IT'S always interesting to watch a familiar orchestra play under a new conductor as was the case on Thursday night when Dutch conductor Kees Bakels made his RSNO debut. From the moment Bakels strode on to the platform the orchestra buzzed with an air of confidence which only grew as the concert progressed through an unusual programme of works by Haydn, Nielsen, and Saint-Saens.
Haydn's Symphony No 60 is odd in its construction. A six-movement work, it originated as incidental music to Regnard's comedy Le Distrait and the symphony retains a strong sense of drama. Bakels's reading was prefectly balanced, drawing some striking contrasts from within the orchestra and pacing each movement with careful attention to detail.
Filling the concerto spot was the RSNO's principal flautist, John Grant, who delivered an intelligent interpretation of Nielsen's characterful concerto. It's not exactly a showpiece for the performer but rather an opportunity to encompass all of the facets of the instrument's personality, the task more than fulfilled by Grant. His tone breathed with clarity, consistent through elegant melodies, agile folk-tunes and sparkling cadenzas. Accompanying their colleague, the orchestra pulled off some lovely ensemble playing with solo snatches for wind principals and a playful entry for trombone.
Saint-Saens's Organ Symphony completed the programme, Paisley Abbey's George McPhee at the keyboard. The moment in which the organ appears in the symphony is one of the most beautiful ever penned and one which took the breath away from the audience. Richly inventive throughout, the music is of immense emotional power, fully realised by conductor Bakels and a passionate RSNO.
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