Maxim Conducts Brahms – Season 22/23 – Programme note

MAXIM CONDUCTS BRAHMS

Season 2022/23 MAXIM CONDUCTS BRAHMS

Thursday 23 February, 7.30pm Usher Hall, Edinburgh

Friday 24 February, 7.30pm City Halls, Glasgow

Brahms Violin Concerto in D Major, Op 77

Interval of 20 minutes

Brahms Symphony No 1 in C minor, Op 68

Maxim Emelyanychev Conductor

Aylen Pritchin Violin

Maxim Emelyanychev

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Aylen Pritchin

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WHAT YOU ARE ABOUT TO HEAR

Brahms (1833–1897)

Violin Concerto in D Major, Op 77 (1878)

Allegro non troppo

Adagio

Allegro giocoso, ma non troppo vivace

Symphony No 1 in C minor, Op 68 (1862–76)

Un poco sostenuto — Allegro Andante sostenuto

Un poco allegretto e grazioso

Adagio — Allegro non troppo, ma con brio

Tonight’s concert might be devoted entirely to the music of Johannes Brahms, as are two later concerts this season. But there’s another composer floating in the background of today’s performance, one whose ghostly presence we really shouldn’t ignore: Ludwig van Beethoven.

Brahms and Beethoven never met –Beethoven died six years before Brahms was born. But if we shouldn’t ignore the earlier composer, Brahms simply couldn’t. ‘You have no idea how the likes of us feel when we hear the tramp of a giant like him behind us,’ Brahms famously told a friend, in an attempt to convey the struggles he felt composing a symphony just decades after Beethoven’s own iconic, pioneering works in the form.

We’ll return to the painful gestation of Brahms’ First Symphony shortly. Beethoven hovers behind both works in tonight’s programme, and the earlier composer’s 1806 Violin Concerto served as a conscious model for Brahms when he was writing his own Violin Concerto in 1878. But it was yet another man, this time very much alive, who exerted the most direct and formative influence on Brahms’ Violin Concerto.

Though only 16, violinist Joseph Joachim was already something of an international star when the 14-year-old Brahms first encountered him in 1848, as soloist in Beethoven’s Violin Concerto (what else?). Joachim gave such a passionate, committed performance that Brahms later confessed to him: ‘I reckoned the Concerto to be your own… I was certainly your most enraptured listener.’

The two young men quickly became firm friends, and remained so for the rest of

their lives. And they were united by shared values: a passion for the music of the past, and an unshakeable belief that music’s purpose was to convey meaning and substance, rather than simply titillate with flashy virtuosity.

Brahms was a 45-year-old with two symphonies under his belt by the time he came to write his Violin Concerto in 1878. He’d held off, perhaps, to allow his friend his own time in the spotlight: Joachim was a fine composer as well as a violinist, and had written three concertos for his own instrument. Perhaps not surprisingly, when Brahms embarked on his own Violin Concerto, he immediately turned to Joachim for advice, which the violinist was only too happy to supply. With Brahms ensconced in his summer compositional hideaway at the Austrian lakeside resort of Pörtschach, they communicated mainly by letter:

Joachimwasafine composeraswellasa violinist,andhadwritten threeconcertosforhis owninstrument.Perhaps notsurprisingly,when Brahmsembarkedonhis ownViolinConcerto,he immediatelyturnedto Joachimforadvice,which theviolinistwasonlytoo happytosupply.

Brahms took pains to thank his friend for his suggestions, only to ignore many of them. Nonetheless, Joachim’s contributions were sizeable, including composition of the first movement’s virtuosic solo cadenza, still often played today.

As an overall model for his Concerto, however, Brahms consciously looked to Beethoven’s Violin Concerto for inspiration, even writing his work in the same key –D major – as if to make comparisons explicit. His intention – one that Joachim happily shared – was to follow Beethoven’s lead in creating a solo part that demonstrated the musicianship and profound insights of the performer, rather than simply showcasing their technical virtuosity. That said, there are plenty of challenging fiddle fireworks in Brahms’ Concerto, though they’re finely integrated into the work’s musical argument and development.

Joseph Joachim

Brahms himself conducted the Concerto’s premiere, with Joachim as soloist, in Leipzig on New Year’s Day, 1879. Even then, he couldn’t escape Beethoven: Joachim had insisted on opening the concert with the earlier composer’s own Violin Concerto, as if to demonstrate that Brahms’ new work could stand as every bit an equal to Beethoven’s. (Brahms himself was less convinced: ‘It was a lot of D major – not much else on the programme,’ he later drily observed.)

