SCO, SCO Chorus & Yeol Eum Son, Edinburgh review: 'sizzling with energy'

Haydn’s Missa in angustiis (Mass for trouble times) sounded fresh off the page in this dynamic reading, with the Scottish Chamber Orchestra’s lively conductor Maxim Emelyanychev deploying his forces with aplomb. Typically of Haydn this piece is quirky, not least for the name it acquired at its premiere in 1798 on the day Lord Nelson defeated Napoleon - the Nelson Mass.

Despite its official title, however, the music was joyful and sizzling with energy, thanks to outstanding performances across the orchestra. The oboe provided soulful asides while the double basses, their rhythmic lines constantly on the move, anchored the solid narration from the SCO Chorus - well-drilled by Gregory Batsleer – and the impressive soloists led by Anna Dennis. The soprano’s beguiling high notes soared across the orchestra, and she was supported by mezzo-soprano Katie Bray, tenor Anthony Gregory and bass baritone Neal Davies.

The ever-cheeky Haydn reordered the mass so it ended with the Agnus Dei rather than the Gloria, and the result here was magnificent. Emelyanychev never took his foot off the pedal when it came to pace - a quality that would have benefited some aspects of the first half of the concert.

The Brahms opener, Variations on a theme by Haydn (St Anthony Chorale), was light and elegant but a few of the variations felt the lack of heft a symphony orchestra can give, especially in the finale.

There were also times in Beethoven’s Piano Concerto No. 3 when soloist Yeol Eum Son would have benefited from more orchestral depth behind her, but overall her brilliant technique and spirited approach sparkled. The SCO’s distinctive formula of combining original brass instruments and timpani with a solid string sound for this type of repertoire was a winning one, too, with the smaller forces highlighting the finer details of this alluring concerto.

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