RSNO Friday Night Club: Brahms Symphony No1

Friday Night Club Fri 22 May 2020: 7.30pm BRAHMS Symphony No1 Thomas Søndergård Conductor Royal Scottish National Orchestra Recorded on Sat 12 May 2018, Glasgow Royal Concert Hall

Original audio feed courtesy of BBC Radio 3

This performance was recorded for the RSNO Archive. Supported by the Iain and Pamela Sinclair Legacy.

RSNO Friday Night Club: Brahms Symphony No1

Symphony No1 in C Minor Op68 Johannes Brahms (1833-1897)

FIRST PERFORMED 4 November 1876, Kalrsruhe, conducted by Felix Otto Dessoff DURATION 50 minutes Un poco sostenuto – Allegro Andante sostenuto Un poco allegretto e grazioso Adagio – Più andante – Allegro non troppo, ma con brio The greatest musical problem that faced Brahms, a famously severe self-critic, was that of writing a post-Beethovenian symphony.

‘I shall never compose a symphony,’ he wrote to an expectant friend after hearing Beethoven’s Ninth. ‘Composing a symphony is no laughing matter. You have no idea of how it feels to hear behind you the tramp of a giant like Beethoven.’

Happily, Brahms was not true to his word, although he didn’t complete his First Symphony until he was 43, some 19 years after his initial efforts at the form (symphonic sketches from which found their way into masterpieces such as the First Piano Concerto and the German Requiem). Nevertheless, Brahms’ harsh selfcriticism paid huge dividends. After its premiere in Karlsruhe, other performances soon followed and the First Symphony was hailed as ‘the Tenth’, supposedly a worthy successor to Beethoven’s Ninth. Brahms was uneasy with the comparison, but at last he was recognised as his hero’s true heir, the worthy bearer of the classical symphonic torch.

Scotland’s National Orchestra

The first movement’s slow introductory section is characterised by a rugged beauty and great dramatic tension. Against a powerful, measured drumbeat, searing violins and cellos climb upwards, countered by descending violas, woodwind and horns.

For a while an uneasy calm prevails, but the tension again builds and the extended fast Allegro section begins, the material of which derives from the introduction.

From its fierce opening chords, the mood here is unrelentingly serious, as if Brahms were underscoring his solemn view of symphonic creation. But the relative lack of emotional contrast is utterly arresting as Brahms rigorously introduces, elaborates and develops at length his thematic material in the most masterly manner. Indeed, amid all the nervous energy, rare moments of grace appear in sharp relief. At last, with becalmed echoes of the introduction’s opening chords, a state of repose is reached.

The contrasting second movement is modest and song-like in character, a succession of gloriously lyrical melodies assigned to strings, woodwind and horns. Echoes of the first movement’s stormy main theme briefly threaten the overall calm, but the tender mood of the opening soon returns. After a passionate dialogue with the horn, a solo violin rises up ecstatically, bringing this most exquisite of movements to a wonderfully tranquil close.

The concise but graceful third movement begins with a gently swaying clarinet melody over a plucked accompaniment, a melody that alternates with a more mellifluous theme

presented by both strings and woodwind. The more agitated middle section briefly evokes a mood of melancholy, before the sunny opening material returns, now joyously elaborated.

The majestic fourth movement is the resplendent jewel in Brahms’ symphonic crown. Like the first movement, it begins with a sombre, slow introduction, one that is initially characterised by an air of mystery and suspense. The tension is released with the emergence of the most glorious of horn solos, a tune first heard by Brahms on an Alpine holiday and scribbled down on a musical birthday card to his beloved Clara Schumann (‘This is what the alphorn plays today,’ he wrote).

Eventually, following a hymn-like brass chorale, the strings present the movement’s noble main theme, a melody with clear resemblances to the ‘Ode to Joy’ from Beethoven’s Ninth.

