A concert with The Endellion String Quartet : Beautiful Brahms, and somewhat baffling Haydn

This is a review of The Endellion String Quartet, playing Haydn, Mendelssohn, Brahms

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15 March

This is a review of a concert given by The Endellion String Quartet at West Road Concert Hall, Cambridge, on Wednesday 15 March at 7.30 p.m.

It has to be said that, when none of the string quartets on the programme (except perhaps the Mendelssohn ?) could be thought of as the core works of repertoire (though that makes it an inevitability that, for no good reason, a composition such as the Brahms A Minor is too little heard), The Endellion String Quartet clearly has a dedicated ‘fan-base’ [www.endellionquartet.com] : there must easily have been more than 300 in the audience in West Road Concert Hall, Cambridge (@WestRoadCH), so who says that there are no big audiences for chamber music… ?



Programme :

1. Josef Haydn (1732–1809) ~ String Quartet in E Major, Op. 54, No. 3

2. Felix Mendelssohn (1809–1847) ~ String Quartet in F Minor, Op. 80

3. Johannes Brahms (1833–1897) ~ String Quartet No. 2 in A Minor, Op. 51, No. 2

The Endellion String Quartet : Andrew Watkinson (1st violin), Ralph de Souza (viola), Garfield Jackson (2nd violin), David Waterman (cello)

Haydn ~ String Quartet in E Major, Op. 54, No. 3 (1789)

1. Allegro

2. Largo cantabile

3. Menuetto : Allegretto

4. Finale : Presto

The Haydn of the string quartets seems influenced, here, by his symphonic writing. The Allegro opens with a pair of balanced bars, and then fast writing for first violin (Andrew Watkinson). Eventually, we are into territory that is serious, and, no longer with an appearance of graciousness, which is characterized by an ascent that, through being staggered by backwards steps, is not a scale : on the way up, or descending, it is impliedly modulating as it goes. The movement is in sonata form, so we hear anew, in the light of what has just preceded, material with which we are already familiar.

In the following movement, marked Largo cantabile (but which seemed to have some of the qualities of a Scherzo), Haydn gives another orchestral theme, a hymn-like one, in which we may hear a marching motif. Next, before the opening material recurred, darker tones from the second violin (Garfield Jackson), which were expansively worked on by his fellow violinist, Andrew Watkinson, and with a virtuoso feel to the string-writing.

The opening theme seems to be subjected to some brief variations, before the darker tones return, and then more of the virtuoso style of the first violin, but which seems to become increasingly out of tempo with the measure that the rest of the quartet is beating - almost as if 'Papa' Haydn is depicting a state of inebriation ? This curious quality to the quartet continued with the Menuetto : Allegretto, which had a strange opening figure, and then set the first violin, with quirkily spiky gestures, against the other players.

In turn, the gestures became even more quirkily accented. Rather than have, per se a Minuet followed by a Trio section, Haydn gives us, after a rather odd Menuetto, an Allegretto that seems curiously dislocated, and almost as if his composition is assembled around dance-like rhythms. The Finale : Presto opens with the three instruments other than the first violin, and then, when it enters (in a lively and open way), we perceive it as distinct, again, from the trio of other instruments.

Even so, this movement seemed most like what one expects from Haydn, when writing for the forces of string quartet, and he uses, as his driving force, the sort of chirping that one gets from repeated notes and trills. He takes us into the minor, and is then modulating, as the work draws to a conclusion – with the strong impression, still, of the first violin as a maverick loner.

When, next, Andrew Watkinson spoke from the stage (from and for The Endellion String Quartet ~ @EndellionQt), and then we heard him play in the Mendelssohn, it became quickly apparent that the character of the first violin part is not his, but Haydn’s.

He had been addressing us to draw our attention to the next concert, on Wednesday 26 April 2017, and to commend both the work by Anton Arensky to be performed (the String Quartet for Violin, Viola and Two Cellos in A Minor, Op. 35), and the fact that, needing a second cellist (and only one violinist), Laura van der Heijden (@LauraVDHCello) was to be a guest perfomer. The following Tweets refer…

Assembling on #UCFF blog, a review from @EndellionQt's @WestRoadCH concert :https://t.co/EfaO3keQgR@LauraVDHCello joins them on 26 April pic.twitter.com/w4d9wRITh2

— THE AGENT APSLEY (@THEAGENTAPSLEY) March 17, 2017

At @CambridgeCornEx in 2015, we heard @LauraVDHCello and @rpoonline in Tchaikovsky's Variations on a Rococo Theme :https://t.co/cSAL5X4QlX https://t.co/P0C5vDRvIp

— THE AGENT APSLEY (@THEAGENTAPSLEY) March 17, 2017

Mendelssohn ~ String Quartet in F Minor, Op. 80 (1847)

1. Allegro vivace assai

2. Allegro assai

3. Adagio

4. Finale : Allegro molto

The second string quartet in the first half, for knowing which a debt is owed to The Coull Quartet (when they¹ played at Cambridge Music Festival in around 2004), began with a nicely-judged combination of sensitivity, passion and tension, so much so that sitting back and listening to the music, rather than – concentrate the mind and one’s hearing though it does – doing so with much eye to review-notes, seemed recommended. In the concluding bars, which were suitably vigorous, Mendelssohn completes the overall impression made by the Allegro vivace assai.

