Giant gauze screens enhance Scottish Ensemble’s concert

Shostakovich’s Chamber Symphony Op118a.

By turns the superb sound of the Scottish Ensemble was anxious, powerfully jagged, plangently lamenting, finally chirpy but becoming menacing. A complete experience.

A turn of the screens like giant books and the apartness of the two soloists, Jonathan Morton and Tristan Gurney, in Glass’Echorus was emphasized. After the Shostakovich this minimalist piece, with its rocking two notes, was curiously comforting.

PeterisVasks’Viatore followed the interval. Influenced by Arvo Pärt, it resembled his Fratres in shape.WithVasks’ trademark very highpitched tones contrasting with a rich bass, this Traveller was contrasted with the effusive, high, decorative violin line representing nature. His journey was apparent and a joy to the ears.

Then when the screens changed to a box around the piano, Babel, both the tower and babble implied, was composer and soloist Gabriela Montero’s plea for understanding and communication between people. The babble was agitated running lines and detached chords. Finally the screens opened and a beauteous arpeggio led to a calm chord.

The concert ended with Jonathan Morton and Gabriela Montero with Praise to the Immortality of Jesus, from Messiaen’s Quartet for the End of Time.

The piano’s repeated chords sustained the soaring, ever higher violin. One person waved a Venezuelan flag in the audience, which was not over-big, but very appreciative of the quality of performances.