RSNO Chamber, 04/11/2018
Brahms : Piano Quintet No. 1
Schubert : Piano Quintet "Trout"
Benjamin Grosvenor, piano
Sharon Roffman, violin
Sophie Lang, viola
Aleksei Kiseliov, cello
Margarida Castro, double bass
It made perfect sense that the RSNO should take advantage of Benjamin Grosvenor's appearances with them this week, and add in one of their occasional chamber series to present two pillars of the piano/strings chamber repertory.
They began with the Brahms G minor Piano Quartet, of unsettling changes of mood and tonality, melancholy tinged with menace leading to a fierce and defiant whirlwind in the celebrated rondo alla zingarese final movement. The richness of this piece prompted Schönberg to make an orchestral transcription of it, and something of that density of texture was a little lacking in this group, particularly as Kiseliov favours a clearer, lighter cello tone rather than the thick, heavy one of some other cellists. That deeper, darker timbre works better in Brahms, it warms the overall colours of the piece into the autumnal bronzes that suit Brahms best. There were many felicities, however; the contrast between the Intermezzo and the Trio of the second movement beautifully rendered, and the final rondo delivered with breathless exhilaration.
The overall quality of sound of this ensemble, however, was much better suited to the Schubert, and even with the double bass to add weight in the low register, the transparency of textures was ideal for this luminous music. Grosvenor's touch on the piano, too, developed a gleaming, crystalline quality, perfectly articulated, light but firm, elegant and sincere. All of the strings sang out alongside the rippling piano, delivering a reading of gently joyous radiance, and an altogether uplifting experience.
[Next : 10th November]
Schubert : Piano Quintet "Trout"
Benjamin Grosvenor, piano
Sharon Roffman, violin
Sophie Lang, viola
Aleksei Kiseliov, cello
Margarida Castro, double bass
It made perfect sense that the RSNO should take advantage of Benjamin Grosvenor's appearances with them this week, and add in one of their occasional chamber series to present two pillars of the piano/strings chamber repertory.
They began with the Brahms G minor Piano Quartet, of unsettling changes of mood and tonality, melancholy tinged with menace leading to a fierce and defiant whirlwind in the celebrated rondo alla zingarese final movement. The richness of this piece prompted Schönberg to make an orchestral transcription of it, and something of that density of texture was a little lacking in this group, particularly as Kiseliov favours a clearer, lighter cello tone rather than the thick, heavy one of some other cellists. That deeper, darker timbre works better in Brahms, it warms the overall colours of the piece into the autumnal bronzes that suit Brahms best. There were many felicities, however; the contrast between the Intermezzo and the Trio of the second movement beautifully rendered, and the final rondo delivered with breathless exhilaration.
The overall quality of sound of this ensemble, however, was much better suited to the Schubert, and even with the double bass to add weight in the low register, the transparency of textures was ideal for this luminous music. Grosvenor's touch on the piano, too, developed a gleaming, crystalline quality, perfectly articulated, light but firm, elegant and sincere. All of the strings sang out alongside the rippling piano, delivering a reading of gently joyous radiance, and an altogether uplifting experience.
[Next : 10th November]