The second movement (marked Allegro assai) has been anticipated in the first, and was boldly played, but not excessively so, and so one could enjoy the lugubrious bass-line, with Mendelssohn’s murky colourings. As the opening material recurred, it was with a quality of insistence to it, but only to give way to a reappearance of the quieter mood, and, after some tail-notes and pizzicato playing, ending pianissimo.

The Adagio has a quietly reflective, and restrained mood. To it, we heard contributions made by low cello-notes (David Waterman), as if in a sadly thoughtful vein. The cello takes its place hesitantly in the general section, but as if then using patterns of notes to stir itself. The movement became enlivened and impassioned, but these feelings subsided, and it came to a very quiet close.

Mendelssohn builds his Finale from tonally ambiguous material, as well as prominent gestures, and The Endellion Quartet created a texture that swelled from placid to turbulent. Though they are very differently written and characterized from those in Haydn’s piece, it also has passages for the first violin against the trio of other instruments. One really did feel this as Allegro molto, pushing onwards, expressively and, in doing so, rhythmically – a final movement that is so full of drama that it is a conclusion without fully seeming like a resolution for all that we have been feeling.


It was a true pleasure to hear this work again live, and in such a strongly felt performance.

The auditorium of West Road Concert Hall

Brahms ~ String Quartet No. 2 in A Minor, Op. 51, No. 2 (1873)


1. Allegro non troppo

2. Andante moderato

3. Quasi Minuetto, moderato

4. Finale : Allegro non assai

Prominent in the opening of the first movement (marked Allegro non troppo) was a long held note from David Waterman (on cello) before we moved into the ‘sunny’ and airy material, with pizzicato cello, that makes this composition shine - especially with The Endellion String Quartet sounding so well together, with a very good ensemble.

Seamlessly, Brahms takes us back into the (sometimes) tempestuous initial theme, with its bold statements, and fluidity in the writing, which is as compelling as in the better-known Piano Quintet in F Minor, Opus 34 (although his string quartets generally receive less attention than they deserve). With the recurrence of the more cheery theme, his emphasis is on the viola (Ralph de Souza), before - as if at the end of a complete work - the movement closes very definitely.

In the Andante moderato, the cello was again to fore, and the players and their sounds in perfect balance. The measured development had a suspensive, shy start, and then, led by a strong line from the cello, a passage marked (at least) forte, but which Brahms lets dissipate (as he might in the symphonies).

Ruminatively, and sotto voce, the writing seems – or, rather, makes us – unsure about which key it is in at any time, and as if it dare not decide. Then, a measured, lingering cello-line, appearing to be tempting the other instruments ‘to talk’, and which so brings about a small crescendo. Via rhythmic patterning from the cello, and then a passage of high notes on its upper string, we are brought to a soft close, with viola pizzicato.

The slow movement, an Adagio, begins – as did one in the Haydn – with twinned sets of assertions, here feeling to be delicately placed into the aether, before we move into a fast, and lighter, section that resembles a fugato. A cascade of notes develops, flowing between the instruments, but with Brahms moving us so cleverly between sections that it seems quite natural and casual. Cello-notes and a few sympathetic strokes bring the movement to an end.

At the start of the Finale (an Allegro non assai), the first violin, before passing the material to the viola, is answered by the cello, which, before we have a reprise of where we began, leads to some fugal writing. Another cello-line, again high up, was introduced to join sounds made by gentle strokes from the other players, just before Brahms evokes the opening of the work, and then, with some vigorous pizzicato, brings it to a spirited end.


A hugely enjoyable evening with these insightful players, and who are playing works, written within ninety years of each other², that are much in need of an airing !


End-notes :

¹ Do quartets like to be 'they' or 'it' ? (It rather matters more to try to please than whether it is ‘The company is’ or ‘The company are’, except by striving to be consistent.)

² Even with different ideas of adulthood, and reaching maturity, two of these composers could never have met as adults (Mendelssohn was born in the year of Haydn's death), and Mendelssohn and Brahms barely so, but the music passes between them...


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

A dream-time concert : Schumann and Donohoe

Peter Donohoe performs Schumann’s Concerto for Piano at The Corn Exchange

More views of – or before Cambridge Film Festival 2015 (3 to 13 September)
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4 October (Proof corrected / end-note extended, 13 October)

This is a review of Peter Donohoe’s performance of Schumann’s Concerto for Piano with the Dresdener Philharmonie, under the baton of Michael Sanderling, at The Corn Exchange in Cambridge on Thursday 1 October 2015 at 7.30 p.m.

