Tag Archives: Johannes Brahms

In concert – Mary Bevan, CBSO / Edward Gardner: Schubert – Symphony no.9 & Songs

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Mary Bevan (soprano), City of Birmingham Symphony Orchestra / Edward Gardner

Schubert
Rosamunde D797 – No. 3b, Romanze (1823)
Der Erlkönig D328 (1815, orch. Berlioz 1860)
Die Forelle D550 (1816, orch. Britten 1942)
Im Abendrot D799 (1825, orch. Reger 1914)
Geheimes D719 (1821, orch. Brahms, 1862)
Symphony no.9 in C major D944 ‘Great’ (1825-6, rev. 1828)

Symphony Hall, Birmingham
Wednesday 17 May 2024

Reviewed by Richard Whitehouse Pictures by Benjamin Ealovega (Ed Gardner), Victoria Cadisch (Mary Bevan)

July concerts no longer a consistent fixture in the City of Birmingham Symphony Orchestra’s schedule, it made sense to end the current season with the intended programme for the fourth and final volume of this orchestra’s Schubert cycle with former chief guest conductor Edward Gardner.

If not his final such project, the ‘Great’ was the final symphony that Schubert finished and the culminating orchestral work of his last decade. Now, as almost two centuries ago, it is not an easy work to being off – but this account hit the ground running with a flowing yet purposeful introduction that elided seamlessly with the initial Allegro. Gardner kept momentum on a sure yet flexible rein over those impetuous and capricious themes of its exposition; underlining the subtly eddying tension of its development and a propulsive coda whose link-up with the tempo of that introduction was marred only by the too emphatic final gesture. Respectively plaintive or consoling, the Andante’s alternate episodes were brought into eloquent accord – the fanfare -riven anguish at its climax then the stark fatalism towards its close being especial highlights.

The essential link between the scherzos of Beethoven and Bruckner, the third movement had the right buoyancy but also a suavity in keeping with the Viennese character of its dance-like themes, and complemented by those of its trio whose lilting elegance were tinged by wistful regret. Launched with a commanding call-to-attention, the Finale did not lack for vigour but, unlike so many performances, Gardner was mindful not to rush either here or in the capering second theme whose relentless string accompaniment was vividly rendered. The development more than fulfilled its purpose as an extended transition into the reprise, then the coda opened with a frisson of anticipation such as underpinned the closing pages as they powered towards the decisive but never headlong close to what was a convincing and engrossing performance.

Regarding repeats, Gardner observed that of the first movement’s exposition but not those in the second half during either scherzo or trio, and that of the finale’s exposition. This at least made matters easier for the players, and left options open for their inclusion in the recording.

That forthcoming release on Chandos will hopefully find room for the five songs that formed the first half of this concert, with each of them arranged by a different composer. The pensive Romanze from Schubert’s incidental music to Rosamunde was heard in the composer’s own orchestration, with the compact psychodrama of Der Erlkōnig in a resourceful and nowadays overlooked orchestration by Berlioz. The looping but not always ingratiating playfulness of Die Forelle was expertly attended to by Britten, while the pensive soulfulness of Im Abendrot summoned an appropriate response from Reger; the sombre resignation of Geheimnis making for a welcome encore in its orchestration by Brahms. Throughout the selection, Mary Bevan’s veracity of emotional response and her clarity of enunciation were qualities worth savouring.

This programme may have concluded the Schubert cycle by Gardner and the CBSO, though hopefully it will not see of this partnership in recorded terms – the symphonies of Schumann, and maybe Brahms, being well worth considering as additions to the orchestra’s discography.

For details on the 2024-25 season A Season of Joy, head to the City of Birmingham Symphony Orchestra website. Click on the names to read more about soprano Mary Bevan and conductor Edward Gardner

Published post no.2,243 – Thursday 18 July 2024

Another serenade for an early summer evening…

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…this time in the form of one of the most charming works by Johannes Brahms, his Serenade no.1 in D major. An early work – published as Op.11 – it is full of good tunes and has a sunny disposition. Here it is in a performance on period instruments, with the Philharmonia Baroque Orchestra conducted by Nicholas McGegan:

Published post no.2,211 – Sunday 16 June 2024

In concert – Geneva Lewis & Georgijs Osokins @ Wigmore Hall: Brahms, Scarlatti & Elgar

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Geneva Lewis (violin, above) and Georgijs Osokins (piano, below)

Brahms Violin Sonata no.2 in A major Op.100 (1886)
Domenico Scarlatti Sonata in D minor Kk213
Elgar Violin Sonata in E minor Op.82 (1918)

Wigmore Hall, London
Monday 20 May 2024 (1pm)

by Ben Hogwood

The Violin Sonata no.2 is one of Brahms‘s chamber music perennials, a popular recital fixture – but in this recital from BBC New Generation Artist Geneva Lewis and Latvian pianist Georgijs Osokins it was as though the work had received a fresh coat of paint.

