DANIEL BARENBOIM & STAATSKAPELLE BERLIN – BRAHMS SYMPHONIES NO. 3 & 4 PROGRAM II

After a much awaited return of 48 years Maestro Barenboim with the Staatskapelle Berlin delivered a first rate symphonic performance and a thrilling musical experience of Brahms Symphonies No. 3 and 4 in their second concert of three performed at Sydney’s Opera house on Monday 26th November 2018.

The much revered conductor and virtuoso pianist Barenboim conducted the Staatskapelle Berlin orchestra, one of the oldest orchestras in the world founded in 1570. Since 1992 Barenboim has honed this orchestra into one of the world’s finest ensembles whose huge repertoire is firmly rooted in the music of the great German composers. Brahms was a natural choice in their program. In 2000 Barenboim was nominated Staatskapelle’s conductor for life. Such is the special long-term relationship this conductor has with his orchestra along with their impressive musical history and experience. The fruits of their relationship was demonstrated with this outstanding performance.

Barenboim is an expert in drawing as many shimmering colours from this orchestra as possible and on this note he over-delivered. The Staatskapelle Berlin playing was high spirited and splendid and just about every moment was filled with magic.

The program began with the beautifully melodic and dramatic ‘Brahms Symphony No. 3 in F, Op-90’ which was composed by Brahms in less than four months and is the shortest of his four symphonies.

The first movement ‘Allegro con Brio’ opened with a basic motif. To this, placed in different voices (first in the bass) and in altered rhythms, the melody of the principal theme is counterpointed. The skilfully created tension between F minor and F major is one of the signature characteristics of this work. Beautiful playing by the strings led by concertmaster Jiyoon Lee. The delicate pizzicato of strings and outstanding flute, oboe and clarinet playing was mesmerizing. The dramatic score and frenzied crescendos demanded by Barenboim stamping his left foot coupled with big flowing hand movements delivered a robust and full throttle first movement exactly as Brahms had intended.

The second movement ‘Andante moderato’ was almost played as ‘Adagio’, a little slower than expected and conveyed the impression of a hymn. Beautiful flute moments delivered by ‘Claudia Stein along with clarinet and bassoon underpinned by glorious strings.

There was very little pause from one movement to the next as Barenboim briskly played onto the third movement ‘Allegro giocoso’, this being a Minuet with such an exquisite melody. The main motif here has influenced popular music culture with its quaint rhythm, tinge of gloomy mood that might answer to a ‘Song without words’. Its beautiful melody also inspired Frank Sinatra who co-wrote the lovely song ‘Take my Love’ in 1950.

The last movement ‘Allegro — Un poco sostenuto’ is dramatic, forceful and brilliantly played though it begins with ‘pianissimo’. This finale is long with many hues and a cliff-hanger struggle between major and minor keys. Finally the F major mode blossoms at the end whilst the woodwinds and brass give the recycled theme it’s uplifted, blissful sound. Beautiful clarinet playing by Tibor Reman. There’s a subdued reference in the violins, sempre pianissimo, to the majestic opening bars of the first movement saved for the very end which is a Brahms master stroke.

‘Brahms Symphony No.4 in E minor, Op 98’ followed the interval. This is an intricate, great symphony more expansive than the others full of exquisite detail and marvellous interactions between the different sections of the orchestra. Barenboim treats this more as a chamber work, taking his time reaching the high points in each movement allowing a certain freedom in tempo which allow the music to breathe unhurriedly and beautifully.

There are nods to Beethoven and lots of Bach in the final movement which fills the piece with incredible darkness and drama. Beginning with a masterful hushed opening in the first movement and by contrast the force and volume in the ‘Allegro energico e passionato’ in the final movement, it is quite exceptional. Beautiful solo playing in the third movement by flute, clarinet and oboe. The string section also played in perfect unison.

Most memorable was Barenboim’s ability to create a seamless world of brass and strings with clear attention to percussion. Beautiful playing by the timpanist dovetailing with the remaining brass created a theatrical dreamy coloration. Notwithstanding the big melodies and contrasts the beauty of Barenboim’s performance is with the very quiet ends of phrases. In his words “that’s where a lot of the magic is. “.

After the performance Barenboim delivered a heartfelt speech expressing his joy at having received such a warm welcome after a long absence. He acknowledged and thanked the various sections of the orchestra much to the audience’s delight. Secondly he dedicated the concert to the first inhabitants of our country. His message was one of unification and that all countries must take account of their past, present, friends and enemies stressing the importance of unification. His efforts in using music to foster a better understanding between Israelis and Palestinians has earned him the unique position of being a citizen of both Israel and Palestine along with Argentina and Spain.

Overall a wonderful concert performance I will forever treasure.