Peter Donohoe had clearly not done anything as crude as ‘thinking out’ his approach to playing Schumann’s Piano Concerto (in A Minor, Op. 54), but he must know the piece from the inside out, and he could work with it, on the night, to bring out its and his very best (the latter through the former) :

-> Something remarkable's in concert repertory, as witness @PeterHDonohoe's work with Michael Sanderling and the DresdenerPhilharmonie

— THE AGENT APSLEY (@THEAGENTAPSLEY) October 2, 2015

In all honesty, and not wishing to denigrate any specific piano soloists, it is rare to hear this concerto infused with such spark and feeling. (Those qualities, too, typified Michael Sanderling’s conductorship of Brahms’ last symphony*, in the second half of the concert.)


Robert Schumann (1810–1856) ~ Piano Concerto in A Minor, Op. 54 :


1. Allegro affetuoso

2. Intermezzo : Andantino grazioso

3. Allegro vivace



In Schumann’s measured, but lyrically narrative, initial bars, one catches the Grieg concerto (his Opus 16, and also in A Minor). Schumann's concerto was completed barely more than twenty years earlier, and its (1) Allegro affetuoso feels distinctly a series of interludes – yet seamlessly so, as befits having first been a Fantasia (for piano and orchestra).

Very early, a deft trill introduces the theme’s being stated – and, as will emerge, the trill is used for a purpose, not as ornament. Here, there is grandeur, before the theme scales down with a decrescendo, and is quizzically given in a varied form : to which Peter Donohoe brought a singing, ‘placed’ quality, and thus carefully linked to a passage with clarinet and strings.

The poetry and the emotion were evident in scoring and playing, with such features as the ease with which, after Donohoe had been restrained in a short solo section, clarinet passed material to oboe, and Donohoe then took time before an outpouring in the piano voice. It felt unquenchable, but did abate – into a string ritardando, cantabile keyboard work, a clarinet passage, and light arpeggios, which, too, felt held back by Michael Sanderling.

Soloist, woodwind-players, strings, all demonstrated together the real felt emotion, there amongst lighter touches. We heard that, within the notes, Schumann has notes that need to flow, and that a burst from the piano can be experienced within the orchestra (not seeming external to it).


As with the finale, one feels driven inevitability, but that it is coupled with an easiness in using thematic material : the oboe is given a statement, but it is underpinned by brass and woodwind, then handed to the soloist to play with it – and, as Donohoe did, bring out its pianism. Then, just as soon, the pulse moves on : the effect being that our familiarity now, with the structure, allowed the use of underplaying as a way of making the string-effect that followed stronger.

One moment we can have aching engagement with a very Schumannesque subject ; the next, scales or arpeggios that feel more regimented. It is as if we are to glimpse beauty amongst the mundane, and so a formal cadenza can, ushered in by strings, become a tender interlude : those who know the solo piano works will identify a sense of the familiar mixed with the intense, and of pain, but yet also comfort, in outcries (even if they get cut off, by the structural outworking ?).


This is the moment when we realize that the use of trills actually comes across as very emotionally informed – and when, in the context of a pianistic outpouring, reintroducing the trill, and passing over to the woodwind, feels absolutely right in terms of the psyche.

Bass notes in the piano herald a brief coda, and we are led into the movement’s close.


Called an Intermezzo (and typically accounting for less than one-sixth of the length of a performance), the (2) Andantino grazioso may seem inconsequential when it opens, but this is far from the truth : as with many ‘a musical bridge’, it effects our transition to the mood at the close of the work. Breathing and living through the music, Donohoe brought us a moment of exceptional poise with the re-entry of the principal theme, and, not for the last time, some very quiet tones.

Further on, and despite Sanderling bringing up a full Viennese string-sound, we cannot pretend that there is not hurt to be felt here : the balance of the piano against the orchestra was impeccable, and the attentive stillness allowed Donohoe to be daringly pianissimo.

When a repeat came, it did so with the tiny suggestion that it might be perfunctorily attempting ‘to go through the motions’, since what was telling was the sensation that the rhythmicity was swaying a little, and, at the close, of the music wanting to hold back.


In the (3) Allegro vivace finale, both a sense of release and of relative ease, with, for example, a tutti statement, and Donohoe just playing quietly underneath it, but then moving, alongside the other players and through and with Sanderling, to bring out the chordal complexity.

Yet, although Schumann’s heroic sense of triumph may be heard, at one point, in a bold utterance, it dissolves, in the next, into the orchestra, or we enter a semi-questioning episode : the concerto seems to be seeking a different model of pianist / soloist, and one can see how Brahms must have had close regard to it (e.g. with what symphonic ambitions he had (before the Symphony No. 1 in C Minor) for what became his Piano Concerto No. 1 (in D Minor, Op. 15), first performed (by Brahms) in 1859).


Yes, we had Donohoe’s fists raised with the conclusion of a bold assertion, but one senses, now, that the piano is present more in the momentum (and not so much in the hurt or beauty within individual notes), as if Schumann’s writing is drawing rhythmically back and forth, in broader sweeps. Thus, a sense of outreach, and of opening out – although there is still ‘angularity’ in his choice of intervals when he leads up to the main theme, and then gives a feeling of tranquillity (and a sense of purpose – even destiny ?) in the harmonic resolution.

Right at the end, Schumann gives us dance-forms, the cadences of motion against the patterning of a finale. However, after a moment of quiet, timpani (which have been integrated into the concerto throughout) duly propel the concluding chords.


