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Concert Report for Music Appreciation
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Points for Concert Reports: “Classical” music earns up to 15 points. Any other style music earns up to 10 points.
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Clein’s approach is commendably uncluttered. In Shelomo’s many liturgical quotations, most notably in the melody that Bloch supposedly heard his father sing in Hebrew, she adopts a stiff upper lip of British reserve that allows the music to speak for itself and shields it from the hazards of kitsch. Her restraint, ably supported by conductor Ilan Volkov and the BBC Scottish Symphony Orchestra, pays off. Shelomo becomes a meditative cello concerto in Elgarian vein and less of an essay in exotic anthropology. No-one since Gregor Piatigorsky in 1957 has made such sense and beauty of the score.

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After the fifth movement had been added and performed in a special private performance in September of 1868, the began to be performed in nearly all the major cities of Germany. Cologne and Leipzig were the first to experience the entire seven-movement work in its final form: Cologne on February 16, 1869 under the conducting of Ferdinand Hiller, and Leipzig two days later, on the 18th of February, under Karl Reinecke. Cologne, like Bremen, was overwhelmingly supportive and immediately accepted the work into its regular repertoire -- another performance occurred there in 1870, yet another the next year, and several in the following decade. Leipzig, however, proved harder to conquer. As in Vienna and later Munich, the greatest stumbling block appeared to be not the musical qualities of the , but its Protestant religious text. Although the region was primarily Protestant, many critics objected to the "mystical" and "contemplative" tone, which they found at odds with the straightforward Protestantism of Bach, Schütz, and other composers of religious music. This seeming contradiction in reception -- as we recall, critics in both Vienna and Bremen had found the work to be lacking in emotion and sensuality, not overflowing with fervent appeal -- may perhaps, however, be explained by the earlier resistance of Leipzig to Brahms' works: his first performances there, a few years earlier, had been met with marked hostility, and the Leipzig premiere of his first major orchestral work, the D minor piano concerto, had been disastrous. The critical reception of the , however, seemed, at least in comparison to earlier voices, to consist of much less serious complaints: the work was seen to be weak because of its "lengths" and "empty passages," rather than because of any inherent compositional offense. Even the editor of the local music paper found these complaints to be superficial, and by the time of the second performance in Leipzig in 1878, Brahms' standing had improved immeasurably; he had been accepted, if grudgingly, into the musical canon, and even his "mystical" had reached the status of a classic in the repertoire.

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