Showing posts with label Beethoven. Show all posts
Showing posts with label Beethoven. Show all posts

Friday, 24 July 2015

Czech classics in Cambridge

This is a Festival review of Melvyn Tan and The Škampa Quartet

More views of or before Cambridge Film Festival 2015 (3 to 13 September)
(Click here to go directly to the Festival web-site)


24 July


This is a review of a concert given, as part of Cambridge Summer Music Festival, by Melvyn Tan and The Škampa Quartet at West Road Cancert Hall on Friday 24 July 2015 at 7.30 p.m.

Cambridge Summer Music Festival (@cambridgemusic) has, in years past, given opportunities to hear both the Quartet and Melvyn Tan one well remembers the latter in Messiaen (Quatuor pour la fin du temps same page-turner !), and in a piano recital (also at West Road : @WestRoadCH) and the former at The Union Society (@cambridgeunion), and here they were together !


West Road Concert Hall, Cambridge



Beethoven ~ Piano Sonata No. 30 in E Major, Op. 109

Janáček ~ String Quartet No. 2 (‘Intimate Letters’)

Dvořák ~ Piano Quintet No. 2* in A Major, Op. 81



The review begins with what is most immediate in one’s mind, where Melvyn Tan (@Melvynbetan) and The Škampa Quartet played together



Antonín Dvořák (18411904) ~ Piano Quintet No. 2* in A Major, Op. 81

1. Allegro, ma non tanto

2. Dumka : Andante con moto

3. Scherzo (Furiant) : Molto vivace

4. Finale : Allegro


The huge scale of Dvořák’s Piano Quintet No. 2 (in A Major, Op. 81) (from 1887), is necessarily influenced by the scale of the quintets by Schumann (1842) and Brahms (1864), and its principal themes will not fail to be known to and impress us.

So Dvořák gives us one of his telling melodies on cello, before it is passed to the first violinist (Helena Jiříkovská) : we could not only see, later, Melvyn Tan’s facial pleasure at how she rendered it, but also smiles from Adéla Štajnochrová (second violin), Lukáš Polák (cello) and Radim Sedmidubský (viola) at playing this music from their homeland, which they were going to develop for us with commitment and verve :

Into the structure of the movement, Dvořák inserts dance measures, and we hear him, through them, reaching to make a grand assertion with the material. Then, when Polák brings back the theme, it is controlled, with piano set against it, and Tan goes on to punctuate and facilitate the movement, with the music revealing itself, and its expressive potential, in the repeats, and with the intervallic leaps giving us a sense of reaching for the stars.

The scoring seems to use the piano and the quartet as if they are desks of instruments in an orchestra, ranging the former against the later, and, in the rise and fall, do we hear echoes of the composer's symphonic sound from the late 1880s / early 1890s ? (It is a different approach from the more integrative one of Brahms, but with the same orchestral possibilities at work.) With the sound of the piano closing the movement, there was a strong feeling of excitement in the ensemble to be performing this work.


At the opening of the second movement, Tan placed the theme before us with articulation and great delicacy, and then, as the others handled it, continued to do so in the capacity of embellishing and enriching it. We are a little reminded, by a melodic line in the cello part, of the slow movement of the Schumann quintet, and then Dvořák lulls us, again and again, into a restful state with each time that the piano restates the initial theme.

New vistas open with a feeling of holidaying (or journeying), and, with an undercurrent from the cello, of traversing summer meadows. Very tender playing from Polák, with the merest of gestures on violin, brought in a section of enchanted quietude : the other players were profoundly hushed as he played tremolo writing with a powerful strength of feeling. Then, full of energy, a new motif, and Tan’s face said it all, as that motif turned into a modified form of the theme. Just before the end, the holiday mood resumed, and so did the magic, in this respectfully unhurried and quiet music-making almost a lullaby.