There were mixed reactions to Brahms’s new Concerto, however. At its Viennese premiere, the audience adored it, while in Berlin, the response was more muted. One wag – variously identified as conductor Hans von Bülow or his colleague Josef Hellmesberger – described it as being written ‘against the violin’ rather than for the instrument. ‘You’ll think twice before you ask me for another concerto!’ Brahms wrote to Joachim following the premiere. Nonetheless, he withheld publication of the piece for several years to allow Joachim exclusivity over performances. Not that there was a surge of demand from other violinists. Spanish virtuoso Pablo de Sarasate, for instance, refused to play the work, arguing: ‘I don’t deny that it’s fairly good music, but does anyone imagine that I’m going to stand on the rostrum, violin in hand, and listen to the oboe playing the only tune in the slow movement?’

Now, however, Brahms’ Violin Concerto is considered one of the finest, most expressive, and most exquisitely crafted works of its kind. It was Joachim who famously included it among his list of the four greatest concertos – alongside those of Mendelssohn, Bruch and (naturally)

Beethoven. Brahms opens with a unison melody, almost like an outdoor horn call heard from afar, before continuing with an oboe theme against gently undulating strings. It almost amounts to the bare bones of what the violinist will shortly introduce as the first movement’s dramatic main theme, announced in a stormy D minor. Brahms continues with a noble second theme (based on the opening horn-call idea), and even a tender, third melody set against pizzicato accompaniment.

His second movement opens with the long oboe melody that Sarasate so objected to, with accompaniment from just woodwind and horns, so that when the strings enter to accompany the soloist’s more heavily decorated version, we feel like we’re entering a new sonic world. The stomping, exuberant dance of a finale is perhaps Brahms’ tribute to Joachim’s Hungarian roots. But its lively rhythms are offset by contrasting themes that have little to do with Hungary at all, and, just as it seems to be heading for a restful, subdued ending, Brahms unleashes his confident, celebratory final chords.

It was Joseph Joachim who first introduced Brahms to fellow composers Robert and Clara Schumann. She was also a revered pianist and teacher, and he was also editor of what was then Europe’s most influential music publication, the Neue Zeitschrift für Musik. It was in that editorial capacity that Robert Schumann, having taken one look at the young Brahms’s compositions in 1853, promptly proclaimed the younger man a musical genius and the worthy successor to Beethoven, in an article he entitled ‘New Paths’.

Brahms’ initial reaction was one of awestruck gratitude. He wrote to Schumann:

‘You have made me so extremely happy that I cannot attempt to express my thanks in words. May God grant that my works will soon be able to prove to you how much your love and kindness have uplifted and inspired me.’ Feelings of thankfulness were soon joined, however, by the dread of expectation. How on earth would he ever live up to the hopes that Schumann had for his abilities, and the expectations that Schumann had no doubt raised in many others too?

All of which at least partly explains the extremely long gestation of Brahms’ First Symphony. The composer himself counted it as taking him 21 years, from his very earliest sketches in 1855 – just two years after Schumann’s article – to its completion in 1876. Brahms was already a fastidious composer, with a sense of self-criticism that led him to destroy many pieces he

Brahmswasalreadya fastidiouscomposer,with a sense of self-criticism thatledhimtodestroy manypieceshefeltsimply weren’tuptoscratch. Whenthepieceinquestion wasasymphony, however,thatonlymade matters worse.

felt simply weren’t up to scratch. When the piece in question was a symphony, however, that only made matters worse. Though the form had begun life as a relatively brief, lightweight affair, in Haydn and Mozart’s hands the symphony had become longer and had more to say, and Beethoven’s pioneering symphonies had transformed the form into the pinnacle of musical thought and expression, often at their most abstract, and a demonstration of music’s ability to convey the profoundest ideas and emotions. ‘After Haydn,’ Brahms wrote, ‘writing a symphony is no longer a joke, but a matter of life and death.’

When Brahms’ First Symphony did finally receive its premiere – in Karlsruhe, on 4 November 1876 – reactions were rather awe-struck. Influential Viennese critic Eduard Hanslick didn’t hold back in his praise for the work: ‘Seldom, if ever, has the

Johannes Brahms

‘Seldom,ifever,hastheentiremusicalworldawaiteda composer’sfirstsymphonywithsuchtenseanticipation. Thenewsymphonyissoearnestandcomplex,soutterly unconcernedwithcommoneffects,thatithardlylends itselftoquickunderstanding.Eventhelaymanwill immediatelyrecogniseitasoneofthemostdistinctive andmagnificentworksofthesymphonicliterature.’

entire musical world awaited a composer’s first symphony with such tense anticipation. The new symphony is so earnest and complex, so utterly unconcerned with common effects, that it hardly lends itself to quick understanding. Even the layman will immediately recognise it as one of the most distinctive and magnificent works of the symphonic literature.’

