Johannes Brahms Piano concerto no. 2 in Bb major
Dora Pejacevic Symphony in F# minor

A smaller but no less enthusiastic Proms audience was treated to music in arguably its purist form: completely non-programmatic, two works linked by no attempt at story-telling or picture painting, simply material to be judged entirely as heard.

Brahms’s second piano concerto (1878-81) was composed some 20 years after his first, and follows an unconventional four-movement structure, more commonly associated with symphonies. The solo horn opening (nervelessly, beautifully played) with warm and more spacious rolling piano accompaniment than is often the case set pianist Martin Helmchen’s approach to the whole work, whilst Sakari Oramo drew every ounce of sonority from the first movement’s second subject, and strings in particular.

The second Appassionato movement brought out all the stirring lyricism in abundance whilst the third movement with its solo cello exposition was filled with warm intensity, every nuance and dynamic delivered to perfection.

I often find Brahms performances can be a touch dour and ponderous – however in these hands there was no danger of that, Helmchen’s choice of a bright timbred instrument gave just the right balance against some of Brahms’s thicker orchestration, and equally meant that the soloist’s heavier passages were delivered with particular grace and feeling.

As an encore Helmschen gave us the Intermezzo in A major (op. 118 no. 2) – soothing and warming, the gently rolling chords like the swilling of a glass of good cognac after a fulfilling meal.

Dora Pejavic’s symphony, written 1916-17 at the height of the First World War opens with a fortissimo, arresting passage, fully utilising her very large brass section. I was struck by the effortless, constantly shifting key centres used throughout along with her treatment of first and second violins as equals: Oramo had opted to place them opposite each other leading to some marked antiphonal effects.

The second movement, book-ended by a haunting, wistful cor anglais solo whose thematic material was then developed by being passed among the wind instruments was against a solemn accompaniment whilst the third movement scherzo was a total contrast, skipping along in 6/8 time with jolly pitched percussion interjections and skittish upper winds.

The concluding movement drew together some of the themes of the earlier parts of the work, interspersing lush romanticism with darker, more foreboding passages before finally settling dramatically ending F# minor chords of the work’s title.

This is the second time I have been privileged to hear a Pejacevic piece at this year’s Proms, this being the centenary of her death. That such an extraordinary woman could produce work of such high quality in the midst of war is incredible, and that it has slipped under the radar for so long, a travesty. I thank the Proms programmers for introducing me to it, and look forward to hearing more.

Lucas Elkin