Albeit in proportion to the rest of the work, this is a biggish Scherzo**, and it is almost an anthology of themes, with the same feeling of yearning / journeying. This was playing with every appearance (though we know the hard work that it belied) of effortlessness, and Dvořák makes us feel a measure of ease, though he is shifting the tonal centres, and also playfulness, with Tan giving us a profound legato, echoed by the string-players. That moment of yearning briefly recurs, before the use of variation-form reminds us of the Beethoven Piano Sonata, and the Scherzo closes with very definite, clear strokes.

The Finale is written with, and was played with, graciousness and also propulsive force, and Dvořák subdivides, by sounding the violins against the cello and the viola : the stage arrangement chosen, with the first violin to audience left, and the viola to the right, was good visibly, but also separated the voices here. Rhythmic patterns are used in the scoring, as well as little, playful gestures of the notes of another key, and the effect of small pulses.

As the Allegro moves, it develops into a fast, modulating fugue with a lively piano voice, but then bringing back a theme from an earlier movement. The harmony becomes ambiguous, and there is a play-fight of a tussle as to where we are rooted, before reducing to a hush, for a simple statement on violin, to which the other strings add descending figures.

They provided exceedingly quiet harmony to a piano passage, before what must have been one of the softest sections of pizzicato ever. From there, first violin Helena Jiříkovská took the lead, but, with competing material that desired to come to the fore, Dvořák left us guessing right to the closing bar to see how he would end this thrilling, lively piece.


One took great pleasure in and in hearing this work, and was most impressed both by the integration of all the players into the work, and by the deployment of what Ralph Vaughan Williams (in praising a performance under Sir Adrian Boult) called a true pianissimo (or ppp). The Festival audience was abundantly happy to have finished the varied programme with this compelling playing, where attention had been intense all round.


* * * * *


Ludwig van Beethoven (1770–1827) ~ Piano Sonata No. 30 in E Major, Op. 109

1. Vivace ma non troppo / Adagio espressivo

2. Prestissimo

3. Gesangvoll, mit innigster Empfindung. Andante molto cantabile ed espressivo


Melvyn Tan (image from www.nmcrec.co.uk)


Performances vary as to whether the two sides of the first movement are ‘run together’ with another in that of the second movement, but these so-called five (or six) ‘Late’ sonatas are their own kind of beast : probably, one guesses more (as one listens), not because Beethoven only came technically to think in terms that broke the mould at this stage in his life, but because, as Bach was, he must have been aware of his legacy, and could dare to say the things that had been in his heart for a long time ? [For CRASSH (@CRASSHlive) in January (also at West Road), Murray Perahia’s compelling analysis of, and guided performance with The DoricString Quartet (@doric_quartet) of movements from, the original form of Beethoven’s Opus String Quartet Op. 130 revealed the roots of his thinking, and of his future-proofing compositions.]




Melvyn Tan, who saluted the one nearest to him, clearly had not seen before the distended urns, bearing plants with green foliage, that had been arranged at either end of the piano : as they did not disturb him, they served to give a certain balance to the backdrop of what can, visually, be an exposed stage at West Road. As is usual with him, he seems to catch himself as much as us by surprise in starting to play, i.e. without any grand preparation of holding the arms aloft above the keyboard :

He threw us straight into something that causes us to ask what Schubert (17911828) would have made of this theme (or of the use of variation form ?) he whose mere thirty-one years alive were, apart from the last twenty months, coincident with when Beethoven was alive (17701827 : as we do not always realize ?). Beethoven gives us here with typical, and undimmed, Beethovenian fire, drive and energy a mix of feelings and techniques straightaway, with a great sense of balance, and of modulation, momentary touches of great beauty, and the hands gradually separating to the ends of the keyboard.

In all this, Tan felt immensely prepared, but not to have premeditated the exact interpretative choices that he brought to the performance which is what one values so much in his approach, the sense of freedom within full facility with the score except that it was always going to be rhythmically very live, and played from the inside outwards.


