Ensemble

Bounce and Swing

MIKE WHEELER enjoys the contrasts in music for string orchestra by Bartók, Suk and Dvořák

 

Sinfonia Viva's one-hour Sunday afternoon concerts have become regular features of the Royal Concert Hall's orchestral season, and are always delightful occasions. This time, with leader Sophie Rosa directing, the focus was on music for string orchestra from Eastern Europe - Royal Concert Hall, Nottingham, UK, 19 January 2025. In Bartók's Romanian Dances, in Arthur Willner's transcription of the piano original, the first dance had plenty of poise and swagger, while No 2's skittishness was enhanced by some artful pauses. The plaintive quality of the two slow dances was heightened by Sophie Rosa's expressive solo playing, and the final fast group was given plenty of bounce and swing.

Sophie Rosa
Sophie Rosa

Josef Suk composed his poignant Meditation on the old Czech Chorale, 'St Wenceslas' for the Bohemian (later Czech) String Quartet, of which he was the second violinist, at the same time making the version for string orchestra. The players projected the music's expressive arc compellingly, from the hushed opening, through passages agitated and fragile by turns, to an impassioned climax, before winding down with just the right suggestion of tentative tranquility.

Dvořák's Serenade in E, Op 22, is a product of his astonishingly prolific breakthrough year, 1875, in which he also composed, among other things, his first fully characteristic symphony, No 5 in F. Sinfonia Viva's performance had the measure of its easy-going charm, while not letting it become saccharine. The first movement had an unhurried flow; and there was a swaying elegance to the waltz that followed, with room for a slight darkening at moments in the Trio section. The Scherzo was engagingly nimble, with the hesitant passage just before the end having the effect of a wry smile. Tenderness in the fourth movement was offset by frisky accounts of the quick sections, and a brisk start to the Finale gave a lift to the polka rhythms. Dvořák's typically wistful look back at the first movement's opening contrasted well with the final burst of merry-making.

Copyright © 23 January 2025 Mike Wheeler,
Derby UK

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