New generation of elite musicians

It is always a pleasure to welcome the truly outstanding NYOS Symphony Orchestra to Perth Concert Hall for, as the elite of Scotland’s musical youth, they embody not only technical ability but verve and enthusiasm.

Additionally the inspirational ability of conductor Rebecca Miller must be praised. Her vivid direction, precision and animation further lifted the NYOS performances we heard on April 13.

Judith Weir’s‘Forest’developed in clear line from its start with four solo violas and solo cello.

Throughout development and changes to this melodic beginning kept listening ears on track. It was above all the luminous use of the large orchestra which delighted in this work.

The second piece was the premiere of Jay Capperauld’s piano concerto‘Endlings’, which has to do with the dying-out of species.

It opened with recorded birdsong then the baiji dolphin, with the sounds of the river, the Sumatran orang utan, a violent second section of slash-and-burn, and finally the kaua’i ’o’o bird as it sings for a mate who no longer exists. But above all it hangs together as music with its entrancing sounds. In unusual form, this had James Willshire as the formidable soloist.

In the final section all members of the orchestra left the platform one by one, including the conductor, leaving James Willshire for a solo with its hypnotic, rocking four notes of some ten minutes. This impressive piece died away to the recording of the final kaua’i ’o’o bird’s lonely call.

The first performance of the earth-splitting masterpiece that is Stravinsky’s‘The Rite of Spring’must be a milestone. NYOS, under impelling and detailed direction from Rebecca Miller, gave their all.

The clarity of the Gannochy Auditorium helped this performance, which had plenty of individuality from the opening bassoon onwards. All sections, all individuals played with a disciplined abandon contributing to the whole.

The crescendo molto leading to the end of part one moved from the barest whisper to perhaps the loudest final note with visceral impact that the hall can have heard.

The quiet opening to part two, where often you wait for something to happen, was of gripping, fascinating, dream-like, hallucinatory, translucent detail. In entirety it was a performance which majored on clarity, detail and impact.

All performances were greeted with the stamping, whistles, shouts and bravos which they richly deserved.