BRAHMS THE TWO PIANO CONCERTOS / Tedd Joselson & Asian Symphony Orchestra / Review

 

BRAHMS THE TWO PIANO CONCERTOS 

Tedd Joselson (Piano) 

Asian Symphony Orchestra 

Victoria Concert Hall 

Sunday (16 June 2024)

This review was published in The Straits Times on 18 June 2024 with the title "Pianist Tedd Joselson plays Brahms with virtuosity".

A Herculean feat never previously attempted in Singapore is a concert bringing together both of German composer Johannes Brahms’ piano concertos. It had to be done sometime. That was left to Belgian-American pianist Tedd Joselson, resident here since 1999, and the Asian Symphony Orchestra under Belgian-Singaporean conductor Robert Casteels to do the honours. The concert was in aid of Heartware Network, a non-profit organisation that empowers youth. 

Brahms, young and old.

If one wondered if that was too much of a good thing, the reality was that one cannot get enough of it. Both concertos, running over 45 minutes each, were contrasted works coming from different periods of Brahms’ creative output. Both required different approaches, and all the performers came up with required musical responses to make the unwieldly tandem sound right. 

Photo: Benjamin Chiau

The First Piano Concerto in D minor (Op.15) was a creation of callow youth and exuberance from a 25-year-old. The opening orchestral tutti established the tone of almighty struggle, with Joselson’s mellow entry seemingly in direct opposition. The ensuing clash of titans, literally a tug-of-war between piano and orchestra, was at its most absorbing when Joselson piled on octave runs and chordal salvoes to stunning effect. 

Photo: Pianomaniac

Nothing fazed the 72-year-old veteran, whose sensitive touch shone in lyrical moments, such as the first movement’s second subject and the slow movement’s hymn-like theme bearing the inscription Benedictus, Qui Venit In Nomine Domini (Blessed, He Who Comes In The Name Of The Lord). 

For raw passion unleashed, the Rondo finale saw Joselson sprint out like a man possessed, and his ability to sustain that level of tension throughout was enviable for even someone half his age. That the orchestra’s winds were excellent following the fugato was testament to attention paid to fine details, and the work barrelled victoriously to a colossal close. 

Photo: Heartware Network

The Second Piano Concerto in B flat major (Op.83) was composed some 26 years later, a work of mature sobriety. Conceived more like a four-movement symphony than virtuoso vehicle, the demanding piano part becomes almost an integral part of the orchestra. The opening conversation between Alan Kartik’s French horn and Joselson set the tone before another battle royale began. 

Photo: Heartware Network

While not as note-perfect as the earlier concerto, Joselson still commanded the stage with an imperiousness which Casteels and his forces matched blow for blow. The mighty Scherzo continued without letting off, but the best was reserved for the slow movement. 

Photo: Pianomaniac

With cellist Hang-Oh Cho’s sublime solo leading the way and Joselson’s smoothest possible response, detente was at hand. Seldom has this Andante radiated so much sunshine and beauty, leaving behind earlier storms as distant memories. The light-hearted finale with its send-up to the Viennese waltz became the perfect send off, and the applause rained even before the last emphatic chord had ended. 

Photo: Pianomaniac

Photo: Heartware Network

There cannot be more than very few souls in attendance who have witnessed the great Ukrainian-American pianist Vladimir Horowitz in person, but Joselson’s volatile and mercurial brand of virtuosity is probably the closest thing to that.

Photo: Benjamin Chiau