Brahms Haydn Variations. Serenade no. 1
Bamberg Symphony Orchestra / Ticciati
Tudor TUDOR 7183

Release date November 2011

It is eighteen months since the Bamberg Symphony Orchestra under its principal guest conductor Robin Ticciati released the first disc in a new Brahms series, an enjoyable and useful coupling of several of the lesser-known works for chorus and orchestra alongside the Alto Rhapsody. This second instalment provides an equally intelligent and satisfying selection, focusing on two works that were major landmarks on Brahms' path towards writing a symphony. His Serenade no. 1 started life as an octet but was then rewritten for small orchestra before, on the advice of his friend Joachim, he re-scored it for large orchestra as used by Beethoven. It is a somewhat lop-sided work, the first three movements built in a symphonic structure and lasting a total of thirty minutes, while the last three are much shorter, simpler and more what might be expected from a serenade. As we have come to expect from Ticciati, the performance is lovingly crafted, with great attention to detail but an ear for the music's line and beauty. The optimistic pastoral themes of the first movement are propelled forward without losing a sense of spaciousness. The Scherzo's veiled opening theme is restrained and reserved, but blossoms into the waltz-like second theme, while in the warm-hearted Trio Ticciati swings the music along with gusto. He also has great fun in the minuets, playing around with the tempi with many delicious hesitations, while the closing Rondo's dotted march rhythm is given suitably spiky treatment. The Haydn Variations are similarly nurtured and cherished, never over-dramatised or self-indulgent, essentially Viennese in character, the textures always transparent, the phrasing always graceful. The orchestra produces a lovely sound, the woodwind in particular impressing with its mellow quality. Brahms' twelve Hungarian Dances for piano duet are among his most popular works. He somewhat unwillingly complied with a request for an orchestral version, orchestrating three which he then premiered himself in Leipzig in 1874. Here they receive performances full of colour and character.

Reviewed by Anne McAlister