 |
| Frank Bridge, Benjamin Britten, Ethel Bridge by Unknown photographer snapshot print NPG x15184 © National Portrait Gallery, London |
Mozart, Britten, Shostakovich, Brahms; Musicians of the Orchestra of the Royal Opera House; Hatfield House Music Festival in the Marble Hall
Reviewed 8 October 2026
Youthful Mozart, Britten and Shostakovich alongside autumnal Brahms in a real festival programme of varied and unusual line-ups, all played with love and energy
The advantage of festivals like the Hatfield House Music Festival is that they can bring together groups of musicians to perform music in instrumental combinations that are frequently less explored on the regular concert stage. For the second concert on Thursday 8 October 2026 in the Marble Hall at Hatfield House, Musicians of the Orchestra of the Royal Opera House brought together Magnus Johnston and Jan Schmolck, violins, Gary Pomeroy and Judith Busbridge, violas, Tim Hugh and Kate Gould, cellos, Katherine Baker, flute, and Christopher Cowie, oboe, to perform Mozart's Flute Quartet in D major, K 258, Britten's Phantasy Quartet, and Brahms' Quintet No. 2 in G, Op. 111.
An imaginative added extra to the programme was the Festival's first side-by-side event where four young artists supported by the J & A Beare Cultural Trust, Sophie Hayin Chung and Isabell Karlsson, violins, Andrew O'Reilly, cello, Harry Rughoo, viola joined So-Ock Kim and Jan Schmoick, violins, Gary Pomeroy, viola, and Kate Gould, cello, to perform Dmitri Shostakovich's Octet Op. 11.
Mozart famously announced to his father that he disliked the flute, but that does not come across in his solo works for the instrument. His Flute Quartet came at a difficult time: he was undertaking a job-seeking tour of Mannheim and Paris (ultimately unsuccessful) and his mother died in Paris. He failed to complete the full commission for flute quartets and a concerto, but the D major flute quartet remains as a complete delight. We heard Katherine Baker, Magnus Johnston, Gary Pomeroy, and Tim Hugh. The opening Allegro bubbled along with a great sense of joy, with the musicians taking the music at quite a pace in apparently effortless manner. Baker displayed fine control with her flute playing, really seducing us. Stylistically, Mozart harks back to Haydn's violin-led quartets so that the flute is somewhat spotlit. This was rather emphasised in moments when flute and violin duetted, as Johnston was perhaps a tad too reticent. For the Adagio, focus was firmly on the flute as the strings provided pizzicato accompaniment, which supported Baker's expressive and supple line. The Rondeau finale was joyously engaging with a twinkle in the musicians' eyes, the bright flute contrasting with scurrying strings.
Mozart was all of 21 when he wrote the quartet, but Britten was only 18 (and still at the Royal College of Music) when he wrote his Phantasy Quartet. In 1905, Walter Willson Cobbett initiated a series of chamber music competitions aimed at the phantasy form inspired by early music. Frank Bridge, Britten's teacher, did well in these with Phantasie for String Quartet (1905), Phantasie for Piano Trio (1907), String Quartet No.2 (1914), so it is not surprising to find his pupil experimenting with the form. Britten's quartet is for oboe and strings (Christopher Cowie, Jan Schmolck, Judith Busbridge, Kate Gould). In four movements which effectively flow into each other, Britten was also inspired by Bridge's fondness for arc structures and here, Britten returns us back to the beginning at the end.
The opening arose from nothing on the cello developing into rather a sinister march, with disturbingly perky elements too. At first the lyric oboe seemed to diffuse the strings but then joined in creating music with a surprising level of agitation and near anger. There were moments of pastoralism and some virtuoso display, but the movement concluded in unsettling manner. Leading to a second movement where the viola seemed to lead, creating three mobile, intertwining string lines in music that was at times vigorous at times quietening. Here the oboe was silent, but it led in the haunting third movement over restless strings, this moved into very free, strenuous territory but eventually a confident oboe melody led us into the return of the opening material. Yet in changed form. However, the music concluded as it began.
This work displayed incredible confidence for an 18 year old, and the sense of atmosphere created a work that was rather disturbing indeed!
Shostakovich was also just 18, and studying at the Petrograd Conservatory when he composed his Two Pieces for String Octet. Here played by the young artists supported by the J & A Beare Cultural Trust alongside four of the senior players. The first movement contrasted the dramatic yet rather romantic opening with something more intimate, before a suspended passage led to perky, almost satirical music. Shostakovich worked these elements together in music that was compelling yet very restless. The second movement, Scherzo, was fast, vigorous and full of anger. Though it eased off, the music remained disturbing, and the sense of uncompromising anger returned as the music gathered impetus and unstoppable energy leading to the end. This was a performance full of youthful vigour and engaging energy. A terrific achievement.
We ended in somewhat more mellow mood. Brahms's Quintet No. 2 in G was supposed to be his last work. At least that what he announced, though he was only 57. The work was played by Magnus Johnston, Jan Schmolck, Gary Pomeroy, Judith Busbridge, Tim Hugh.
There was little autumnal about the opening with restless strings complementing a viola solo that veered towards the romantic. The second subject was relaxed and mellower, but throughout the five players gave us a full-blooded sound. Out of these elements, Brahms wove his magic. The movement was full of imaginative touches, and towards the end things seemed to unwind but a sudden burst of vigour led us to the final bars. The opening of the second movement returned to the violas, yet the overall texture was interestingly complex with a melody that was by turns muscular and yearning. Then time seemed to suspend and things died away, only for vigour to return right to the movement's conclusion. The third movement had an appealing urgency to it with a lightness to the textures, though there were occasional moments of strength. The final movement was viola at first, developing robust, restless energy. There was a moment that seemed to promise a Scotch reel; the appeared twice yet Brahms never quite took the 'reel' anywhere. Vigour and impetus seemed renewed in the coda.
With hindsight, despite Brahms's protestations, the work lacks the autumnal quality of much of his late clarinet-centred work. here, the quintet brought a vivid energy to the piece, with the violas in particular relishing their moments at the centre of things
The blog is free, but I'd be delighted if you were to show your appreciation by buying me a coffee.
Elsewhere on this blog
- Still remarkably youthful himself, Chromatica Orchestra's new chief conductor Oliver Cope sees their role as developing the next generation of musical talent - interview
- Music in anxious times: Hatfield House Music Festival opens with a captivating evening of music from the time the house first opened - review
- A sustained & compelling sense of atmosphere: Alex Mills & Anna Blom's Reverence at Brompton Cemetery Chapel - review
- When Does Georgian Music Stop Being “Georgian Music”? Cellist Sandro Sidamonidze on a musical culture across borders - guest posting
- To convey the true impact required depths only artistic responses could provide: David Önaç on how his Atlantic Requiem aims to memorialise the lost lives of enslaved Africans - guest article
- Bach & Blood: a choral version of Bach's Chaconne, Pärt's Magnificat Antiphons for strings, & David Fenessy meditating on Hildegard & blood - review
- Why compose? After a career in film & TV, composer Gavin Greenaway is developing his own voice with Skylines, the new album from his Cloud Chamber duo with Caroline Dale - interview
- Challenging genius: The Yellow Tie tells the dramatic story of Romanian conductor Sergiu Celibidache's rise to fame in a film written & directed by his son - film review
- Home
No comments:
Post a Comment