End-notes

* This Tweet aims to amplify the comment :

-> The DresdenerPhilharmonie, under Michael Sanderling at @CambridgeCornEx, made this music flexible, and its rhythmicity full of figures

— THE AGENT APSLEY (@THEAGENTAPSLEY) October 1, 2015

The fact is that one can hear Brahms played perfectly well, but one may also feel that the experience added relatively little other than (a) unamplified sound, (b) seeing the performers as they interact with each other and with their instruments, and (c) appreciating, at some level, that the totality of what one desired to hear is the result of the interaction at (b) :

Yet, at its least good, this can amount to little more than a fleeting consumer pleasure, i.e. knowing that these men, women and resources are here at the collective bidding of those who have paid the ticket-price (matters of effective concert-promotion apart)... ?

Against which, one might propose counterposing an alternative, the practice of actively engaging with the performance, rather than 'going to hear' a familiar piece of music – of listening agog, or with new ears, maybe as if one had to give an account of what was good or fresh in it to a friend who could not be there ?



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

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

More views of - or before - Cambridge Film Festival 2014 (28 August to 7 September)
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14 October

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

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

Full details of the concert (and piece about the other two works) can be found here, but, during the second half, we have this one work, which has been known to me for decades (but I have never before tried to write about) :


Johannes Brahms (1833–1897) : Symphony No. 2 in D Major, Op. 73 [more than fifty years earlier, in 1877, but otherwise as with Rachmaninov's Rhapsody on a Theme of Paganini : started in the summer, and first performed later that year – please see below]


We start, logically enough, with the genesis of his Symphony No. 2, at the end of the nineteenth century…


Brahms on holiday

According to the conductor Hermann Levi, Johannes Brahms began work on the symphony in the summer of 1877, when he was staying at Pörtschach [am Wörthersee]¹, and the work was ‘ready in his head’ by the end of September (with the first movement on paper).

It was given its first performance on 30 December that year, in Vienna under Hans Richter. To a friend, Elisabet von Herzogenberg², he described the first performance in these terms :

The musicians play my new work with crêpe around their arms because it sounds so mournful. It will be printed on black-edged paper.


The reason being, so the story goes, that Brahms ‘amused himself by giving friends the impression that it was gloomy’. Likewise, he reportedly told his publisher Fritz Simrock that it was ‘so melancholy that you will not be able to hear it [sc. listen to it ?]’.


The Agent Apsley on holiday

Brahms came into my musical life in my mid-teenage years, jostling – just amongst the Bs – with Bach, Bartók, Beethoven for my attention (wasn’t quite ready for something of the proportions of Bruckner 6 then…).

All four Brahms symphonies (ranked in my head, usually, as 2 / 3 / 1 / 4 – or, sometimes, 3 / 2 / 1 / 4) were staples in my diet. Along with (because of pairing³ ?) his Tragic Overture (Tragische Ouvertüre), Op. 81, and Academic Festival Overture (Akademische Festouvertüre), Op. 80 (though I only now spot the contiguous Opus Numbers), and the piano concertos⁴.


So, when I was away with my parents, Symphony No. 2, or No. 3, might very well be in the car’s cassette-player – possibly as something of home when away ? At any rate, I was happy (even if not my family ?) to become very familiar with those affordable Classics for Pleasure recordings : The Hallé under James Loughran.

And, from the sleeve-notes, I had this received wisdom about Brahms and that joke (though, before conceiving this piece, I never troubled to relate it to what I think that this symphony sounds like)…


Back to the trickster

The typical photographic portraits of Brahms (of which that above is not one) do not encourage us to believe that, at the age of 44, he could have been a prankster. That said, appearance not infrequently belies the facts, e.g. with the eccentric looks and talented reality of George Bernard Shaw, so maybe this account of Brahms having played a joke on his friends is a misconception ?

First, though, we really need to see where this symphony fits with the others !


All four Brahms symphonies

No. 1 (in C Minor, Op. 68) – started in 1854 (or 1855), and at least fourteen years in the making (though Brahms said that it was twenty-one years)

No. 2 (in D Major, Op. 73) – 1877, Pörtschach¹

No. 3 (in F Major, Op. 90) – 1883, Wiesbaden

No. 4 (in E Minor, Op. 98) – 1884–1885, commenced in Mürzzuschlag (now in Austria, within north-east Styria)


The struggle to write that Symphony No. 1 (and an earlier one, in D Minor, subsumed in the Piano Concerto No. 1 in that key) ! Yet contrast it with the fluency with which, within six months or so each, Brahms was then able to write Nos 2 and 3 – what an immense gift it must have been for Brahms that No. 1 freed him from having been looked at as the beneficiary of what Beethoven left behind him...

(Perhaps it also freed Brahms from the heights of self-criticism that had him destroy so many earlier compositions ? Even if, however, the way in which he had intended to pay tribute to Beethoven, by overtly using thematic (and even rhythmic) material in the symphony, was held against him (as if he had plagiarized) – ‘Any fool can see that !’ is what he is said to have retorted to a friend who remarked on these affinities.)