A Schubertian theme of tenderness (or Schumannesque, ahead of its time ?), which was right at the outset of the Andante, Tan repeated slightly more softly. Pacing the playing as if it were breathing, he brought out its quality as a chorale, and, emphasizing some of the not obviously significant internal lines, led us into the variations : the heart of the matter, infused by dance-forms, and also with wonder at what the world might have made of this music at the time...

If one had judged by appearance, and been unable to hear Tan’s playing, he did not look at ease, and one would not have imagined that he was creating such a beautiful, appropriately precise sound much in his approach, the sense of freedom within full facility with the score as part of which, as the variations progressed, he also brought out some spikiness in the writing. In working on Beethoven with The Doric Quartet (as mentioned above), Murray Perahia talked about a moment when, to try to paraphrase the religious conception that he evoked, Heaven comes to meet Earth, and we had that feeling from Beethoven here much in his approach, the sense of freedom within full facility with the score and then building to an expansive treatment.

Yet, at root (as with, say, The Goldberg Variations), all that development comes back to a simple statement, and then further decoration / ornamentation, in which we hear Tan exposing the full feeling within this sonata, and enwrapping us in it : we are willing it on, to where we hear it to be going, and he is maintaining our engagement, by keeping something back. It is, though, in a simple statement again that Beethoven, through Tan, seeks a conclusion, with much in his approach, the sense of freedom within full facility with the score reminding us of the chorale element much in his approach, the sense of freedom within full facility with the score a nigh Lutheran, quiet close to this thoughtfully vibrant interpretation.


* * * * *


Leoš Janáček (18541928) ~ String Quartet No. 2 (1928) (‘Intimate Letters’)

1. Andante Con moto Allegro

2. Adagio Vivace

3. Moderato Andante Adagio

4. Allegro Andante Adagio


The Škampa Quartet (but one got away, Adéla Štajnochrová) : Radim Sedmidubský (viola), Helena Jiříkovská (first violin), Lukáš Polák (cello)

The opening Andante sees paired violins against, first, viola in an extreme Sul ponticello, then cello : in all this, there is the assurance of mastery of language and form from, especially here, Radim Sedmidubský (viola) and Lukáš Polák (cello). Propelled by writing for the latter, the work opens like a flower, but one that is both vibrant (energy, passion, enthusiasm, from Janáček and his interpreters) and, at the same time, shy and delicate, exemplified by an almost imperceptible Sul ponticello passage from Polák. Throughout, the members of the quartet are communicating to each other, as well as to us, links in its episodic structure, where it moves from a slow and reflective feeling of the rhapsodic to intensity. Brought in by quiet writing for viola and touches from the violins, the movement came to a high, bright close.


The Adagio starts with sinuous writing for viola, which passes back and forward with the second violin : we hear not only the full, rich sound of the quartet, but also Janáček’s pleasure and skill in writing for what is best in the viola. Beginning with very fast figurations for lead violin, the Vivace is heartfelt in its harmonies, but there are also ambiguous notes and discords as it progresses to the rhythms of a march or dance, there is the ambivalence of Will it, won’t it ? to the mood.

We noticed the quartet’s careful use of a range of dynamics, and how contributions to the dialogue from the viola are a significant part of the work***. It is with a sensation of inner irresolution (in some version of Janáček whom we fictionalize having all these experiences of mood- and thought-patterns) that we conclude.


Led by first violin Helena Jiříkovská, the third movement has a formal, but not icy, tone, before sounding triste and regretful. Just for, initially, a short episode, it is like a folk lullaby – when, after other material, it recurs, it is quieter, but with intensity and feeling in the realisation. With an element of squeakiness (from the score), the violins quietly proceeded, but, then, the players are on full, with an alternation of a dance and a firm pulse. With a highly energized section, from which a frenetic version of the lullaby emerges, and we come back and back to its theme, it is as if the music (as art is sometimes thought to be) is therapeutic. Janáček seems to be seeking a soft resolution, and, twice, ushers in an open sound, although it is to be with the end of its outbursts that it is over.


