MUSIC

Every so often a conductor will come along, whose magnetism will transform an orchestra and recalibrate our own critical barometer. The same goes for soloists. There are good ones, and popular ones, whose presence we genuinely enjoy and applaud. But there are exceptional ones, whose astounding technique is matched by a musical mastery that bears the mark of genius.

When these phenomena come together, as happened over the weekend with the RSNO, the outcome is both revealing and explosive.

On the one hand, we had Edward Gardner – currently reshaping the Bergen Philharmonic in his role chief conductor – connecting with the RSNO players in such a way that their playing of John Adams’ The Chairman Dances and Sibelius’ Second Symphony was uncommonly radiant, ripe, electrifying and, most importantly, delivered as one solid, seething, synchronised organism. This was an RSNO on heat.

From the word go, the Adams’ dances bounced impatiently off the page, their infectious chattering rhythms and glistening textures as intoxicating as a dose of Saturday night clubbing. Gardner’s Sibelius made a potent argument for the symphony’s implied narrative, its build to that final glorious chorale thoroughly compelling, its attention to detail both revealing and intensely satisfying.

Then there was soloist James Ehnes, whose performance of the Beethoven Violin Concerto was a mind-blowing combination of perfection and intellectual originality.

There wasn’t a single note we couldn’t hear, or which didn’t mean something. He proved that cool, controlled virtuosity, when it simply comes naturally, is all the more dazzling.