BY WENDY ZHANG
Brahms Revelation
Sydney Symphony Orchestra
Sydney Opera House, 31 August
Brahms Revelation was a concert celebration not only of Brahms’ music, but also his journey in life: the friendships he formed with other musicians, and his achievements and losses. It was a brilliant concert featuring three soloists, and the standout performance for me was the Piano Concerto No. 1 in D minor by Ukranian-born Australian pianist Alexander Gavrylyuk.
The program began with Brahms’ Academic Festival Overture, which was composed in 1880 as a musical ‘thank you’ to the University of Breslau after Brahms was awarded an Honorary Doctorate in philosophy. However, as observed in the concert program, instead of writing an academic piece, Brahms composed a piece inspired by drinking songs of his students’ life.
It was a high-spirited and energetic performance indeed, led by SSO chief conductor David Robertson and highlighted by the brass and unusually large percussion section of cymbals, triangle, and bass drum. I couldn’t stop smiling the whole time I was listening to this piece, affected by the happy spirit of the music and remembering my own university days and my graduation ceremony.
After the first piece, English violinist Andrew Haveron and Italian cellist Umberto Clerici joined the conductor on stage to perform Concerto in A minor for Violin, Cello and Orchestra. Brahms wrote this double concerto as a conciliatory peace mission to his friend, violinist Joseph Joachim; as the program informed us, the pair’s friendship had ruptured after the violinist’s divorce.
The first movement was opened by the cello playing a slow and expressive passage representing a long and contemplative soliloquy of Brahms offering apology to Joachim. The violin then followed, as if in dialogue with the cello. Then, the music between cello and violin started overlapping more and more in a strange way, which sounded like a heated discussion or an argument. At the end of the movement, the two instruments finally played in a unison that was joined by the orchestra.
In the Andante movement, the violin followed the cello’s same tunes as if finishing each other’s sentences. The violin and cello then started playing the same notes together, an octave apart, signaling the start of the reconciliation between the two friends. It was a peaceful and melodic movement – Umberto’s performance was particularly beautiful.
The Vivace movement followed the second movement immediately without any break. The cello opened with a fast and joyful tune, followed by the violin playing different rhythms. It was a mini dance party that celebrated the rekindling of friendship between Brahms and Joachim, and an energetic and passionate performance indeed – the conductor even started tapping and moving his body with the music. In the real world, Joachim accepted Brahms’ apology and they worked on this piece together, even performed it together during the premiere, with Joachim playing the violin and Brahms at the podium conducting.
After the interval, pianist Gavrylyuk went on stage to join the orchestra to perform the final piece, Piano Concerto No. 1 in D minor. This was Brahms’ first performed orchestral work, which took him almost 30 years to complete. According to the program, the first movement reflects Brahms’ shock on discovering his late mentor Robert Schumann’s attempted suicide. The kettle drums opened the Maestoso movement with drama and turbulence. Then Gavrylyuk started playing the main theme in a sensitive and expressive manner. There was an intense sadness I felt from the piano playing, as if asking the question ‘Why?’ of Schumann’s attempt to take his own life. The piano then led the whole orchestra with fast, double octave running passages – I could sense the feeling of extreme anger, confusion and grief from the music. I was stunned by the quality and dynamics of the piano – Gavrylyuk played in a way that made it sound like a different instrument at times. He controlled the dynamics so skilfully that he could make it sound much louder than usual; sometimes even louder than the whole orchestra combined.
The Adagio movement was different to the first – it was peaceful and melodic; a consolation. As writer Graeme Skinner outlined in the program, Brahms wanted to “lay a ghost to rest”. The piano played a simple, slow melody, which was joined by the bassoons.
In the last Rondo movement, the piano started fast and led the whole orchestra. For me, this movement was a way to show off Gavrylyuk’s technical skills. He played fast descending scales throughout, and I was impressed by his speed and dynamics. The orchestra complemented the piano perfectly, ending the piece on a strong note.
It was a brilliant night of concert and reflected a simple message – life is a journey, and it is not always bright. I loved that this concert showcased Brahms’ experience through his music – his achievements, happiness, and celebrations; as well as his losses, failures, and griefs during his different life stages. And the three outstanding soloists, David Robertson, and the SSO certainly did not disappoint in presenting us with Brahms’ music and his revelations.
Disclaimer: If you or anyone you know is affected by suicide please seek mental health support or visit the headspace website.
Image supplied. Credit: Daniela Testa.