Hanslick was no doubt implying that it wasn’t for the casual listener, an appraisal we might question nowadays. But it was clear that Brahms was attempting to inject new ideas into tried and trusted symphonic forms, most notably a sense of constant thematic transformation, whereby melodies are perpetually altered in their rhythms or shapes, assigned to different instruments, fractured, reconfigured and reassembled, enabling the composer to explore all of the possibilities they offer. (Brahms’ own assessment of his new work was less flattering: he called it ‘long and not exactly lovable’.)

His thematic transformations are launched amid the throbbing intensity of the first movement’s slow introduction, during

which Brahms reveals all the material he’ll explore in more depth across the rest of the movement. When the pace picks up, the violins’ dramatic leaping theme nonetheless retains the introduction’s weightiness and seriousness of purpose. Brahms’ second movement opens with a tender though nonetheless rugged theme in the strings, before the oboe introduces the movement’s melting main melody.

His third movement – a brief, gentle, softly spoken scherzo – serves as an extended introduction to his finale, whose own dark, somewhat menacing introduction soon gives way to a disarmingly simple, noble melody in the violins, surely Brahms’ response to the famous ‘Ode to Joy’ from Beethoven’s Ninth Symphony. Conductor Hans von Bülow famously referred to Brahms’ First Symphony as ‘Beethoven’s Tenth’, no doubt as a compliment, but also to draw attention to the clear similarities between it and Beethoven’s own symphonies. Brahms’ response? ‘Any ass can see that.’ For him, those similarities counted as tributes, not plagiarism.

© David Kettle

Conductor MAXIM EMELYANYCHEV

At the Scottish Chamber Orchestra Maxim Emelyanychev follows in the footsteps of just five previous Principal Conductors in the Orchestra’s 48-year history; Roderick Brydon (1974-1983), Jukka-Pekka Saraste (1987-1991), Ivor Bolton (1994-1996), Joseph Swensen (1996-2005) and Robin Ticciati (2009-2018).

Highlights of his 2021/22 season included debuts with some of the most prestigious international orchestras: Accademia Nazionale di Santa Cecilia, Royal Concertgebouw Orchestra, Rotterdam Philharmonic, Deutsches Symphonie-Orchester, Toronto Symphony and Swedish Radio Symphony Orchestra, and returns to the Antwerp Symphony, the Orchestre National du Capitole de Toulouse, the Royal Liverpool Philharmonic and a European tour with the Scottish Chamber Orchestra, followed by appearances to the Radio-France Montpellier Festival and the Edinburgh International Festival.

In October 2022, Maxim toured the USA with the Scottish Chamber Orchestra and made his debut with the Berlin Philharmonic. Other touring in 2022/23 includes the New Japan Philharmonic, the Osaka Kansai Philharmonic, the Bergen Philharmonic Orchestra, the Helsinki Radio Symphony Orchestra, the Czech Philharmonic Orchestra, the Rotterdam Philharmonic Orchestra. He also returns to the Orchestre National du Capitole de Toulouse and to the Royal Opera House in Mozart's Die Zauberflöte.

He regularly collaborates with renowned artists such as Max Emanuel Cenčić, Patrizia Ciofi, Joyce DiDonato, Franco Fagioli, Richard Goode, Sophie Karthäuser, Stephen Hough, Katia and Marielle Labèque, Marie-Nicole Lemieux, Julia Lezhneva, Alexei Lubimov, Riccardo Minasi, Xavier Sabata and Dmitry Sinkovsky.

Maxim is also a highly respected chamber musician. His most recent recording, of Brahms

Violin Sonatas with long-time collaborator and friend Aylen Pritchin, was released on Aparté in December 2021 and has attracted outstanding reviews internationally. With the Scottish Chamber Orchestra, Maxim has recorded the Schubert Symphony No 9 – the symphony with which he made his debut with the orchestra – which was released on Linn Records in November 2019.

For full biography please visit sco.org.uk

Violin AYLEN PRITCHIN

Russian violinist Aylen Pritchin has, in recent years, firmly established himself as one of the most interesting and versatile rising stars on the international concert stage.

Born in Saint Petersburg, Aylen studied with Pr. Elena Zaitseva in his hometown and with Pr. Eduard Grach at the prestigious Tchaikovsky Conservatory in Moscow. In 2014, Aylen was awarded at the Long-Thibaud International Competition First Prize and he is a former major prize winner at the Wieniawski, Tchaikovsky, Sion-Valais, Kreisler and Oistrakh International Violin Competitions.

