Brahms 4 at The National Concert Hall
dublin |
arts and media |
news report 
Sunday May 07, 2006 12:38
by Sean Crudden - impero
sean.crudden at iol dot ie
Jenkinstown, Dundalk, Co Louth.
087 9739945
Young Performers Grab the Limelight
There were over 100 000 people viewing the recent military parade to commemorate The Rising of 1916. There were empty seats at Friday night's concert in the National Concert Hall - even though the best seat in the house cost only €25. ??
As part of its "Brahmsfest" in association with Anglo Irish Bank the RTE National Symphony Orchestra presented on Friday 5 May 2006 the following program of music:-
· Brahms (1833 - 1897); A Tragic Overture, Op 81
· Krysztof Meyer (b 1943); Double Concerto for Violin, Cello and Orchestra, Op 105 (world premier - RTE Commission)
INTERVAL
· Brahms; Symphony No 4 in E minor, Op 98
The conductor was Gerhard Markson.
The concert was recorded and will be broadcast on Thursday 11 May 2006 on Lyric FM.
When I was young and when I had the money - which was seldom enough - I used to go in to Monica Caraher in Smarmore post office for a 6d ice-cream. Basically that was the biggest ice-cream practicable - a whole block cost 2 shillings at that time (i.e. 4x6d) - it was basically a cut from the block which was a quarter the size of the block. Monica used her discretion cutting the ice-cream from the block but I invariably had the sense that I got good "value" from her. I have the same feeling about Brahms. Whether it is large-scale music, chamber music, or song - you always get "value" in the concert hall when Brahms is on the program. And the sound of Brahms’ orchestral music is far more fulfilling in the concert hall than it is on recordings.
As far as I could see Markson conducted both Brahms works on the program from memory - indicating to me that it was a labour of love. The orchestra sounded balanced in both pieces and the rhythm section (double basses and cellos) marched nicely. The pizzicato was sweet and the brass was assertive with an appealing sleazy edge here and there together with the occasional suggestion of an Irish "ne-aah." There was clarity and timing in the percussion.
The first of his players that Markson called to attention at the end of the symphony was Riona Dineen (flute) and her happy smile conveyed volumes. Her mother who was in the audience must have been very proud.
The new work by Meyer came across well in the concert hall. He took a bow at the end of the performance of his concerto and he seemed to be very pleased with the soloists Stefan Tönz (violin) and Jan-Erik Gustafsson (cello). Gustafsson lead well with excellent attack and a serious, purposeful and confident approach. He was dressed in an open necked shirt and he has film-star looks - which certainly does no damage to a young performer. Tönz contrasted with a lyrical, rounded, leisurely style. There was plenty of meat in the piece for the two soloists and the shriek of the brass now and then struck the ear (to put it mildly) in a heart-wrenching way different from the more suave tones of Brahms.