(When an unfortunate concertgoer pointed this out, Brahms testily replied, ‘Any ass can see that!’) The second main theme is more playful, characterised as it is by joyful, syncopated rhythms. There are moments of tension and darkness – including a turbulent, Beethovenian storm – but the overall direction of the finale is towards dramatic resolution and light. After an increase in tempo, the brass chorale sings out triumphantly, heralding the most brilliant and uplifting of symphonic conclusions. Brahms had overcome his Beethovenian ghost. © Anthony Bateman

RSNO Friday Night Club: Brahms Symphony No1

Thomas Søndergård CONDUCTOR The 2019:20 season includes his debuts with the Cleveland Orchestra, NDR Radiophilharmonie Hannover and Detroit Symphony Orchestra. He also tours South Korea with the orchestra of the Royal Danish Opera.

Thomas’ operatic engagements include the Bayerische Staatsoper (Turandot), Norwegian Opera (Die Zauberflöte) and Deutsche Oper Berlin (world premiere of Andrea Lorenzo Scartazzini’s Edward II ), and Tosca, Turandot and Dialogues des Carmélites with the Royal Swedish Opera. He was described as ‘a sensation’ at his debut with the Royal Danish Opera conducting Poul Ruders’ Kafka’s Trial, and subsequent productions there have included Il barbiere di Siviglia, Le nozze di Figaro, La bohème, The Cunning Little Vixen and Il viaggio a Reims.

Danish conductor Thomas Søndergård is Music Director of the Royal Scottish National Orchestra, making his debut in October 2018 after six seasons as Principal Guest Conductor.

He served as Principal Conductor of the BBC National Orchestra of Wales (BBC NOW) from 2012 to 2018, and prior to this as Principal Conductor and Musical Advisor of the Norwegian Radio Orchestra for three seasons.

He conducted the RSNO on its New Year 2019 tour to China, as well as recent tours to the West Coast of the USA and throughout Europe.

Thomas has conducted many leading orchestras, including the Chicago Symphony Orchestra, London Philharmonic Orchestra, BBC Symphony Orchestra, Royal Concertgebouw Orchestra, London Symphony Orchestra, Philharmonia Orchestra, Oslo Philharmonic Orchestra, Gothenburg Symphony Orchestra, Danish National Symphony Orchestra, Royal Stockholm Philharmonic Orchestra, Gewandhausorchester Leipzig, Deutsches Symphonie-Orchester Berlin, Mahler Chamber Orchestra and Bamberg Symphony.

Releases with BBC NOW include Sibelius’ Symphonies 1, 2, 6 and 7 and most recently a disc which shines light on Sibelius’ tone poems and theatre music (Linn Records). Other noteworthy recordings include Vilde Frang’s celebrated first recording for EMI, of Sibelius’ Violin Concerto and Prokofiev’s Violin Concerto No1, and Ruders’ Piano Concerto No2 on Bridge Records, nominated for a Gramophone Award in 2011. The Lutosławski and Dutilleux cello concertos with Johannes Moser were released on Pentatone in 2018, and Richard Strauss’ Ein Heldenleben, Thomas’ debut recording with the RSNO, on Linn Records in 2019.

In 2011 Thomas was awarded the prestigious Queen Ingrid Foundation Prize for Services to Music in Denmark.

Scotland’s National Orchestra

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RSNO Friday Night Club: Brahms Symphony No1

Royal Scottish National Orchestra

Formed in 1891 as the Scottish Orchestra, the company became the Scottish National Orchestra in 1950, and was awarded Royal Patronage in 1977. The Orchestra’s artistic team is led by Danish conductor Thomas Søndergård, who was appointed RSNO Music Director in October 2018, having previously held the position of Principal Guest Conductor. Hong Kong-born conductor Elim Chan succeeds Søndergård as Principal Guest Conductor. They are joined by Assistant Conductor Junping Qian.

