Scottish Chamber Orchestra shine once more

A performance which involves a programme of music by composers stretching over the past 200 years is bound to be an uneven one. What a 200 years it’s been after all! Surely the subtle dissonances of Poulenc will be lost in Mozart, whose emphasis on precise and unwavering rhythm has no place alongside Mendelssohn? However, the SCO under conductor Paul Meyer puts any such qualms to rest in this fantastically varied performance.

To anyone unsure of 20th Century music in the classical style, I recommend Poulenc’s Sinfonietta which, if tonight is anything to go by, ought to turn any critics of his sometimes erratic style. The piece demands many orchestral characteristics, exposing beautifully rounded legato from the woodwind, and reminding the listener of the full dynamic range of the brass. Similarly impressive are the strings, united under Meyer to best shape and define Poulenc's competing styles, from the developing themes of the first movement to dance-like passages later on.

Mozart’s Flute Concerto provides a complete contrast. It's a piece known for its sensitivity to the full range of the instrument, a range which soloist Alison Mitchell really gets a grip of, leading the orchestra through entries of the concerto's distinctive theme, smooth legato passages and soaring cadenzas. The string section shine again in their support of the solo line and there's real generosity in the way Mitchell switches effortlessly between soloist and ensemble player.

Mendelssohn’s ‘Italian’ Symphony spans many distinctive styles, displaying the composer's obvious love for dance with influences of Italian and Spanish folk music. The exception lies in the march-like second movement: balanced instrument groupings within the wind and the strings pass the initial melody back and forth seamlessly. The piece culminates with a tarantella in the final movement, during which Meyer manages to coax a truly impressive collective sound from the ensemble and, though their unity sometimes slips during the unbelievably fast swirling semiquaver passages, the vigorous mood is sustained right up to the closing chords.