The tempo marking Brahms applied to the first movement, Allegro amabile, is seldom found in classical music – ‘amabile’ meaning ‘lovely’. That was certainly the case in this performance, though Lewis and Osokins took a much slower tempo than is the norm. Their daring approach succeeded, however, for the melodic phrasing blossomed, the spring-like main tune given plenty of room to shine. The second theme was laid bare, but again the slow tempo allowed for greater insight, followed attentively by the Wigmore Hall audience.

The dynamic range of both players was also notable, Lewis very much aware of her surroundings in the quiet passages, the audience subconsciously leaning in to the music. At points the music was so quiet that Osokins’ pedalling could be heard…but conversely the pair were not afraid to put the pedal down and play out, as they did in the finale. In between came a tender and affectionate middle movement, its dreamy opening certainly tranquillo, before a most appealing central vivace section.

Elgar’s Violin Sonata was completed when the composer had just turned 60 – and although he would live for another 16 years, very few major works followed. To hear the sonata played by performers in their twenties was eye-opening indeed, with more youthful elements of the piece revealed and a different light shed on a work that often has autumnal reflections to cast.

The first movement was notable for its commanding first paragraph, Lewis setting the tone for the movement as she became immersed in Elgar’s broad phrasing. Osokins, for his part, mastered the full piano textures most impressively, before both performers drew back for a thoughtful second theme. The second movement became a fascinating mini-ballet between the two instruments, its shadowy colours a clue to the composer’s darker thoughts, though the bittersweet melodies were given extra charm by the dance-inflected rhythms.

The finale took flight immediately, the violin surging forward with penetrating melodies that led to a sense of sunlight breaking through the clouds in the closing phrases, Elgar allowing his thoughts to brighten as the music turned to the major key. The imaginatively chosen encore capitalised on this, Lewis and Osokins giving us the rustic finale of Busoni’s Violin Sonata no.2 in E minor, music which might have passed for one of Brahms’s Hungarian-influenced works were it not for some particularly scrunchy harmonies.

In between the two big sonatas, Osokins (above) had the chance to shine alone, one he took with a profound account of one of Domenico Scarlatti‘s many keyboard sonatas. The Sonata in D minor Kk213 is a bittersweet piece, a reminder of how forward looking this composer’s music can. Rooted in the 18th century it may be, but in reality we could have been listening to a Satie Gnossienne, especially with Osokins’ poetic licence drawing out the final harmonic resolution.

Published post no.2,184 – Monday 20 May 2024

In concert – Janine Jansen and friends play Brahms @ Wigmore Hall

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Janine Jansen (violin), Timothy Ridout (viola), Daniel Blendulf (cello), Denis Kozhukhin (piano)

Brahms
Violin Sonata no.2 in A major Op.100 (1886)
Viola Sonata no.2 in E flat major Op.120/2 (1894)
Piano Quartet no.3 in C minor Op.60 (1855-75)

Wigmore Hall, London
Thursday 21 December 2023

Reviewed by Ben Hogwood. Photos of Janine Jansen & Timothy Ridout (c) Marco Borggreve

After the unfortunate cancellation of a concert in her series the previous week, violinist Janine Jansen and friends returned to health and to a Christmassy Wigmore Hall for another all-Brahms programme.

Jansen (above) and pianist Denis Kozhukhin (below) began with the Violin Sonata no.2, a late substitution for the first sonata but a breath of fresh air on a winter evening. One of Brahms’s best-loved chamber piece, its charming first theme has enough to weaken the hardest heart. So it was here, with Jansen’s affectionate playing. Her creamy tone was complemented by the incisive piano playing of Kozhukhin, who was deceptively relaxed in his body language but very much in tune with Brahms’s intricate rhythms and phrasing. The two excelled in the central section of the second movement, which tripped along with admirable definition of those rhythms, and in the finale, where the two enjoyed a more assertive musical dialogue.

Brahms’s last completed chamber work followed, Kozhukhin joined by violist Timothy Ridout (below) for a performance of the Viola Sonata no.2, arranged by Brahms from the clarinet original. This account exhibited elegance, poise and no little power. Ridout’s burnished tone was ideal for the music, capturing the shadowy outlines of music from a composer in his twilight years, but putting down suitably firm markers in the second movement. Ridout’s high register playing was a treat throughout, his tuning exemplary, and as the two players navigated the theme and five variations of the finale there was an ideal give and take between the part-writing. Particularly memorable was the plaintive stillness of the fourth variation, its mystery dispelled by the affirmative ending.

