Scottish Chamber Emelyanychev

Two standing ovations and six curtain calls is not how concerts in Essen Philharmonie usually end. However, rather like the famous 1973 Heineken beer slogan, on Sunday evening, the Scottish Chamber Orchestra (SCO) under their chief conductor Maxim Emelyanychev, reached ‘parts other orchestras cannot reach’. After an evening’s entertainment from percussionist Colin Currie playing James MacMillan’s Concerto for Percussion and Orchestra (1992), and Beethoven’s Fifth Symphony, the SCO’s choice of encore, Whisky Mouth by associate composer Jay Capperauld, literally raised the roof. A packed house dutifully stamped their feet while orchestra members created a scene not dissimilar to that found in many a Scottish tavern. An inspired choice, and both a perfect end to the SCO’s 2025 European tour, and a perfect introduction to this charismatic and talented young Russian conductor, the Philharmonie’s featured artist this season – Maxim Emelyanychev.

The programme

The concerto

The conductor was not the only talent on stage. Tonight was a showcase for the very best of Scottish talent.

Crashing tam-tams unleashed seemingly decades of Celtic fury onto the unwitting German audience as proud Scotsman, James MacMillan’s Veni, Veni, Emmanuel found life in the hands of Scottish percussionist extraordinaire Colin Currie. Racing from one end of the stage to the other, Currie worked his way methodically around the vast array of percussion instruments, laid out as per the composer’s instructions.

Soloist and orchestra were most definitely equal partners. One might even suggest – foes, as the brass challenged every sinew of Currie’s being. MacMillan’s careful choreography produced interesting sonic effects: the trombones threatened, the fanfare disturbed. And the evocative trumpet plainsong melody emerged from the fog while later trumpet distortions re-enacted the hellish fury. All the time, Currie’s ability to find the groove kept all engrossed. His melancholic marimba murmurings calmed the Scottish waters before gently shimmering around that one sustained consonant chord, oscillating gently like a boat on the Murray Forth.

The Christmas carol

The mixture of styles continued as MacMillan’s ancient plainsong tune – the German Christmas carol, O Come, O Come, Emmanuel – burst forth, only to be interrupted by a flurry of drum riffs. This concerto is not just a musical feat, but an immense physical achievement which demands total respect.

A final trombone chorale invited each orchestral member to don their two metal fragments, and jingle those Christmas bells accompanied by Currie’s pealing tubular bells. Christ has died, Christ is risen, Christ will come again! An incredibly emotional closing as the solitary bells continued to resonate around the fantastic Essen Philharmonie auditorium.

Currie Maxim Essen — Colin Currie and Maxim Emelyanychev taking a bow in Essen.
Scroll down for some fun facts about the six brass-coloured cowbells in front of Currie’s right hand. © Clare Varney

A little Beethoven

The rest of the evening was devoted to that most German of composers – Beethoven with extracts from his 1801 ballet suite The Creatures of Prometheus, followed by a very dramatic reading of Symphony No. 5. What impressed most was the energy and drive from the bass section led by Jamie Kenny, imbuing meaning in every phrase. Equally impressive were the natural horns whose hunting calls and inspirational passagework stirred all into action.

Everything felt fresh, nuanced and beautifully phrased. And as an exquisite oboe solo lingered in the air, time nearly stood still. This was Beethoven laid bare.

Emelyanychev, conducting without a baton and often creating lines with just his left hand, is not perhaps your most traditional conductor. But his unique mixture of delicate finger gestures combined with the occasional tilt or shake of the head, reaps exciting rewards.

The woodwind shone in the Andante, while a quirky and oft overlooked second violin countermelody brought smiles. An immensely exciting Scherzo, full of light and shade and cheeky charm, kept the bassoons on their toes. Bravo to the strings led by Stephanie Gonley for so adeptly accommodating Emelyanychev’s furious tempos. A joyous and triumphant Finale left all with a spring in their step.