That joke in context

Some commentators have seen this, second, symphony as ‘the most happy and serene’ of all four (and, hence, Brahms’ words as a jest). In any event, Symphony No. 1 had not been performed until 1876, and then we see Brahms – away from Vienna just the following year – start Symphony No. 2 and have it performed, all within the bounds of 1877. However, need that happy release, to be able to write symphonically with such comparative ease, mean that the symphony itself must be ‘happy and serene’, as claimed ?


My unchecked recollection is that the description is more accurate of Brahms’ Symphony No. 3 (in F Major, Op. 90) than of this one. Here, the opening (and longest) movement, an Allegro non troppo, pitches minor and major keys against each other, and, despite a dance-like, motile quality to the writing, feels what Radio 3’s Sean Rafferty might characterize as triste :

For it commences with what I hear as a somewhat melancholy opening theme on the horns (which, inevitably in symphonic form, Brahms brings back several times) - albeit lightened by the flute, when it makes its second intervention during the opening bars. So also, in the supposed tellings of the ‘joke’ quoted above, the words ‘mournful’ and also ‘melancholy’ appeared (NB : though in translation from German).

When a sense of lightness first comes, it may not feel like the waltz that it comes to hint at, and – with the transparency of the strings and the overlay of flute-notes – maybe we place ourselves in an Alpine meadow ? How settled we are there depends on one’s perception of, and reaction to, the saw-tooth arpeggios, uncomfortable harmonies, and, in the lower strings, almost Jaws-like disquieting depths.

Quite apart from which, as the movement cycles around itself, there are, when flute and oboe are not spinning cheerful arabesques, the cascades of droplets of notes, which, at first, fall in separate streams, and lead us to the phlegmatic-sounding horns, with notes in and over from the flute : this passage, and what follows from it, feels little like ‘happy and serene’, but instead over-tired, anxious and presciently modern music for its time.


In the shorter second movement (marked Adagio non troppo), the horn-calls, which are part of feeling tristesse, are joined by the restrained, moody reediness of clarinets, oboes and bassoons. Despite the pleasure of and beauty in an elegiac, stately, even sinuous theme introduced at the beginning, under-currents of questioning, hesitation, and doubt are here :

They are in the contributions made by those instruments (along with low brass), even if amongst suggestions – as in the first movement – of brighter possibilities. For the movement has an ebb and flow to it, as of the tide raking back down the shore. At the end, after a pause, the main theme returns, now eerily well-nigh incantatory, with timpani and clarinets in their chalumeau register – further pauses punctuate a repeated, unresolved chord, before bringing in a blazing, but momentary concord to conclude.


The Allegretto grazioso (quasi andantino) opens with a small group of players, as if it were chamber music. We have flutes again, and, in stating the theme, there is yet more tonally ambiguous solo writing for principal oboe, before it gives way to lively, accented rhythms, passed around the strings (with the delicacy perhaps sounding a little like the ballet-music of Pyotr Tchaikovsky (1840–1893), with whose career that of Brahms overlapped (1833–1897)).

Although, when the tutti come, they are radiant, the movement is also marked by its use of dissonance, with only a limited development section (befitting a Scherzo). When the first theme recurs finally, oboe and flute principals, who have been key players throughout, are to the fore and, in a very brief coda, contribute elements to the muted closing chord.


The closing movement is – and not wholly in comparison with all that has gone before – passionately triumphant. However, despite being an Allegro con spirito, it also is not exclusively so :

A sinuous quality has been noted already, and it is present in the way in which the main theme seems to weave in and out, in and out, as picked out quickly by the flute, before being given a full-throatedly exuberant treatment. One, however, that stalls, after bass-notes from the strings.

Before a second theme is introduced, we have brief contributions from clarinet (to serve whose needs Brahms was to bring himself out of retirement and write so spectacularly later on), horns, oboe and – with pizzicati – flute : amidst all these woodwind elements, we continue to have, absent the tutti, centres of passing tonal uncertainty, bird-like swoopings of the principal flute and oboe, and rallentandi, full of expansive Viennese grace.

When Brahms reaches unequivocally for the major, it is accompanied with swirling, ecstatic woodwind, and builds to crashing / churning moments of rhythmic intensity, which yet die back to woodwind and pizzicato upper strings. Thus, eased by those gracious slowings-down, we cycle around, until Brahms builds up to a bell-like closing statement of the theme, with tuba, trombones and trumpets, and in which there are excited rapidly and descending runs, yet fractionally held back by caesuræ. And even in the penultimate chords, there are subtle modulations – as if we might not, after all, make it to D Major…


Joke or no ?

Not meant to duck the issue (as I have now stated my opinion), but the answer to whether we think that Brahms was serious, or joking, largely now comes down to interpretation – if hearing the symphony were not, that is, already an interpretation : by an orchestra under the musical direction of a conductor.

On this occasion, of course, it is to be the RPO working under the baton of Fabien Gabel – and maybe they can help us, with subtle shifts on the night, do various things :

* Notice detail (those flute, oboe or horn parts ?)

