Latest news with #Brahms'
Otago Daily Times
29-06-2025
- Entertainment
- Otago Daily Times
Performances brilliantly crafted, balanced
DSO: Brahms & Mataatua: A Journey in Music Dunedin Town Hall June 28 A large audience in the Dunedin Town Hall on Saturday witnessed the performance of works by two musical giants — one Māori and one German. After a supportive, welcoming karanga (ceremonial call) by Lily Fraser, the world premiere public performance of an exceptionally moving and brilliantly crafted work by Dame Gillian Whitehead, depicting the little known story of a whare called Mataatua, followed. Dame Gillian's complex score was conducted with exemplary clarity by James Judd. The Journey of Mataatua Whare: the House That Came Home is in four movements and features three soloists, choir and orchestra. The specially formed Dunedin Symphony Orchestra Chorus of 16 local singers sang with precision and dramatic flair, but choral blend was lacking. The soloists were uniformly excellent. Soprano Rebecca Ryan, representing the voice of Mataatua, sang her searingly difficult angular lines with effortless ease; baritone Tomairangi Henare's warm and resonant voice represented te ao Māori; and the commanding presence and voice of bass Paul Whelan represented the Pakeha world and bureaucracy. Dame Gillian's ability to create orchestral soundscapes both contemporary and romantic, moving seamlessly from one to the other, is remarkable and the orchestra was able to achieve the composer's demands with poise and confidence. Brahms' Piano Concerto No 2 in B Flat major Opus 83 is a giant among piano concerti. Maestro Judd skilfully managed the balance between piano and orchestra, allowing pianist Jian Liu to illuminate Brahms' intentions from the very first notes he played. In the opening movement were the heart-rending pianissimi and heart-tingling fortissimi. Liu articulated Brahms' melodic genius in the second movement; the third movement began and ended with a haunting cello solo, which eventually culminated in an exquisite pianissimo piano ending. The final movement featured an exuberant dance-like rondo, bringing the concerto to a sparkling finish. Liu paid tribute to Whitehead by playing her Lullaby for Matthew as an encore. Dame Gillian is of one of Dunedin's international treasures, and the DSO is to be congratulated for giving her such splendid support. Review by Judy Bellingham
Otago Daily Times
26-06-2025
- Entertainment
- Otago Daily Times
Pianist returns as soloist with DSO
Wellington-based pianist and educator Dr Jian Liu is visiting Dunedin for the third time since the start of this year to feature as soloist with the Dunedin Symphony Orchestra. Liu is in rehearsals with the DSO this week for his performance of Brahms' monumental Piano Concerto No 2, one of two major works in Saturday's ''Brahms & Mataatua: A Journey in Music'' concert, from 7.30pm at the Dunedin Town Hall. The other major work, to be led by DSO principal guest conductor James Judd, will be the premiere performance of Dunedin composer Gillian Whitehead's The Journey of Mataatua Whare. The piece, which will feature soloists Rebecca Ryan (soprano), Tomairanga Henare (baritone), and Paul Whelan (bass), celebrates 100 years since the Mataatua Wharenui returned to New Zealand. An international concert pianist, chamber musician, and awardwinning recording artist, Liu is head of piano studies and deputy head of school at the New Zealand School of Music. During his recent visits to Dunedin, he was a member of the adjudicating panel for the Dunedin Concerto Competition, won by 16 year-old pianist Ozan Biner-McGrath. ''The concerto competition was a very special event. It was wonderful to be part of it and to hear so many talented young people perform.'' Now he is back to showcase his own prodigious piano performance skills, taking on one of the most epic concertos in the classical canon — Brahms' Piano Concerto No.2. ''I'm very excited to be returning to the Dunedin Town Hall, with its fantastic acoustic, to play this intriguing work,'' Liu said. Preparing for Saturday's Brahms performance has involved careful management, as it comes just two weeks after Liu performed Tchaikovsky's Piano Concerto No 3 with Orchestra Wellington. ''Getting ready for two concerts close together involved preparing the two works side by side earlier in the year, and then focusing on each one exclusively in the weeks leading up to the performance,'' Liu said. ''It's a carefully planned out process and the timing has worked out perfectly. ''And most importantly, what a joy it is to play two such wonderful works.'' Brahms' Piano Concerto No 2 is an unusual work in the Romantic repertoire, with the pianist and orchestra working together in conversation. ''I describe it as like a symphony with a piano accompaniment, and it is symphony length as well,'' Liu said. ''Somehow it is both intimate and very grand, and it has a wonderful warmth. ''The orchestra and soloist must work together very closely in collaboration, so it is very special for me that my first concert with James Judd involves this work.'' Along with his Dunedin visits, Liu performed in Vietnam in April, and will head to Germany and China for more concerts. There are also New Zealand concert and chamber music commitments. Free pre-concert talk There will be a free pre-concert talk by Dr Andrew Perkins in conversation with composer Gillian Whitehead and DSO concertmaster Tessa Petersen, from 6.40pm-7pm on Saturday in the Dunedin Town Hall complex.
Sydney Morning Herald
05-06-2025
- 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
05-06-2025
- 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 >>
