Latest news with #Brahms'
Sydney Morning Herald
4 days ago
- Entertainment
- Sydney Morning Herald
Spellbinding performance does justice to a masterpiece
MUSIC STEPHEN HOUGH PERFORMS MENDELSSOHN Sydney Symphony Orchestra, Sydney Opera House, June 4 ★★★★ Reviewed by PETER MCCALLUM In 2023, Sydney Symphony chief guest conductor, Sir Donald Runnicles, introduced Idyllium, by German composer Detlev Glanert to Sydney audiences alongside the work which shaped it, Brahms' Symphony No. 2. Glanert has written musical reflections, or 'distorting mirrors' as Runnicles described them, on all four of Brahms' symphonies. In this concert, Runnicles brought us Vexierbild: Kontrafaktur mit Brahms in which the themes and energy of Brahms' Symphony No.3 float by like afterimages on the retina. Like Brahms' work, Vexierbild starts assertively, the opening trombone notes quickly rising through the orchestra only to disperse into flitting woodwind fragments. After a restless first section driven by syncopated compound rhythms and images of the defining motives of Brahms' first movement, the music subsides to stasis in which memories of Brahms' third movement hover in the air. The opening returns with some energy until it slows down as though being dragged to a halt, before a quiet close on the third of the chord. It is as though the motive that had animated both Brahms' and Glanert's works had been brought to some kind of glowing finality. The SSO followed this with Brahms' actual Symphony No. 3, in which Runnicles eschewed unduly emphatic articulation and strutting energy in favour of naturally shaped ideas which evolved with Brahms' fluid rhythmic regroupings, extensions and elaborations. After idyllic simplicity from clarinets in the opening of the second movement, the strings, under concertmaster Andrew Haveron, embellished this idea's recurrence with rich warmth, rising to memorable intensity at the climax. The cellos were unrushed as they began the lilting third movement (which had haunted the central section of Glanert's piece), but rather unfolded its charming irregularities of line with floating melancholy. The finale busied itself with subdued energy, the second theme on French horn issuing forth with noble confidence before closing quietly. Loading The first half began with Mendelssohn's Overture, The Hebrides Opus 26 (' Fingal's Cave '), played here not as an image of a lonely place on a hostile sea but more as an inner terrain of thoughtful solitude, which eased warmly when clarinettist Francesco Celata brought back the second theme. Stephen Hough then played the same composer's Piano Concerto No. 1 in G minor, Opus 25, with commanding brilliance and consummate maturity, driving its first movement with stormy determination, its second with comely grace and simple beauty and the third with fleet virtuosity and a lively kick of the heel.
The Age
4 days ago
- Entertainment
- The Age
Spellbinding performance does justice to a masterpiece
MUSIC STEPHEN HOUGH PERFORMS MENDELSSOHN Sydney Symphony Orchestra, Sydney Opera House, June 4 ★★★★ Reviewed by PETER MCCALLUM In 2023, Sydney Symphony chief guest conductor, Sir Donald Runnicles, introduced Idyllium, by German composer Detlev Glanert to Sydney audiences alongside the work which shaped it, Brahms' Symphony No. 2. Glanert has written musical reflections, or 'distorting mirrors' as Runnicles described them, on all four of Brahms' symphonies. In this concert, Runnicles brought us Vexierbild: Kontrafaktur mit Brahms in which the themes and energy of Brahms' Symphony No.3 float by like afterimages on the retina. Like Brahms' work, Vexierbild starts assertively, the opening trombone notes quickly rising through the orchestra only to disperse into flitting woodwind fragments. After a restless first section driven by syncopated compound rhythms and images of the defining motives of Brahms' first movement, the music subsides to stasis in which memories of Brahms' third movement hover in the air. The opening returns with some energy until it slows down as though being dragged to a halt, before a quiet close on the third of the chord. It is as though the motive that had animated both Brahms' and Glanert's works had been brought to some kind of glowing finality. The SSO followed this with Brahms' actual Symphony No. 3, in which Runnicles eschewed unduly emphatic articulation and strutting energy in favour of naturally shaped ideas which evolved with Brahms' fluid rhythmic regroupings, extensions and elaborations. After idyllic simplicity from clarinets in the opening of the second movement, the strings, under concertmaster Andrew Haveron, embellished this idea's recurrence with rich warmth, rising to memorable intensity at the climax. The cellos were unrushed as they began the lilting third movement (which had haunted the central section of Glanert's piece), but rather unfolded its charming irregularities of line with floating melancholy. The finale busied itself with subdued energy, the second theme on French horn issuing forth with noble confidence before closing quietly. Loading The first half began with Mendelssohn's Overture, The Hebrides Opus 26 (' Fingal's Cave '), played here not as an image of a lonely place on a hostile sea but more as an inner terrain of thoughtful solitude, which eased warmly when clarinettist Francesco Celata brought back the second theme. Stephen Hough then played the same composer's Piano Concerto No. 1 in G minor, Opus 25, with commanding brilliance and consummate maturity, driving its first movement with stormy determination, its second with comely grace and simple beauty and the third with fleet virtuosity and a lively kick of the heel.