His career has led him to perform in Russia and abroad, including Armenia, Belgium, Bulgaria, Czech Republic, France, Germany, Israel, Italy, Netherlands, Poland, Switlzerland, Vietnam and Japan; In such prestigious venues as the Vienna Konzerthaus, Amsterdam Concertgebouw, Stockholm Musikaliska, Salzburg Mozarteum, Tchaikovsky Conservatory Hall in Moscow and the Champs-Elysées Theatre in Paris.

Highlights of the 2022/23 season include Aylen’s debut with the Scottish Chamber Orchestra under their Principal conductor Maxim Emelyanychev in Edinburgh and Glasgow. He embarks on a tour in Asia with two more debuts: the Hiroshima Symphony Orchestra under the direction of Christian Arming and the Hong Kong Sinfonietta and Yip Wing-sie. Recitals include a performance at the Hong Kong Concert Hall in a Beethoven-Richard Strauss program with pianist Rémi Geniet, as well as at the Tokyo’s Toppan Hall in a Medtner, Janáček, Ravel, Enescu program with pianist Tomoki Kitamura. In August 2023 he will join Maxim Emelyanychev for a performance at the Dubrovnik International Festival.

Aylen equally enjoys playing chamber music with artists such as Maxim Emelyanychev, Lukas Geniusas, Yury Favorin, Alexander Melnikov, Maxim Rysanov, Vladimir Mendelssohn and David Geringas.

For full biography please visit sco.org.uk

Biography

SCOTTISH CHAMBER ORCHESTRA

The internationally celebrated Scottish Chamber Orchestra is one of Scotland’s National Performing Companies.

Formed in 1974 and core funded by the Scottish Government, the SCO aims to provide as many opportunities as possible for people to hear great music by touring the length and breadth of Scotland, appearing regularly at major national and international festivals and by touring internationally as proud ambassadors for Scottish cultural excellence.

Making a significant contribution to Scottish life beyond the concert platform, the Orchestra works in schools, universities, colleges, hospitals, care homes, places of work and community centres through its extensive Creative Learning programme. The SCO is also proud to engage with online audiences across the globe via its innovative Digital Season.

An exciting new chapter for the SCO began in September 2019 with the arrival of dynamic young conductor Maxim Emelyanychev as the Orchestra’s Principal Conductor.

The SCO and Emelyanychev released their first album together (Linn Records) in November 2019 to widespread critical acclaim. The repertoire - Schubert’s Symphony No. 9 in C major ‘The Great’ –is the first symphony Emelyanychev performed with the Orchestra in March 2018.

The SCO also has long-standing associations with many eminent guest conductors including Conductor Emeritus Joseph Swensen, François Leleux, Pekka Kuusisto, Richard Egarr, Andrew Manze and John Storgårds.

The Orchestra enjoys close relationships with many leading composers and has commissioned almost 200 new works, including pieces by the late Sir Peter Maxwell Davies, Sir James MacMillan, Sally Beamish, Martin Suckling, Einojuhani Rautavaara, Karin Rehnqvist, Mark-Anthony Turnage, Nico Muhly, Anna Clyne and Associate Composer Jay Capperauld.

For full biography please visit sco.org.uk

BRAHMS’ CHAMBER PASSIONS

26 Feb, 3pm Edinburgh

THE DREAM

Sponsored by Pulsant

2-4 Mar, 7.30pm

Perth | Edinburgh | Glasgow

FOLK INSPIRATIONS WITH PEKKA

9-10 Mar, 7.30pm

Edinburgh | Glasgow

TRANSCENDENTAL VISIONS WITH PEKKA AND SAM

12 Mar, 3pm

Edinburgh

LES ILLUMINATIONS

15-17 Mar, 7.30pm

St Andrews | Edinburgh | Glasgow

HANDEL: MUSIC FOR THE ROYALS

Our Edinburgh concert is kindly supported by The Usher Family

23-24 Mar, 7.30pm

Edinburgh | Glasgow

4 Royal Terrace, Edinburgh EH7 5AB +44 (0)131 557 6800 sco.org.uk

The Scottish Chamber Orchestra is a charity registered in Scotland No. SC015039. Company registration No. SC075079.

SCHUBERT’S UNFINISHED SYMPHONY

Kindly supported by Claire and Mark Urquhart

30 Mar-1 Apr, 7.30pm

Edinburgh | Glasgow | Aberdeen

SUMMER NIGHTS WITH KAREN CARGILL

19-21 Apr, 7.30pm

St Andrews | Edinburgh | Glasgow

BEETHOVEN’S FIFTH

27-29 Apr, 7.30pm

Edinburgh | Glasgow | Aberdeen

TCHAIKOVSKY’S FIFTH

4-5 May, 7.30pm

Edinburgh | Glasgow

BRAHMS REQUIEM

11-12 May, 7.30pm

Edinburgh | Glasgow

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