Disunity that provided a night of many idyllic moments

It’s sad but true, but singles hold sway over doubles and triples. I’m talking concerti here and while there is a vast array of solo works of all shapes, sizes, eras and styles in the repertoire, multiples of one are, at least since the Baroque era, in short supply.

Performances of the handful that are in the repertoire are few, so a chance to see a “double” should be seized upon. The chance to witness a “double double” makes the evening doubly significant.

That was exactly what the Royal Scottish National Orchestra provided on Thursday night, concertos for violin and cello by John Harbison and Brahms.

One problem programming these works are the soloists. You have to get a couple with intuitive understanding and affinity with each other and the music. It’s a form of chamber music and the husband and wife team of Mira Wang (violin) and Jan Vogler fit that criteria to a “t”.

However, the Harbison calls for some disunity, with both players following different agendas.

The first movement amply illustrated that. Both players need high virtuosic ability and as the work wore on, I found it more and more appealing, the chalk to the cheese of some atonic minimalism I’ve experienced in some modern works.

The Brahms is more conventional in approach and must rank as one of classical music’s unsung heroes.

The passionate interchanging and toing and froing between the soloists is a delight but it’s Brahms’ overall construction that hits the spot for me – violin and cello firmly embedded on a foundation of wonderfully deep orchestral colour.

Top that? Simply add a superlative-laden Beethoven Pastoral. Peter Oundjian’s interpretation and the response from the orchestra ticked every single box for me, making it the perfect six.

I lost count of the many idyllic moments that emanated from the stage in 40 minutes or so of pure magic.