After the interval we heard the Piano Quartet no.3, competed in 1875 when Brahms was working on the completion of his first symphony. The two works have a good deal in common, beyond sharing the same tonality, for Brahms brings an orchestral dimension to his writing for the four instruments. This grouping needed no invitation to take up the mantle, powering through the first movement with relish, their dramatic account notable for strength of tone and unity of ensemble playing. Jansen and Ridout in particular stood out, their unisons absolutely as one, yet the real hero of the performance was Kozhukhin, elevating the heroic elements of a score closely associated with Goethe’s Werther while keeping the nervousness emanating from Brahms’s syncopated rhythms.

Lest he be forgotten, cellist Daniel Blendulf (above) delivered an understated solo of considerable beauty to begin the Andante, providing respite from the high voltage drama elsewhere but getting to the heart of Brahms’s soulful writing for the instrument. The quartet regrouped for the finale, another show of breathtaking power but with room for reverence in the chorale themes and their development. For all the bravura the air of uneasiness remained as an undercurrent, Brahms never quite at rest even when the quartet reached its emphatic conclusion. This was a truly memorable performance, capping an outstanding evening of music making for which all involved should be immensely proud.

Published post no.2,047 – Friday 22 December 2023

In concert – Carolin Widmann, CBSO / Nicholas Carter: Haydn, Ligeti & Brahms

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Carolin Widmann (violin, below), City of Birmingham Symphony Orchestra / Nicholas Carter

Haydn Symphony no.96 in D major Hob.1/96 ‘Miracle’ (1791)
Ligeti Violin Concerto (1989-93)
Brahms Symphony no.3 in F major Op.90 (1883)

Symphony Hall, Birmingham
Wednesday 1 November 2023

Reviewed by Richard Whitehouse

Tonight’s concert by the City of Birmingham Symphony Orchestra saw a collaboration with the well-regarded Nicholas Carter – former chief conductor of the Adelaide Symphony, now holding that position with Bühnen Bern alongside guest appearances in Europe and the US.

Few conductors would nowadays begin a programme with a Haydn symphony, and Carter’s take on no.96 did not lack for conviction. The Miracle of a falling if harmless chandelier may have taken place at the premiere of no.102 but does not lessen the quality of this work, its slyly portentous Adagio introducing an Allegro whose motivic unity is most evident in a tensile development and agile coda. With felicitous writing for oboe (rendered so by Helena Mackie) and violin (a welcome ‘guest lead’ from Zoë Beyers), the Andante is the highlight – Carter making the most of antiphonal violins where the gains in clarity or incisiveness were never in doubt. Steady but with a lilting grace then a piquant trio, the Minuetto was a perfect foil to the final Vivace – its energetic interplay duly capped by a coda of uninhibited verve.

Good that the CBSO marked György Ligeti’s centenary with his Violin Concerto, combining the composer’s love of polyrhythms and varied tunings with a heady recall of his Hungarian heritage. No stranger to this piece, Carolin Widmann emphasized the teasing reticence of its Praeludium and found aching nostalgia in the folk inflections of its Aria-Hoquetus-Choral. The coruscating build-up of its Intermezzo and finely wrought intensity of its Passacaglia were well judged, Carter bringing out the strangeness of orchestral writing with its extremes of register and an array of unorthodox instruments. The final Appassionato was trenchantly done, and while Widmann’s overly matter-of-fact cadenza robbed the closing ensemble bars of their barbed humour, it proved a small blemish on this otherwise captivating performance.

Brahms’ Third Symphony has done well by the CBSO in recent seasons, and Carter’s reading was no exception. Any hint of stolidity at the outset of the initial Allegro had gone during the exposition’s repeat, then the development accrued a momentum such as carried through to the end of this movement. The coda’s transfigured poise (Brahms’ riposte to Tristan?) was no less evident in the Andante, its melodic simplicity belying an emotional ambiguity as was implied by its ruminative asides before suddenly being made explicit during the confiding final pages.

The Poco allegretto was (rightly) taken not as an extra slow movement, rather an intermezzo of a pathos which was accentuated by its deft forward motion. The final Allegro then brought a culmination in all respects – Carter alive to its stark contrasts between the speculative and the combative, with a thrilling transition into the reprise then a coda that recalled the work’s defining motto with mingled aspiration and benediction on its way to an ending of perfectly judged repose. Never the easiest symphony to bring off, this was a Brahms Three to savour.

Carter will hopefully be working with this orchestra again soon. Next Wednesday’s concert brings Cristian Macelaru in a programme with Sibelius and Mendelssohn, while Thursday’s Centre Stage recital has a welcome revival of the Clarinet Quintet by Elizabeth Maconchy.

You can read all about the 2023/24 season and book tickets at the CBSO website. Click on the artist names for more information on violinist Carolin Widmann and conductor Nicholas Carter, and for more about composer György Ligeti

Published post no.1,998 – Friday 3 November 2023