The performance of Neil Smith’s composition, ‘Hidden Polyphony’, was a world premiere – an inspirational but also challenging work, in its bringing together of the Dunedin Consort and RSNO.
The amount of historical study that lay behind this endeavour was impressive in every way – drawing on studies undertaken in conjunction with the University of Edinburgh (notably collaboratively with the research of Dr James Cooke), looking at pre-Reformation music in Scotland – though there are vanishingly few examples of preserved scores from this period. The focus was therefore on extant texts remaining – requests in historic wills of pieces to be sung at Requiem Masses, together with poetry by William Dunbar, and the ‘Palyce of Honour’ (Douglas). All of Smith’s work has resulted in a retrospective re-transcribing of historic descriptions and texts back into musical form. Anna Dennis’ mesmerising voice forged that tangible and moving link: between the texts of the past and the music of the present.
There was an inevitable concern that the Consort might possibly be overcrowded by the full-force of the RSNO, given the sheer immensity of the volume and sound; but the performance was admirably balanced, allowing the composer’s ingenuity and intimacy in his work to shine clearly through; the Baroque ensemble was truly showcased. This recital was the result of several years collaboration between Dunedin and the RSNO.
Smith’s work actually formed a natural bridge with the preceding ‘Water Music’, written for George I. Perhaps maybe known most for the use of horns, this was an abbreviated and special selection of movements, focusing on the more intimate and delicate selections from the suites.
The second half of the evening allowed us to hear parts from Wagner’s ‘Ring’ cycle – a performance of just over an hour (but which distilled the original from its 15 hour total!) It drew us marvellously into the world of gods and monsters, giants and dwarves. De Vlieger honed down on key episodes from the ‘Ring’s’ four operas, largely preserving Wagner’s original scoring, though with orchestral supplementation to stand-in for the vocal/soloist elements. The hammering anvils from the dwarfish kingdom, and the ever-popular ‘Ride of the Valkyries’ were highlights of the rendering – the recital combining the melancholic and magisterial, the impish and ethereal – we were most definitely transported into the world of dreams.
Event: Friday 16th May 2025 at 7.30pm