As we had been used to, The Škampa Quartet brought overwhelming musicality to the familiar theme with which the last movement asserts itself then, a quiet interlude, before a little moment of fireworks, and resuming the theme, now full and clear. Still, all is not well with the interaction between the inner and outer in this work, and Polák had some stark statements to make on cello, and there are tensions in the harmony, and with keys and rhythms pulling against each other.

A first use of playing pizzicato (first the viola, then the two violins) led into a ‘jogging’ line for cello, of which the violins were then mimetic. In this, a sense, still, of unease and even pain, and a reduction to a very gentle dynamic. However, there is no way except up, and then all four elements of the quartet in several bars’ worth of a hugely scratchy, amorphous character : it is to resume, louder and longer, but, before it does so, the viola gives us the big theme. On the edge of our seats with the emotion in the viola part and somewhat as with the Dvořák quintet (please see above) we are asking where does / will / can this music end.

But end is what it forces itself to do, and we know that we have heard what offers great understanding of this soul-searching piece : Yes, factually the players are Czech, and share that with the composer, but they really felt, on some quite different level, to be magnificently in tune with this repertoire, and to have done far, far more than entertain us with it : taking us into their world.



For now, the review ends there, with a continuation / completion to come...


End-notes

* Wrongly identified, in the Festival programme, as Piano Quintet No. 1, which was Dvořák’s Opus 5 (in the same key) : although he destroyed the manuscript soon after, it did have a premiere, and one understands that it was having borrowed a copy to revise the work, fifteen years later, that caused him to write anew, and produce this masterpiece in the tradition of those already mentioned.

** Not unlike the scale of that, marked Andante, of Schubert's Piano Trio No. 1 in B Flat Major, Op. 99 (D. 898) ?

*** Maybe it was an instrument favoured by Kamila Stösslová, who (despite being a married woman who did not return his feelings) corresponded with Janáček for many years, and was with him when he died ? (We understand that she was Janáček’s inspiration for Kát'a in Katya Kabanová, the vixen in The Cunning Little Vixen, and Emilia Marty in The Makropulos Affair.)




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Wednesday, 22 October 2014

What I am looking forward to in the Cambridge Classical Concert Series… (Part II)

What I am looking forward to in the Cambridge Classical Concert Series… (Part II)

More views of - or before - Cambridge Film Festival 2014 (28 August to 7 September)
(Click here to go directly to the Festival web-site)


23 October

What I am looking forward to in the Cambridge Classical Concert Series… (Part II)


On Tuesday 28 October at 7.30 p.m., pianist Freddy Kempf is due to give a recital of works for solo piano by Beethoven, Schubert and Tchaikovsky


I first heard Freddy Kempf in chamber music as part of Cambridge Summer Music Festival some years ago, when he played a programme in the hall at King’s College – Tchaikovsky’s titanic Piano Trio in A Minor, Op. 50, and also Dvořák's Trio No. 4 in E Minor, Op. 90 (B. 166).

The power of the music, transmuted and transported by the energy of the young players, was instantly appealing. It seemed that he must be related to the German pianist Wilhelm Kempff (though the difference in spelling of the surname had gone unnoticed), whose recording of a selection of Preludes and Fugues from Book I of Bach’s Well-Tempered Clavier (Das Wohltemperierte Klavier) had been such a feature of my late teenage years (and, of recent years, Kempff's recordings of the Schubert Sonatas for Piano (in a boxed set, also from Deutsche Grammophon - @DGclassics)):

However, whereas other on-line pieces make no mention of the connection, a biography by Robert Cummings states that Freddy is Wilhelm Kempff's grandson. (The name, however spelt, actually relates to the German word ‘kämpfen’, meaning 'to fight' or 'to struggle' (as, unfortunately, also in Mein Kampf).)

