Glazunov’s Saxophone concerto shatters any pre-conceptions you might have about the instrument. It’s soulful. Gentle. Light and dance-like. Brahms’ First Symphony is the opposite. It’s monumental, dramatic, full of stress….and release. And that always feels good.

Writers block

Brahms lived in the shadow of a composer you might just have heard of – Ludwig van Beethoven. With reason, he wondered how on earth he’d ever live up to Beethoven’s genius, especially when it came to symphonies. Who could really offer something new and different after Beethoven’s music? Brahms fretted over this so much it took 14 years for him to write his first symphony. It was worth the wait though.

A shocking start

When you sit down for this concert try and put yourselves in the place of an audience at the premiere of Brahms’ symphony.  A much less noisy world than today. No recorded music, no cars, no bleeps and pings from phones. Imagine then how the start of Brahms’ Symphony would be received. It’s kind of shocking. There’s pounding timpani (drums to you and me), and the tension starts ratcheting up in a way Hans Zimmer would be proud of right from the start.

Sisters are doing it for themselves

Did you know that of all the classical concerts performed all over the world only around 11% include music by women? Or that only around 30% of conductors are women? We’re putting that imbalance right at The Glasshouse, and tonight is a great example. Female talent at the fore on the podium with Chloe van Soeterstède and with our soloist Jess Gillam, plus we hear music from largely forgotten composer Elfrida Andrée, writing great music against the odds in the 1800’s.