* Hear the effect of different emphases

* React to variations in the tonal, textural, rhythmic, or emotional landscape

* Even the simple matter of a transition between movements : via YouTube (as I did, for this piece), watch Leonard Bernstein, with The Vienna Philharmonic, run the last two movements together, without a break…

Happy listening !


End-notes

¹ Who was, amongst other things, a pianist, singer, composer, teacher, and music publisher, as well as the wife of an Austrian composer (Brahms, though he adopted Vienna, was German).

² A lakeside town, and established summer resort, in the far South of modern-day Austria.

³ And a few of his twenty-one Hungarian Dances – possibly the three that he orchestrated himself (and only another three of them were his original compositions)… ?

⁴ Though not the violin concerto – possibly because I had a practice of listening to the Tchaikovsky concerto every day without fail ?


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Patricia Kopatchinskaja directs

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4 March

A review of a concert given at West Road Concert Hall (@WestRoadCH), Cambridge, by Patricia Kopatchinskaja, directing Britten Sinfonia on Monday 3 March

The musicality, depth of feeling, inventiveness, etc., of Patricia Kopatchinskaya were truly amazing, @BrittenSinfonia ! Again, please...
— THE AGENT APSLEY (@THEAGENTAPSLEY) March 4, 2014

From the pre-concert talk, where Patricia Kopatchinskaya (@PatKopViolin) was interviewed by the chief executive of Britten Sinfonia (@BrittenSinfonia), David Butcher, it seemed that she might have curated this concert with the ensemble’s strings. Certainly, she was keen that we should hear the work by Armenian composer Tigran Mansurian (Concerto for Violin and String Orchestra No. 2, Four Serious Songs), and, when asked what he hoped that we would take away, that we should listen with the heart.


Brahms (1833–1897) (arr. Angerer (b. 1927))
In any case, as one would expect from a Sinfonia concert, sensitive programming was by no means the least part of the evening, which opened with a group of pieces (a selection from Brahms’ Choral Preludes, Op. 122 (from 1896), as arranged by Paul Angerer) that spoke with direct, condensed spirituality, but in a variety of moods. The first, O Gott, du frommer Gott, had a very full string sound, and it was only gradually that it became apparent that there was a presence of a voice amongst the texture because a few players, such as leader Thomas Gould, were actually holding their instruments and vocalizing – a very subtle and aetherial effect, which was used in one other of the preludes.

In Herzlich tut mich erfreuen, a prelude that opened with viola and cello, there was an impression of disembodied spirits swaying, whereas, in Herzliebster Jesu, was hast du verbrochen, there was a more weighty feel, as of a force that is in a flow, but resisting it. With Mein Jesu, der du mich, the writing seemed fugal, but lighter in quality, until, that is, the final entry of the basses, which felt to be sounding the depths – a haunting number, which had a relatively sudden end. The final prelude, O Welt, ich muss dich lassen, alternated tutti with a small group of the principals, and had the air, if not the exact theme, of Bach’s St Matthew passion, closing with a heartfelt pianissimo, one of the Sinfonia’s specialities.


Tigran Mansurian (b. 1939)
The link with Brahms was that, in the form of his Four Serious Songs, he gave rise to Tigran Mansurian’s Concerto for Violin and String Orchestra No. 2 – their texts and spirit provided the genesis for a new work, from 2006, which opens with an Andante con moto and the use of harmonics in its introduction, and a slide-effect that resembled keening. In the solo part, where Kopatchinskaja was sometimes dramatically left as an extremely chromatic lone voice and with material that revolved around various types of scale and silence, she played with great expressiveness.

Perhaps significantly, the movement closed following a prominent rising scale, given that texts from Brahms’ original settings ranged from the Book of Ecclesiastes to the celebrated passages in the first letter to the Corinthians, which ends the greatest of these is love. It was followed by another movement marked Andante, but this time qualified by mosso agitato, which was evidenced in some tempestuous currents, which then died away and led to a hesitant solo. When the orchestra re-entered and combined with the lyricism of the solo part, it felt like a prayer. Tension then built dramatically, as a piano passage crescendoed, culminating in an abrupt gesture, after which what seemed like a pianissimo possibile was highly effective : the violin sounded like a pleading voice, and the writing again made use of a scale. Reminiscent of the words in the Book of Isaiah, a smoldering wick he will not quench, the movement closed like a faltering flame.

Next came an Allegro vivace, which had a vivid melody, but with interruptions, and then gave way to another version, this time with harmonics, before resuming. A piece of simple gestures, and again exploiting the quality of being very quiet. To conclude, a movement marked Con moto, molto semplice, which, although coming last, felt like the heart of the work in the form of a culmination, and started with a rocking theme, as of a lullaby, but leading to some very violent writing for the cello section. In the solo part, the material seemed very embellished, and the movement continued with outbursts, before drawing to a close in what seemed an organic way. Though not a work that was necessarily easy on a first hearing, it clearly spoke to the Cambridge audience, as mediated by Kopatchinskaja, and was well received.


