BRAHMS 125 / Arnaldo Cohen & Friends & Orchestra of the Music Makers / Review

BRAHMS 125

Arnaldo Cohen & Friends

Orchestra of the Music Makers

Friday & Sunday (25 & 27 March 2022)

This review was published in The Straits Times on 30 March 2022 with the title "Pianist hits the right notes in Brahms concerts".

 

This year marks the 125^th anniversary of the death of great German composer Johannes Brahms (1833-1897), who was hailed as the successor to Beethoven’s legacy. Under that heavy burden of expectation, he toiled for decades before eventually carving out his very own legacy. That became so important that many later composers coveted to be “the next Brahms”.   

 

Brahms’ greatness laid in his complete mastery of classical forms, a rare confluence of intellectual and emotional inspirations, and simply gorgeous melodies. His music appeals on both cerebral and visceral levels, as amply revealed in two pairs of concerts with renowned Brazilian pianist Arnaldo Cohen showcasing chamber music and a concerto.

 

Photo: Lim Shao Yong

The first programme saw Cohen partnering with the T’ang Quartet in Piano Quintet in F minor (Op.34), and Chinese-Australian cellist Qin Li-Wei in Cello Sonata No.2 in F major (Op.99). A heavyweight among quintets, three of its four movements bristled in high drama with the slow second movement being the only lyrical respite. In the passionate exchanges between piano and strings, tensions were stretched to almost breaking point. Notably in the finale’s high-risk high-stakes game, the ensemble almost came apart, but cool heads prevailed for a rapturous close.   

Even better was the chemistry displayed between Cohen and Qin in the cello sonata. In another high wire act, both instrumentalists emerged as first among equals. Whether in brash chordal climaxes or soft poetic passages, it was musical sensibilities rather than mere outward display that was paramount. That wonderful balance was also relived in the encore of Chopin’s Largo from his Cello Sonata.

 

On the final evening, Cohen played imperious soloist in the youthful but monumental Piano Concerto No.1 in D minor (Op.15) with the Orchestra of the Music Makers (OMM) conducted by Lien Boon Hua. Not well-received at its first performance in 1859, the audience must have been bewildered by the concerto’s apparent boldness, where pianist matched blow-for-blow with the orchestra in an pitched battle.

 

Cohen’s projection of the music’s almighty struggle, with heavy octaves and crashing chords, came close to perfection, and never once was he overwhelmed by the orchestral forces. There were also moments of lyricism and sheer poetry, amid the tumult of the opening movement and in the prayer-like slow movement, which was served with great sensitivity and beauty.

Photo: Lim Shao Yong

 

With the benediction over, the finale’s Rondo came like another clash of the titans, but one where everyone on stage emerged as victors. Vociferous applause was rewarded with two unusual encores from Cohen, Chopin’s Minute Waltz (how often does one hear that?) and the dry wit from one of Prokofiev’s Visions Fugitives.

 

OMM also gave an enthralling performance of Mendelssohn’s Symphony No.3 in A minor (Op.56), better known as his Scottish Symphony. Under conductor Lien’s direction, the music’s depiction of historic and mystical legends was delivered with just the right mix of solemnity, fantasy and glorious valediction.     

 

Arnaldo Cohen in Singapore was presented by Altenburg Arts.