The perfect example of musical sunrise with a virtuoso sunset

The usual overture/concerto/ symphony format went by the board at Wednesday’s Scottish Chamber Orchestra concert in Perth’s concert hall. And for good reason too. Beethoven’s violin concerto – all 45 wonderful minutes of it – is stand-alone brilliance and anything paired with it often disappears from sight.

Thus, the running order of Nielsen’s Helios Overture, Sibelius’ third symphony in the first half and the Beethoven in the second worked like a charm. Both of the opening works emerged intact and in vivid memory, the Nielsen work in particular.

This was the perfect example of musical sunrise, from double pianissimo basses and cellos to the full might of the SCO. It had almost film-score qualities, with the music ebbing and flowing. The musical palette is there and all it needs is adequate interpretation. However, the end result thanks to the orchestra and conductor Enrique Mazzola was much more than adequate.

The Sibelius surpassed expectations too. Comparisons between this and his first two symphonies are hard to find, but enjoyment comes easily. Sibelius adopts a quirky take on the symphonic form, swapping wide and sweeping melodies for a moving sea of different sounds and textures that form a deceptively-simple score. There was a touch of the rustic in the opening movement, but the composer couldn’t resist a touch of his Finnish patriotism in the final Allegro.

Then came the moment I, and most of the audience I reckon, was waiting for – Norwegian violinist Vilde Frang and the Beethoven. The work had a lukewarm reception on its debut but had she delivered the premier in 1806 it would have been an instant success. Her performance was something special. Her delivery was graceful, sometimes understated, moving – the second movement was a delight – and full of artistry.

There was no noticeable energy. Instead she let the music do the talking, and as it always does it spoke volumes.