Bartók (1881–1945)
In the final work of the first half, the Bartók Romanian Folk Dances from 1915, Kopatchinskaja did not exactly take liberties with what typical recordings do with them*, but she made them feel as a musician in the folk tradition might treat them, fitting the rendition / performance to the occasion, and alive to how it is being received. In the few minutes that the group of dances last, we ran a whole gamut from vigorous playing and slide-notes, performed with feeling, to a sense of restraint, coupled with squeaks and teasing from the soloist. There was also a gypsy strain to the solo violin early on, and, later, a very idiomatic quality to the violin, with the set of dances being brought to a close with immense energy and a strong sensation of joy, evidently conveyed to those present, to judge from the applause.


Janáček (1854–1928) (arr. Tognetti (b. 1965))
Returned from the interval, the audience was in the world of Janáček's String Quartet No. 1 from 1923 (nicknamed or subtitled The Kreutzer Sonata). (There was a fascinating note about the composer's struggle for recognition in the (ever useful) Sinfonia programme.) This time, however, it was the quartet as interpreted for string ensemble by Richard Tognetti. Without in any way disputing the choice of repertoire from a couple of seasons ago, this was, unlike Mahler’s of Schubert’s String Quartet No. 14 in D Minor (alias Death and the Maiden), an arrangement that really added to one’s appreciation of the original, rather than merely having it writ large :

It felt unforced throughout, and not like those orchestrations that try to change the scale of a work. In the opening Adagio, the strings had a luminosity to them, striving, as the movement developed, to achieve serenity from a sense of anxiety. Then, in the first of three movements marked Con moto, a suspenseful atmosphere, where things felt sharp, and, although broken by an edgily sunny interlude, one that intensified. Under Kopatchinskaja, the Sinfonia played with immense delicacy and poise, with a delicious bass and a figure that kept repeating, as if unable not to.

The very familiar third movement, with its vivid change of tempi, communicated one central message amidst its reference to Beethoven’s sonata and sometimes wistful, sometimes agitated beauty, that of a gesture of trying to erase something – as of Lady Macbeth compulsively washing her hands, over and again. In the finale, with phrasing that felt like a bird trying to fly, despite some ensnarement, the musicality of Kopatchinskaja was supremely evident. Heightened tension in the pizzicato passages and a racing movement in the cello section seemed to lead inevitably to the turbulent close of this work, with what came across as a mood of resignation. All in all, a lovely way to hear this music, which has thankfully become better known in the last decade or so.


Mendelssohn (1809–1847)
Finally, a youthful work from Mendelssohn for violin and strings, which Kopatchinskaja had told us that she likes better than his famous concerto. In three movements, it began with an Allegro, and we were soon brought to the tender heart of the theme. From there, the soloist was called upon to execute a series of runs, and then a moment of stasis, with a sustained note, became the springboard for yet more – the writing and playing were both virtuosic, and the latter brought freedom to the former, with Kopatchinskaja giving the impression of improvising cadenzas.

In that part of the concerto, Mendelssohn seemed to be enjoying himself with a recurrent motif, whereas, in the central Andante, he brought us an exquisitely beautiful theme, which Kopatchinskaja made soar and sway with ease – it seemed almost to have the sweetness of birdsong, with the Sinfonia’s ensemble sensitive to the mood, and the movement closed quiescently. With a lively dance tune in the Allegro finale, Kopatchinskaja and Mendelssohn’s sense of playfulness were in their element, and brought the programme to a triumphant finish.


Ligeti (1923–2006)
Not quite, though, for leader Thomas Gould and Kopatchinskaja gave a duo of Ligeti as an encore : the Ballade had the feeling of a Gaelic air, as against the boisterously spirited Danse, and were much appreciated as a closing gesture.

Reading Ivan Hewett's @Telegraph review, @THEAGENTAPSLEY's not clear that he 'got' @PatKopViolin, with his 'ad feminem' talk of protocols...
— THE AGENT APSLEY (@THEAGENTAPSLEY) March 6, 2014

Judge for yourself : here is Hewitt's review...


All in all, a very pleasurable chance to hear this artist, and this Tweet may sum up many a reaction :

Thank you, @PatKopViolin, for coming to Cambridge ! Please come back and bring us some more Bartok - all or any of what you said.
— THE AGENT APSLEY (@THEAGENTAPSLEY) March 4, 2014

Asked what longer work she would bring if she came back, she had said that, depending on with whom else she was playing, she would choose :

* One of the Sonatas for Violin and Piano

* The Sonata for Solo Violin

* The Violin Concerto No. 2, or one of the Rhapsodies



End-notes

* It had been quite clear from what she said in the pre-concert talk that she had been most reluctantly persuaded of the importance to developing her career of making CDs, which she had rebelled against because their unfree nature, as fixed in and for all time, which goes quite counter to her spirit of intuition and innovation.


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

Brahms and Liszt

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1 November

Yes, we know that it is Cockney rhyming slang - but where does the Brahms part of it come from ?

Why isn't it Bach and Liszt (preserving the single syllable, although it could just as well be Chopin and Liszt) ?

