Chailly and the Gewandhaus Orchestra bring their Barbican Brahms cycle to an end

‘I sat down to hear the last concert of the Leipzig Gewandhaus Orchestra’s Brahms cycle under Riccardo Chailly at the Barbican with high hopes. Having heard the hype, it seemed that the restrained autumnal shades of the Violin Concerto in D major(with superstar Leonidas Kavakos) and the sheer compositional majesty of theSymphony no. 4 in E minorhad the potential to be the high points of an already much-vaunted cycle. Chailly’s “radical return” to Brahms, as Decca are calling it, has been the subject of much scrutiny. An insistence on cutting through years of performance tradition to find an interpretation that Brahms himself might have understood – according to Chailly – has more than a whiff of the “authentic” performance movement about it, and it was along these lines that the Italian’s interpretations ran. With invariably brisk tempos and highly marked articulation, it was the control of a Norrington that Chailly exercised over his orchestra, and despite the audience’s cheers, I’m not sure it always worked, however impressive a display of Regiemusik it may have been.’

Read the whole review at Bachtrack here.

It was with a heavy heart that I wrote this review. having heard from a colleague that a friend described the Gewandhaus’s performance of the Second Symphony as ‘the best performance of the piece he’d ever heard or could imagine hearing’ I was expecting something rather better than what I heard. I take no pleasure in being as negative as I was, but a barnstorming LSO concert last night relieved my mood considerably; review for Bachtrack to follow…

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