Five years ago, Kempf gave a Liszt and Beethoven recital at The Corn Exchange in Cambridge (@CambridgeCornEx), where one highlight was the so-called Dante Sonata (properly Après une Lecture du Dante: Fantasia quasi Sonata, published in the ‘Deuxième année: Italie’ of Liszt’s Années de pèlerinage), where the passion and drama were patent, as well as Liszt and Kempf’s musicianship.


His Corn Exchange recital on Tuesday is as Artist in Residence, and includes the late Piano Sonata in A Major (D. 959) by Franz Schubert, written, with two other Sonatas for Piano (D. 958 and 960), in 1828, the last year of his life. (There is also an earlier Sonata in A Major (D. 664, Op. Posth.), which is thought to date to the Summer of 1819, and which, as with D. 959, was not published in his life-time.)

By contrast with Winterreise, Op. 89 (D. 911), the proofs of whose second part* the dying composer famously corrected, and which was published on 30 December 1828 (Schubert had died on 19 November), these works did not appear in print until 1838 to 1839. Possibly in the same way as Beethoven’s late piano works, in which Piano Sonata No. 27 (in E Minor, Op. 90) is sometimes grouped (also on Tuesday's programme), these sonatas of Schubert’s were not easily assimilable to begin with, although now much cherished.

Favourite recorded interpretations of Schubert have included Maurizio Pollini’s of the Wanderer-Fantasie, and Alfred Brendel’s of the D. 664 sonata. Very recently, though, Imogen Cooper’s three-CD all-Schubert release of live recordings has coupled the last three sonatas with other repertoire, where, in the Sonata in A Major, we can hear the same fragmentation (and use of an advanced approach to modulation) as in parts of the composer’s late string quartets (probably most clearly in its final movement (Rondo : Allegretto – Presto), which feels to be the heart of the work).

Or even the disintegration of music and meaning of Winterreise, from where we can look down the decades to texts and settings such as, for example, Georg Büchner’s and Alban Berg’s.


The joy of the recital that Freddy Kempf is bringing us, with these late (or, in the case of the Tchaikovsky (the Grand Sonata [in G Major], Op. 37), at least mature) compositions of stature and breadth, is that it gives great scope for them to find synergy in each other, and for the pianist to discover new truths in them with which to present us.


End-notes

* The first part of Winterreise had been published on 14 January (1828), just as Wilhelm Müller's texts appeared in February and October 1827 (each part containing twelve poems).




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Thursday, 16 October 2014

What I am looking forward to in the Cambridge Classical Concert Series… (Part IC)

What I am looking forward to in the Cambridge Classical Concert Series… (Part IC)

More views of - or before - Cambridge Film Festival 2014 (28 August to 7 September)
(Click here to go directly to the Festival web-site)


17 October


What I am looking forward to in the Cambridge Classical Concert Series… (Part IC)


On Friday 17 October at 7.30, Cambridge Corn Exchange (@CambridgeCornEx) hosts the first in its annual Cambridge Classical Concert Series

The programme for Friday has Natasha Paremski (@natashaparemski) as soloist in Rachmaninov’s Rhapsody on a Theme of Paganini, Op. 43, with The Royal Philharmonic Orchestra (@rpoonline) under the conductorship of Fabien Gabel

According to the score, Sergei Rachmaninov (1873–1943) wrote his Rhapsody between 3 July (Franz Kafka’s birthday (in 1883)) and 18 August 1934 - which seems a reasonably short time, but see what follows.


Rachmaninov and Brahms

Some people like to see it as something Russian – as if pigeon-holing helps* – that Tchaikovsky’s response to success was often introspection and melancholy, or that, on the other hand, Sergei Rachmaninov was sensitive to new works of his being poorly received. (So much so that, around the turn of the century, he lost faith in his powers as a composer, but seemed to find help through hypnosis from, and conversation about music with, Dr Nikolay Dahl, an amateur musician.)

