Waiting for British musicians to make their way over to Europe, and more specifically the Netherlands, can sometimes feel a little like waiting for a bus. You can wait for ages, then they all come at once! While British conductors such as Thomas Adès, Duncan Ward, Kerem Hasan and Ed Gardner are either based here, or are recent or frequent visitors, the scene is not always so rosy for younger, talented instrumentalists at the beginning of their careers.
The past fortnight, however, has been the exception to the rule as a flurry of Brits have made their way over the water to delight audiences here in Amsterdam. Four UK-based string quartets – the Barbican, Belcea, Marmen and Scottish-based Maxwell Quartets – all made favourable impressions at last week’s String Quartet Biennale at the Muziekgebouw. Attention this week turned to the Concertgebouw and concerts given by British horn virtuoso Ben Goldscheider, and pianist Ben Grosvenor. Later in the month, Timothy Ridout will also give the Dutch premiere of Mark Simpson’s Viola Concerto. Maybe the tide is turning… slowly?
The programme
The violin sonata
Goldscheider was joined in the Concertgebouw by pianist Dénes Várjon, and Russian violinist Alina Ibragimova, founder member of the UK-based Chiaroscuro Quartet, who had also given two performances last week at the String Quartet Biennale.
In a change to the programme, the evening started with Brahms’ Violin Sonata No. 2 in A Op. 100. Ibragimova’s warmth brought the audience close, and while the occasional wolf-note persisted, her deeply respectful partnership with Várjon is one you could listen to all night.
The Dutch premiere
The Dutch premiere of Benjamin Attahir’s Mon image se reflète sur l’eau immobile, commissioned by the Boulez Saal, Berlin (where it received its world premiere the previous evening) started well. Icy coldness, full of rasping horn pedals like shooting stars flitting through the sky, vied with the warm, summer sun. It’s unclear though, just how much audience appeal this work really has. The flowing water crept forth but became increasingly immobile as time moved on. And while the work challenged both the extremities of the horn’s range and the violin’s possibilities, Attahir may well be wise to take heed of advice given to Bruckner after the premiere of his Eighth Symphony (being performed next door in the Grote Zaal), to perhaps think again. It simply has too many notes.
The highlight
The mood darkened in Brahms’ Horn Trio in E flat. Goldscheider’s long, luscious melodies were matched by the violin and piano’s intensity, Brahms’ wild, complex rhythms providing a pleasant respite from the folly before. As piano’s arpeggiated chords further darkened the mood, the Adagio triggered memories of the infamous 1970s Milk Tray advert – Goldscheider’s bottom notes resolving downwards coupled with Ibragimova’s breathtakingly quiet response creating connection on a whole new emotional level. Nothing forced, yet filling every crevice of the Concertgebouw’s Kleine Zaal. Goldscheider, now our very own man of mystery!
A fiery Allegro full of violin fireworks gave a satisfying conclusion. Not a split note in sight all evening. Bravo!
This concert was reviewed in the Concertgebouw’s Kleine Zaal on Friday 6th February, 2028
A little listening
The 1970s Milk Tray advert
Not exactly the same, but Brahms’ Adagio from his Horn Trio Op. 40 triggers memories. Listen from 1:40 mins
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