Classical review: Scottish Chamber Orchestra, Edinburgh Queen’s Hall

WITH the BBC SSO playing Beethoven’s Pastoral Symphony on Thursday, the RSNO playing Haydn’s Cello Concerto No 1 on Friday, and the SCO performing his Cello Concerto No 2 and the Pastoral in Edinburgh on Saturday, audiences, if so inclined, had a quirky opportunity to compare and contrast each ensemble’s approach to both composers.

To partner them with Mozart and his precociously early symphonic efforts at age eight was a combination exclusive to the SCO.

Whether or not the Symphony No 1 reveals Mozart as the recognised genius we know and love is hard to say, but it’s a bright and breezy affair that was interesting enough to hear. With Swiss conductor Thierry Fischer trying to make the most of it through descriptive gestures rather than a more conventional conducting style, it came across as a remarkable achievement if not something for regular outings to the concert platform.

Beethoven’s Pastoral Symphony, on the other hand, has had more outings than it needs. For the SCO, however, it is a classic vehicle to show off its trademark exceptionally blended string sound along with stunning solo and ensemble playing from wind and brass.Fischer seemed to mould shapes rather than direct a pulse, resulting in the symphony’s life-affirming heartbeat being sometimes hard to detect. It’s a technique which worked well though in the light and shade of the storm and its aftermath.

Although Pieter Wispelwey was an articulate soloist in the Haydn, overall, the performance lacked impact.

Rating: ***