Neither composer can have been helped by the fact that the standards to which we have become accustomed to-day, not only of musicianship and of time and space to prepare works for performance, but also of seeking more to be objective in reviews of concerts and new music, did not always obtain, even at the turn of the nineteenth century. Well into the twentieth century, indeed, as well as having to make a living / become accepted as a composer, since Rachmaninov was still performing in the winter of 1942–1943 (in support of war relief) – it is thought that it was partly because of it that he died, on 28 March 1943 (in Beverly Hills, California).

The length of time that Brahms took to write his Symphony No. 1 (in C Minor, Op. 68) has been mentioned elsewhere in writing about the relatively short gestation of his Symphony No. 2 (in D Major, Op. 73) : essentially, a question at that time of seeming cramped, or inhibited, in the symphonic form, by feeling himself to be in Beethoven’s shadow.

The further link with Rachmaninov is that some premieres of Brahms’ works suffered equally for lack of orchestral preparation, not to mention the entrenched hostility of some critics : if, though, we were still paying regard to what they wrote after the first performance (in Leipzig) in January 1859, we would not be listening to Brahms’ Piano Concerto No. 1* (in D Minor, Op. 15). (In it, he affected to transmute material from a predecessor to the Symphony No. 1.)

As many will know, Rachmaninov’s Rhapsody on a Theme of Paganini (Op. 43) is indeed rhapsodic in nature. Yet by way of what could potentially have been episodic, because it consists of a set of twenty-four variations on the theme from Paganini’s Caprice No. 24 in A Minor (itself a Tema con Variazioni), but made effortlessly flowing.

And the piece comes with much musical / numerical resonance with, amongst other comprehensive compositions, Bach’s Well-Tempered Clavier (Das Wohltemperierte Klavier) Book I (BWV 846–869) and II (BWV 870–893), Chopin’s Preludes (Op. 28)**, as well as his own two sets of Preludes (Opp. 23, 28) : in total twenty-three, which, with the early Prelude in C Sharp Minor (from the Morceaux de fantaisie, Op. 3), cover all the major and minor keys***.

The Rhapsody is famously complete with Rachmaninov’s favourite evocation, the theme of the Dies irae, and the inestimable, graceful beauty that is variation XVIII. Not uniquely amongst his compositions, it cries out for dance, and the ballet is where, new to his work, it was first heard : the sophistication of the orchestration, the inventiveness of the inversions and transmutations, the subtlety of the transitions, must have thrilled Baltimore in 1934 at its world premiere, and its first British performance in Manchester in 1935…


Michael Kennedy’s trusty third edition of The Concise Oxford Dictionary of Music**** (though, for some purposes, one would not refuse the donation of a new edition…) rightly calls it one of his finest works, for it is simply glorious – energetic, lively, thoughtful, passionate, but also abstracted, and slightly matter of fact in a tongue-in-cheek way.

So that is certainly something to relish in the coming season !


End-notes

* Or helps anything – other than further viewing someone different as ‘other’, whereas one could try to understand him or her.

** Plus two sets of twelve Études, Opp. 10, 25.

*** There is also, of course, the so-called Revolutionary Prelude, in D Minor.

**** Oxford University Press, Oxford, 1980.




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Tuesday, 18 March 2014

Echoes of the future in Beethoven's Septet in E Flat Major, Op. 20 ?

More views of - or before - Cambridge Film Festival 2013
(Click here to go directly to the Festival web-site)


18 March

A concert given by Britten Sinfonia (@BrittenSinfonia) at West Road Concert Hall (@WestRoadCH), Cambridge, on Tuesday 18 March

This lunch-time’s concert saw a pairing of Versa est in luctum, a new commission by William Cole for the same forces as and with Beethoven’s Septet in E Flat Major from 1800 (Op. 20), a string trio plus double bass, bassoon, clarinet, and horn – the Sinfonia and the Wigmore Hall asked Cole to write the piece after he won the Cambridge University Composers’ Workshop in 2013.