The RSNO performs across Scotland, including concerts in Glasgow, Edinburgh, Dundee, Aberdeen, Perth and Inverness. The Orchestra appears regularly at the Edinburgh International Festival and the BBC Proms, and has made recent tours to the USA, China and throughout Europe.

The Orchestra is joined for choral performances by the RSNO Chorus, directed by Gregory Batsleer. The RSNO Chorus evolved from a choir formed in 1843 to sing the first full performance of Handel’s Messiah in Scotland. Today, the RSNO Chorus is one of the most distinguished large symphonic choruses in Britain, with a membership of around 160. The Chorus has performed nearly every work in the standard choral repertoire, along with contemporary works by composers including John Adams, Howard Shore and James MacMillan.

Formed in 1978 by Jean Kidd, the acclaimed RSNO Junior Chorus, under its new director Patrick Barrett, also performs regularly alongside the Orchestra. Boasting a membership of over 400 members aged from 7 to 18, it has built up a considerable reputation singing under some of the world’s most distinguished conductors and appearing on radio and television.

The RSNO has a worldwide reputation for the quality of its recordings, receiving two Diapason d’Or awards for Symphonic Music (Denève/ Roussel 2007; Denève/Debussy 2012) and eight GRAMMY Awards nominations. Over 200 releases are available, including the complete symphonies of Sibelius (Gibson), Prokofiev (Järvi), Glazunov (Serebrier), Nielsen and Martinů (Thomson) and Roussel (Denève) and the major orchestral works of Debussy (Denève). Thomas Søndergård’s debut recording with the RSNO, of Richard Strauss’ Ein Heldenleben, was released on Linn Records in 2019.

The RSNO’s pioneering learning and engagement programme, Music for Life, aims to engage the people of Scotland with music across key stages of life: Early Years, Nurseries and Schools, Teenagers and Students, Families, Accessing Lives, Working Lives and Retired and Later Life.

The team is committed to placing the Orchestra at the centre of Scottish communities via community workshops and annual residencies across the length and breadth of the country.

Scotland’s National Orchestra

On Stage FIRST VIOLIN

CELLO

HORN

LEADER

PRINCIPAL

PRINCIPAL

Sharon Roffman Elaine Clark Tamás Fejes Lena Zeliszewska Patrick Curlett Ursula Heidecker Allen Susannah Lowdon Jane Reid Caroline Parry Elizabeth Bamping Alan Manson Lorna Rough Kirstin Drew SECOND VIOLIN

Xander van Vliet PRINCIPAL

Marion Wilson Harriet Wilson Paul Medd Sophie Lang Nigel Mason Michael Rigg Christopher Ffoulkes Katie Jackson Emily Nenniger Julia Norton Liam Lynch VIOLA

Tom Dunn PRINCIPAL

Jill Valentine Rik Evans Susan Buchan Claire Dunn David Martin Maria Trittinger Katherine Wren Francesca Hunt David McCreadie

Aleksei Kiseliov

Christopher Gough

Betsy Taylor Kennedy Leitch William Paterson Ruth Rowlands Rachael Lee Sarah Digger Miranda Phythian-Adams

Alison Murray Andrew McLean David McClenaghan Elise Campbell

DOUBLE BASS

Marcus Pope

PRINCIPAL

TROMBONE

Ana Cordova

Margarida Castro Michael Rae Paul Sutherland John Clark Sally Davis

TRUMPET

Christopher Hart PRINCIPAL

Dávur Juul Magnussen PRINCIPAL

Lance Green Alastair Sinclair

PRINCIPAL BASS TROMBONE

FLUTE

TIMPANI

PRINCIPAL

PRINCIPAL

Katherine Bryan Janet Richardson OBOE

Adrian Wilson PRINCIPAL

Henry Clay CLARINET

Maura Marinucci GUEST PRINCIPAL

Duncan Swindells BASSOON

Luis Eisen

ASSOCIATE PRINCIPAL

Grant McKay Christian Garcia CONTRABASSOON

Paul Philbert

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