Was it the adoptive Viennese German composer's Hungarian Dances (which I prefer for solo piano, but did not realize that those first ten dances were for piano four hands), making a link with Liszt and, amongst other, better things, his Hungarian Rhapsodies (in my view - not the reason for preferring the piano versions with Brahms - Liszt was not strong at orchestration :

Endlessly, we are having played (by @BBCRadio3) the Chopin Piano Concerto No. 2 (and told the story about the coach, the parts, and how it is really No. 1), but we never hear No. 1, and I would prefer to hear more of the quality for the Sonata for Cello and Piano (now, also, coming to the fore) than these, let alone the Liszt Concertos.


Brahms and Liszt, inseparably linked with inebriation, and not a reliable source in sight to check whether my febrile musings have any meaning, o fallible Internet...

PS In fact, though, other web-sites are not at all inventive : Wiktionary and Oxford Dictionaries offer no explanation.


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

Max Bruch is most famous for...?

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9 March

Not for inventing the dishwasher (as Max Christian Friedrich Bruch didn't, having been born, on the day of Epiphany in 1838, too early to do so), but, from more than 200 compositions, arguably for that Concerto for Violin (in G minor No. 1, Op. 26 (1866))*, or, if not that for you, for one of three other pieces (with very close opus numbers, and even corresponding dates of composition):

* The Scottish Fantasy in E flat major, Op. 46 (1880)

*Kol Nidrei, Op. 47 (1881);

* Symphony No. 3 in E major, Op. 51 (1883)


It is not that his work was not received well by audiences in its time (apparently, his cantata Frithjof, in the early 1860s, was met with great enthusiasm), but it didn't help either that, on account of the second of the works listed above, it was assumed that Bruch had Jewish ancestry and so was not performed in countries under Nazi control, or that music critics since seem to have sidelined him.

And there is, of course, a huge element of chance in what makes it into the repertoire. I have always loved the symphonic music of Vaughan Williams, but it is taking a figure such as Andrew Manze, as conductor, to make out a case for listening to symphonies that I have long valued. I also repeatedly remember how important Mendelssohn was, in a similar way, in making sure that works of Bach such as the B Minor Mass were heard, and also - love or loathe what he did with it - there is the influence of Glenn Gould's first recording of the Goldberg Variations.

With Tchaikovsky, it is rare to hear (least of all live) the Piano Concerto No. 2, and, despite how it was famously received at the time, it is almost always No. 1 that is played. There are also four Concertos for Piano and Orchestra by Rachmaninov, but it is relatively rare for the first or the fourth to be heard.

As to Bruch, although some sources say that he thought that the third concerto was as fine as the first, he seemingly knew where he was in history, and that the reputation of Brahms would overshadow hs own. In an unascribed comment**, he said:

Fifty years from now he [Brahms] will loom up as one of the supremely great composers of all time, while I will be remembered for having written my G minor violin concerto.


In their concerti for the instrument, both men owed a debt to the great Joseph Joachim (violinist, but also composer, as had been Pisendel before him), and - although it is another story - where would either work have been without him?



End-notes

* There are two others, both in D minor.

** Taken from The Rough Guide to Classical Music (London, 2005).


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Who gets diagnosed - and where are the psychiatrists when this is happening?

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29 February

It's not just on Composer of the Week, a Radio 3 programme whose content and production I very much esteem, that, centuries after the event, musicians get diagnosed with bi-polar disorder or the like*. It's just that I struggle to think of somewhere else - or somewhere else recently - that I have heard this done.

Let's not take Robert Schumann (and I very much appreciated what Steeven Isserlis wrote in a recent magazine article, seeking to focus attention on the music), but think about Johannes Brahms: we factually know that the Intermezzi are late works, so, when Peter Donohue introduced playing four of them to-night, he had to correct himself when he said that Brahms was writing them in the face of the end of his life, when he was actually doing so, as he then said, when he had retired.

But isn't this all a bit tiresome, reading autumn notes into these works that are not there (I couldn't hear them, at any rate)? If the pieces are any good, they should be played on their own merits, not listened to with an 'Ah, now this is late Brahms' posture, when, as I have said before, we know J. S. Bach's life but sketchily, and also the exact time of composition of some works, so we are freed from these stupid and pointless games.

And I shall scream if I hear any more of this end-of-life nonsense about Scubert's final compositions!

No psychiatric diagnosis with Brahms or Schubert, agreed, but it is not letting the music be free. And, in another sphere, what about William Blake? Blake is always talked about as a visionary, but what that means is that, for all the gubbins written by way of commentary on opaque works such as Milton, no one knows what the hell they are about. Blake writes, engraves, illustrates poetry that may reach few other than himself, but, despite his claims to converse with angels, I have never - to my knowledge - heard him given a posthumous psychiatric diagnosis.

Nor, also, Sir Thomas Browne. No, it's only ever - in the literary world - people who, if they were not ever incarcerated for their mental ill-health, were certainly otherwise known to have been treated for it: John Clare and Virginia Woolf.

And, if I ever hear anyone else described as 'a depressive', I shall bellow!


End-notes

* Where are the case-notes, and who studied them?

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