Cole’s piece preceded its illustrious forebear (as Jo Kirkbride’s informative programme note bears testament – in fact, too illustrious for Beethoven’s liking, as he came to rue it as a cultural straitjacket by means of which others sought to confine his artistic development), and ran to around one-quarter of its length, in one movement.

It opened with what seemed to be a canon*, Clare Finnimore (viola) following Marianne Thorsen on violin, which, as it recurred, had increasing levels of interjections from the other instruments. Not necessarily being anthropomorphic about the composition, but the original theme then started becoming fragmentary (and maybe with hints of an inversion ?) before an extrapolation that reduced any resemblance further.


By now, the sound had become an exciting hubbub, but this appearance subsided, leaving the violin over a repeated interval, and with a beat being kept by the bass (Stephen Williams). When this, too, had become intense, there was a long pause, as if the piece might be at an end, but a short pizzicato moment gave way to a section for clarinet (Joy Farrall), cello (Caroline Dearnley) and bassoon (Sarah Burnett). What then sounded like open notes from the horn (Susan Dent) led to a sonority with the reed players, before the work closed with a gesture from bass and cello.

As an experience, Versa est in luctum did not seem as though it were just ten minutes long, as there seemed to be worlds within it : fitting, indeed, as the text comes from the central chapter of what is known as Job’s closing monologue, and, given all that has happened to him over time, is of a reflective nature. It received its World Premiere on Friday in Norwich, and, of course, played with conviction and verve by members of the Sinfonia, was well met in Cambridge.


As to the Beethoven, its six-movement structure began with two marked Adagio, although the first turned to an Allegro con brio. Words that do not always fit in one’s mouth at the same time as thinking about Beethoven, from the opening unison chord it exuded charm and grace in the Sinfonia’s hands. After some writing that felt its way around the dynamics, and a theme that sounded as though it had a statement and a response built into it, the material proper began with a melody that the composer might have been disgruntled to have described as Mozartian, with that sort of ambience for clarinet that he so liked. The succeeding interplay of voices led us back to the beginning, ending soon after with a feeling of suspension.

The cantabile movement that came next gave the melody to the clarinet, with strings underneath, and then passed it to the violin, before a prominent passage for bassoon. An air of expectancy had been built, into which a series of horn notes fed, the strings then providing support as it went on, but leaving still a sense of restraint until the violin emerged and gave the movement its main expressive force. A short piece in Tempo di menuetto followed, with, as in the opening movement, a theme, of an accented nature, and a paired theme, the whole impression being somewhat grand, perhaps military.

A mildly staccato statement of the theme, as used earlier in the work, in the Tema con variazioni : Andante led to a set of six variations, a form that Beethoven was to turn to throughout his career and where his own voice became more apparent. The first variation began with violin and viola, and then introduced the cello, whereas the second had the other players responding to the violin giving the theme, with the cello in its upper register. Next, clarinet and bassoon with the strings beneath them, and then, in a variation reminiscent of a movement twenty-four years later in the Symphony No. 9 in D Minor, horn and violin together (then playing quickly underneath, with a pizzicato from cello and bass.

In another variation that evoked later writing, the fifth had some of the character of Beethoven’s masterly writing for string quartet, before the brass and reed players joined in, and with a real quality of sweetness of playing from Thorsen, as the theme passed back and forth. Finally, the bass and the cello in its lower voice were to the fore, and brought the set to a close. In the Scherzo : Allegro molto e vivace, a movement of equivalent length to that of the Minuet, the ‘parped’ horn theme reminded of somewhere in the first two symphonies (No. 1 being the next Opus number, and, as Jo Kirbride usefully tells us, performed at the same concert where this work was premiered). The cello then advanced, supported by the bassoon, with a softer version, and the movement proceeded in sonata form, ending quite quickly, but not before a short ‘pa pa’ from the horn to recall the opening.

