restrained the woodwind and encouraged the lyricism of the strings, rendering the wandering score more coherent. There was a slight loss of focus in the Interlude and towards the finale- when Daphnis and Chloe seem intent on dancing forever- but the orchestra’s understated solidity held the attention.

Not only was the RSNO’s performance immaculate in this concert, it was consistent in style. Denève held the drama in check, allowing the melodies to carry the passion, but injected sudden bursts of energy as needed. Appropriately for all three composers, grace and an even temper triumphed over   more aggressive playing: the over-wrought desires of Daphnis and Chloe were  rendered bucolic, Roussel was awarded an unexpected depth and Saint-Saen’s cello concerto was  a perfect combination of effective accompaniment and insouciant brilliance.

Gareth Vile


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