Elschenbroich and Grynyuk
Queen’s Hall 8/8/25
Leonard Elschenbroich (cello), Alexei Grynyuk (piano)
The Queen’s Hall concert of the forenoon of 8th August featured German cellist Leonard Elschenbroich and British-Ukrainian pianist Alexei Grynyuk in a programme of pieces by the Schumanns (husband and wife) and the younger man who revered his mentor Robert and platonically worshipped Clara, Johannes Brahms. Brahms’ Second Sonata for Cello and Piano Op.99 was the main work, played after the interval. The three works in the first half were all arrangements of pieces not originally composed for cello and piano. The concert was very well attended.
Clara Schumann’s ‘Three Romances for Violin, Op.22’ are all very lieder-like with the string line as soloist and the piano providing harmonic colour and expressive arpeggiated texture. All benefitted from elegant mutually-responsive phrasing and subtle rubato. Leonard Elschenbroich’s instrument (a 1694 Matteo Goffriller formerly played by Leonard Rose) delivered a warm rich cantabile tone across its full compass, which carried well through the hall. The first romance was like a serene barcarolle with a more ardent passage in the middle. The second was more playful and fluctuated between major and minor, sometimes gracious, sometimes flirtatious. The third was a song of devotion and dedication, the piano getting a turn at melody.
Robert Schumann’s ‘Three Romances for Oboe, Op.94’ resembled Clara’s, but with more overt emotion and chamber dialogue between instruments. They received the same committed sympathetic musicianship, rich tone production, flawless dynamic balance and projection of mood. The first was slow and pensive with animated rhapsodic elements for the cello. The second was a major key song of devotion, played with phrasing that seemed to breathe, quite passionately in the central section. The last wavered between a spooky recitative and a more rhapsodic lied, parts of which reminded me of Christopher Gunning’s ‘Poirot’ theme, ending softly.
Brahms’ 1896 Vier ernste Gesänge’ (Four Serious Songs), Op.121 were his last composition and deal with the topic of death (specifically the imminent demise of his beloved Clara). The first three are largely gloomy and baleful, with Old Testament texts viewing death as an all-powerful implacable enemy, but not without glimpses of reluctant acceptance. The last recaptures the optimism of the German Requiem with New Testament quotes from Corinthians I. The cello playing emulated the baritone tessitura beautifully throughout.
Brahms’ 1886 Cello Sonata No.2 in F Major, Op.99 opens with a confident Schumannesque theme in 3, broadening to a cheerful pure Brahmsian second theme, then following conventional sonata form to a serene coda. Cool bariolage at the end of the repeated exposition continuing into the development. The slow movement opens with pizzicato over piano chords, before a tender and occasionally impassioned aria. Lovely cantabile playing all the way to the last gorgeous cadence. The whimsical scherzo, a fast syncopated F-minor 6/8 suggestive of a mischievous goblin skipping along, was delightful the contrasting trio an F-major aria not without hints of suppressed ardour. The rondo finale, a cheerful dance with some very expressive episodes, bowled along enthusiastically to its cheerful conclusion. Top drawer Brahms.
There was a surprise encore in the form of an unexpected treat. Festival Director Nicky Benedetti arrived with her violin to join her erstwhile piano trio colleagues in the serene 3rd movement of Brahms 3rd Piano Trio in glowing C major (unlike the C minor of its other movements). Exquisite. And so nice to see artistic rapprochement.
photo credit: Andrew Perry EIF