Having just spent another few days in Edinburgh, which I must say is the most delightful city I have visited so far, I am inspired to submit this review of another of the concerts I attended in August in Poland, the relevance of which you will see...
Mendelssohn, Symphony No. 3 in A Minor, Op.56, "Scottish"
The Orchestra of the Eighteenth Century
conducted by Gustavo Gimeno
Tuesday 29th August, 5pm
Warsaw Filharmonia Narodowa concert hall
This, the second last day of the Chopin Music Festival saw huge crowds gathering, most already with tickets (like me), but a sizeable proportion standing around in the hope that something would come up at the last minute. Scalping must be banned in Poland because I saw no evidence of it, but there were certainly several people whom I saw claim a last minute ticket at the box office through someone else cancelling.
I criticised the tuning of this orchestra in a previous review, however for the work featured today I have only praise for the wonderful, rich and spacious sound they produced in delivering this charming symphony by Mendelssohn. Conductor Gustavo Gimeno was in total control as he swept and gestured his musicians, who all watched him attentively but still retained flexibility and individuality either as periodic soloists or complete sections in a performance that exuded balance, control, dynamics and phrasing of such delight.
Mendelssohn conceived the idea of composing a symphony that would convey the charm and climate of Scotland, during a visit there in 1829, making some initial musical sketches that were then put aside for some time. Twelve years were to elapse before he returned to it and so the symphony is in effect a display of the composer in maturity, at least as far as a short life of only 38 years goes.
The fourth movement is probably the most familiar to audiences, partly due to its use famously (or infamously?) in the recurring 1970s television sketch Hampton Wick, starring Ronnie Barker and Ronnie Corbert.
The Orchestra of the 18th Century is a period instruments orchestra, which means the musicians play either original historic instruments or modern day copies. String players often use historic violins, violas, cellos and basses but in a full period instruments orchestra like this one, that extends through all the sections - winds, brass and even percussion. In keeping with the historic approach to music, pitch is usually A430 instead of today's A440. Even that is changing though. Many modern European orchestras now tune to A442, sometimes referred to as "Paris Pitch" and in Russia I have heard of A445 being used.
At Chamber Recording Studios in Edinburgh, where I have been a guest twice in the last month, they are tuning both pianos (a Yamaha U3 upright and a Broadwood grand) to A441.
Australia, the United States, England, Wales and Ireland are still uniformly on A440, unless a touring concert artist requests something different.
This concert concluded my musical activities in Warsaw and two days later I departed for Berlin. Poland is a beautiful country and in particular, Warsaw was special to me. Such lovely, warm and friendly people with an ambience, pride and devotion to their beloved Chopin and Paderewski, who head up the countries fascination, dedication and respect for all things musical.