Scoop
19-05-2025
- Entertainment
- Scoop
Sunday Concerts Presents Amici Ensemble As A Piano Quartet
They are performing two of the mighty works of the chamber music repertoire. Brahms' Piano Quartet No. 3 in C minor, a work of profound emotional depth and musical richness, was written at time when his friend Robert Schumann was struggling with mental illness. More >>
Morocco World
02-05-2025
- Entertainment
- Morocco World
Essaouira Welcomes the Magic of Brahms at Printemps Musical des Alizés 21st Edition
From May 1st to 4th, 2025, the city of Essaouira will once again pulse with the rhythm of classical music as it hosts the 21st edition of the Printemps Musical des Alizés. This year, the festival pays homage to one of the great pillars of Romantic music Johannes Brahms under the evocative theme: 'Do You Love Brahms?' Over four days, Essaouira will transform into a sanctuary of sound, where the timeless beauty of chamber music and lyrical art flows through its most iconic sites. A festival woven around Brahms' soulful genius Brahms is not merely featured he is everywhere. From the fiery spirit of his Hungarian Dances to the intimate grace of the Liebeslieder Waltzes, and from symphonic grandeur to the intricate dialogue of chamber pieces, the German maestro becomes the emotional thread of the entire program. Each of the 12 concerts unveils a new shade of his musical universe celebrating Brahms as poet, architect, innovator, and heir to Beethoven. Among the highlights: a majestic opening night at Dar Souiri, where celebrated cellist Emmanuelle Bertrand joins the soloists of the Orchestre National d'Île-de-France for Brahms' glorious Sextet No. 1. In the evening, the Orchestre Philharmonique du Maroc takes center stage with symphonic performances that will include two of Brahms' revered symphonies. Of course, because music in Essaouira is never confined to concert halls, festivalgoers can wander the medina during a special open-air musical promenade, a joyous, spontaneous experience that breathes life into the city's every corner. Spotlight on youth and the next generation of talent A cherished tradition of the festival, the 'Young Talents Morning' will once again shine a spotlight on students from the Mazaya program, Morocco's trailblazing social initiative bringing music education to underprivileged youth. These young musicians will perform with the passion and pride of those discovering the power of music to transform lives. This year also marks the debut of a bold new initiative: the Alizés Conducting Academy, created in collaboration with the Orchestre Philharmonique du Maroc. After an intensive residency in Rabat, a group of promising young conductors will step onto the podium in Essaouira to lead two of the festival's major concerts. It's more than a concert it's a handover between generations, a beautiful story of transmission and mentorship. A festival rooted in the heart of Essaouira For over two decades, the Printemps Musical des Alizés has been a celebration not just of music, but of Essaouira itself. Curated by acclaimed pianist and artistic director Dina Bensaïd, this festival harmoniously blends artistic excellence with cultural accessibility. It is both intimate and international, classical and community driven an event that feels like home to locals and a revelation to visitors. The city of Essaouira, with its whitewashed walls, sea breezes, and deep artistic soul, offers the perfect backdrop for Brahms' music. The streets, the venues, and the people all become part of the performance. A jewel of classical music in Morocco The Printemps Musical des Alizés is Morocco's only classical music festival. Free and open to the public since its creation in 2001, it is loved for its warmth, elegance, and rare mix of world-class programming and soulful Moroccan hospitality. Whether you're a seasoned classical enthusiast or simply curious to discover the magic of Brahms, the festival invites you to listen, explore, and fall in love with music again or for the very first time. Four Days. Four Venues. Fourteen Concerts. Essaouira is calling – and Brahms will be waiting. Tags: activities in essaouira
