Nelsons Conducts Brahms’ Third

Thursday 5 December 2013 at 7.30pm

Symphony Hall, Birmingham +44 (0)121 345 0600

City of Birmingham Symphony Orchestra

Andris Nelsons  conductor

Isabelle Faust  violin

Wagner: Siegfried Idyll 20′

Britten: Violin Concerto 32′

Brahms: Symphony No. 3 37′ Listen on Spotify Watch on YouTube

Isabelle Faust’s encore – Bach – Sarabande D minor Partita

Two   chords ring out, the orchestra gathers its strength – and with the force of   a summer storm, Brahms’s Third Symphony crashes upon you. “Free but happy” was   Brahms’s motto for this music, and there’s a whole lifetime of tenderness and   wonderful Isabelle Faust contemplates one of Britten’s finest works – and which   opens with the most beautiful gift any composer ever gave to his beloved?

c9.45pm: Post-concert chat Stay on for a post-concert conversation with Andris Nelsons and Stephen   Maddock.

Due to the popularity of the Birmingham Christmas Market please allow ample time for your journey to Symphony Hall.

A taste of the CBSO’s celebrations of Britten in his centenary year

Britten 100

Part of Birmingham’s celebrations of Britten’s centenary year:

If you like this concert, you might also like:

CBSO Youth Orchestra, Sunday   23rd February

Rimsky-Korsakov’s Scheherazade, Thursday   1st May

Rachmaninov and Shostakovich, Thursday   8th May



Review by Christopher Morley, Birmingham Post:

Click here for full review

…     “This was the Violin Concerto, a substantial, searching composition which drew an urgently communicative reading from soloist Isabelle Faust.

There was no “listen to me” element in her performance (though we did have to get past the pink liquorice-allsort outfit in which she presented herself).

Tone was painfully sweet where appropriate, attack was proudly articulate (what fantastic strength of bowing), and the music’s disturbed lyricism (Prokofiev was often evoked) always engaged with such an impact.

Andris Nelsons and his orchestra collaborated with so much empathy (the poised, swaying strings at the first movement’s recapitulation live in the memory), and telling instrumental colour, flute, trumpets among others.

The silence within the hall at the conclusion was so eloquent.

Framing this jewel were Wagner’s Siegfried Idyll and Brahms’ Third Symphony.

String cushioning in the Wagner gem was velvety and subtly-nourished, Nelsons’ patient, often suspenseful pacing evoking gorgeous Alpine landscapes.”     …



Review by Andrew Clements, Guardian:

Click here for full review

…     “Before the symphony, Nelsons had given a final nod to a couple of this year’s important anniversaries. He’d begun with a beautifully paced account of Wagner’s Siegfried Idyll, which managed to be convincingly intimate, with exquisite pianissimos, despite using the majority of the CBSO’s strings, before moving on to what turned out to be the evening’s highlight. No doubt there have been many performances of Britten’s Violin Concerto this year, but few, I imagine, can have been as searching and startlingly fresh as Isabelle Faust‘s, with its savage, selfless precision, rasping double stopping and sense of always knowing exactly what the destination of this disquieting musical journey really was. Nelsons and the orchestra aided and abetted her every step of the way. Faust’s encore, the Sarabande from Bach’s D minor Partita, effortlessly poetic and conversational, was an extra treat.”



Review by Peter Marks, BachTrack:

Click here for full review

…     “This is surely radical music in a way that Wagner simply could or would not appreciate. Brahms, perceived by the older composer to be straitjacketed by form, in fact transcended it by freeing himself of the traditional constraints of barlines and somehow making them imperceptible to the listener.

Such mastery was on full display in this performance by the City of Birmingham Symphony Orchestra under their music director Andris Nelsons. This compositional genius inspired the musicians to give of their very best. The strings played with immense warmth; there was not a rough edge to be found. Nelsons moulded the exposition into one long arc. The opening exclamatory chords were fired off without any broadening and sounded almost ecstatic when they were repeated.

The inner movements had the warm glow they should have, and the secret to Nelsons’ winning way with this piece became ever more apparent: Brahms’ music needs to flow without being inpeded, and that is exactly what was allowed to happen in this performance. Nelsons has not always allowed his Brahms to flow in this way before, having tended to massage this phrase and that on previous occasions. In the orchestra, all departments were on tremendous form, but the woodwind players, displaying a creamy tone and huge reserves of unforced expressiveness, really came into their own in these movements.

The epic final movement was pitched at just the right tempo: flowing but with a solid foundation, underpinned by a powerful double bass section that was rightly encouraged throughout.”     …

Pictures at an Exhibition

Wednesday 14 April 2010 at 7.30pm

Symphony Hall, Birmingham +44 (0)121-780 3333

Andrew Grams  conductor
Isabelle Faust  violin

Dvořák: Carnival Overture 8′
Beethoven: Violin Concerto 42′
Mussorgsky: (orch. Ravel) Pictures at an Exhibition 32′ Listen
requires Real Player

When Maurice Ravel arranged Mussorgsky’s Pictures at an Exhibition for orchestra, he created one of the few adaptations that’s better than the original! From its famous opening Promenade to the roof-raising final Great Gate of Kiev, it’s one of the all-time great orchestral showpieces, a glittering Russian jewel-box full of spicy tunes and unforgettable images. It’s a real CBSO favourite – and Dvorák’s riotous Carnival Overture is every bit as colourful. The great open spaces of Beethoven’s noble violin concerto will be like an oasis of calm – especially in the masterly hands of the young German virtuoso Isabelle Faust.

This concert is sponsored by

“Christopher Morley speaks to the German violinist Isabelle Faust…” :

Review by Christopher Morley, Birmingham Post:

…”The soloist’s trust in her on-loan 1704 Strad allowed her to reduce dynamic levels to a minimum at appropriate points: it also permitted a multitude of colourings and voices from one single line, and everything in this interpretation was understatedly eloquent — all matched by Grams and the orchestra.” …