Scottish Chamber Orchestra: Brahms’ Chamber Passions
Queen’s Hall, Edinburgh - 26/02/23
Edinburgh’s Queen’s Hall on the afternoon of Sunday 26th played host to members of the Scottish Chamber Orchestra (and friend) in an all-Brahms programme of chamber works with the tagline, Brahms’ Chamber Passions. The process of selecting works for such a programme may be regarded as a double distillation, in the sense that the pathologically self-critical Brahms is thought to have destroyed well-nigh-three quarters of his chamber compositions. Setting aside the pangs of loss that this engenders in the heart of any Brahms fan (such as this reviewer), such a programme will always prompt expectations of excellence.
The Second Violin Sonata is in the sunny key of A major and was performed by Russian guest violinist Aylen Pritchin with his friend and collaborator, the SCO’s Principal Conductor Maxim Emelyanychev, at the keyboard. Their recording of the three Brahms sonatas has won international acclaim. As a string player, I applaud the use of a baby grand as the keyboard instrument, delivering a richer, warmer, more integrated dynamic balance, perfect for Brahms. This is music firmly rooted in high romanticism and, from the start, the first yearning Allegro amabile theme on piano with sighing comments from the violin, set the tone. The mutually responsive phrasing was exquisitely pointed, through the cloud-shadowed central section of the movement, to its contented conclusion. The ‘slow’ movement, with its alternating Andante tranquillo lovesong and Vivace dance episodes was Brahms at his most characterful and quite delightful. The Allegretto grazioso, quasi Andante featured some soulful, avuncular sul-G playing of very highest expressiveness. My only reservation, and this applied to the whole piece, was that I found the intonation a tad more wayward than I can ignore, and rather surprising for the eminently accessible key of A-major.
The duo was joined by SCO Principal Cellist Philip Higham (and his glorious-toned Testore instrument) for the Piano Trio No.1, my favourite of the three. Despite the early published opus number (8) from 1854, the version performed in modern times is always the 1891 revision, and it is such a masterpiece that I am delighted that the original escaped the flames of the composer’s self-censorship and was published before the seeds of self-doubt were sown, forcing him to later undertake the revision. Thus youthful (but somewhat long-winded) passion was tempered by mature artistry. My “internal performance” of the work, an idealised sonic image against which I rate live performances, is informed, at least in part, by the Beaux Arts Trio’s 1986 recording. Our Queen’s Hall performers had nothing to fear from this comparison. The playing was committed, charged with passion and evidently guided by a shared vision. The ardour of the first movement was very moving, while the slightly demonic playfulness of the Scherzo with its calmer lilting Trio section was played with a perfect combination of rhythmic delicacy and earthy good humour. The serene slow movement was magical in its moments of supreme tenderness where time stood still. The enigmatic, mostly B-minor finale, a quest set by the cello’s introductory theme, is driven, via some exploration of other keys, towards an emphatic conclusion in B-minor. Superb.
Last July, the Piano Quintet featured in the East Neuk Festival in a performance by the Pavel Haas Quartet with Boris Giltburg. Comparisons are inevitable and, again, entirely positive. The trio was joined by the SCO violinist Marcus Barcham Stevens and Principal Violist Max Mandel. The first movement was characterful with sweetest lyricism, warm rhapsodic cantabile and lovely sotto voce. The exposition repeat was observed and the mysterious entry to the development was beautifully pointed. The baby grand allowed the string phrasing to breathe naturally and helped prevent Brahms’ frequently dense scoring from any sense of muddiness. The slow movement echoed the exquisite delicacy of that of the Piano Trio. Brahms’ scherzo, one of my very favourites, was equally delightful, with mystery in the conspiratorial sotto voce writing and majesty in the march-like second subject and trio. The finale sustained the characterful playing with another mysterious introduction, clear pointing of the contrapuntal writing, answering phrases with different instruments allowed to steer the music, excellent dynamic balance and control, giving due prominence to the gypsy influences with tempo shifts and good use of rubato. In summary, this was another masterly performance.
Throughout, Emelyanychev’s pianism shone, revealing a side of his musicianship previously unknown to me. A lovely way to spend a Sunday afternoon.