Again, as Beethoven was to go on to do (and Mozart (and Haydn) had done before), the Andante con moto alla Marcia; Presto began in a funereal vein, before the full-blown finale broke through, with a great feeling of lightness. Nevertheless, he gave an insistence to the theme, and there were glimmerings of his writing to come in the Symphony No. 7 in A Major, just over a decade later, and wrote captivatingly, which Thorsen brought out, for her instrument. When the theme returned, the balance of the ensemble, as had been apparent all along, was just right, and, after a momentary suggestion that we were veering into the minor, this accurate and emotionally careful drew to a close.

There was immense appreciation for the quality and deftness of the musicianship that we had heard, and the concert will be a treat for Radio 3 listeners in the summer, not least for those who find similar evidence in this work of what was to come. At the same time, one can well understand, as he expressed himself to pupil Carl Czerny, Beethoven’s not wanting to be tied to this piece, and to look forward, not to be asked for something in the more agreeable style of the Septet ! How many times are we grateful to true artists for being true to what they felt that they should compose, or paint, or write…


End-notes

* Which Cole tells us, in his note, is from a fifteenth-century motet by Alonso Lobo, setting a verse featuring instruments from the Book of Job (Job 30 : 31).





Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Thursday, 23 February 2012

Letting the music speak for itself

More views of - or after - Cambridge Film Festival 2011
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24 February

That’s what I reckon that Ronald Brautigam was doing in his all-Beethoven programme to-night by not noticeably using rubato*.

Three well-known sonatas (all of them with probably non-Beethovenian nick-names, as publishers then, amongst others, tried to get you to buy something with a catchy title), played quite straight, plus the Variations on the Eroica theme (Op. 35), which I did not know. (In position in Symphony No. 3, assuming that that work came first, the movement is in variation form.)

With all pieces taken from memory, yes he used variations in tempi between sections (as well as between movements), and contrasted quieter moments with louder ones: the so-called Pathétique, for example, opened with the thunder and explosion of what seems to be the fashion to call ‘a gesture’**.

Not strange when, after all, I think of him as playing the forte piano, where the nature of the instrument leads to a certain way of playing. It was therefore a little odd that the first time that I see him is at the keyboard of a grand piano, but he respected the works that he played by not adding expression, but allowing the expressive quality of the writing itself.

Where the benefit of the grand piano did come to the fore under Brautigam’s playing was in the articulation of motifs that would have sounded very different on a forte piano: there was a precision and clarity in the phrasing of significant passages that made sure that everything was audible, and every note had its full weight.

How such a big name gets invited to play must remain a mystery when the venue is distinctly intimate (not to say quirky), but I am an uncomplaining beneficiary, who next week hopes to see Simon Leper as accompanist***…


End-notes

* In the same way as Alexandre Tharaud on Radio 3 recently (on Wednesday last week, in fact), in his all-Scarlatti first half, broadcast live from the Wigmore Hall: his playing had me so captivated that it kept me listening in the car (and outside the intended destination of the pub), for nigh-on half-an-hour after I had first intercepted it (on the way to said pub).

Apart from attempts from someone to intrude into the sequence with the first beat of intended applause, Tharaud played ten sonatas without a break (I have edited 'Kk.' back to 'K.', because, even if it may be the new convention, everyone knows that the K. numbering credits Ralph Kirkpatrick, its inventor): D minor K. 64, D minor K. 9, C major K. 72, C major K. 132, D major K. 29, E major K. 380, A minor K. 3, C major K. 514, F minor K. 481, D minor K. 141.

I think that his choice of piece and their order owes something to Kirkpatrick's famous study of the allegedly 555 sonatas, so I must take a look...

** Just as the art world has come around to talking about painters and the like ‘making a mark’.

*** To whom, you might well ask, but I have not noticed that name alongside his.