SCO Benedetti plays Mendelssohn Usher Hall 26th February 2026 Review
SCO Benedetti plays Mendelssohn at the Usher Hall Edinburgh tonight was, as to be expected a sell out concert, with what was obviously a perfect match of music and talent, Nicola Beneditti performing Mendelssohn Violin Concerto in E.
It makes sense for this review to start with the middle work of three tonight, the headline work, presented as part of "The Quilter Cheviot Benedetti Series" of performances. Felix Mendelssohn's Violin Concerto in E was the composer’s last concerto, and maybe he saved the best till last as this work is considered by many people to be one of the most important in violin history, and an essential work for any aspiring violinist to master. This work was written in 1844, only a few years before Mendelssohn's death in 1847 at the far too young age of 38.
This very distinctive work with the violinist starting almost immediately was originally written by Mendelssohn for his long time friend and often musical performance partner, violinist Ferdinand David, and there is always that very personal, almost intimate feeling about this work whenever you hear it performed properly. Tonight, in the hands of Nicola Beneditti, all the warmth, intimacy and emotion of Mendelssohn's Violin Concerto was in this performance. Nicola Benedetti is one of those special talents who always seem to capture that elusive extra that a work needs to be not only performed, but brought to life, and the appreciation shown by this audience at the end of this performance said everything there is to say about it.
Mendelssohn was book-ended by Johannes Brahms this evening. First by the opening work tonight, Brahms Academic Festival Overture from 1880, and the closing work, his Symphony No 4 in E minor from 1884.
Academic Festival was written by Brahms to be part of a rather lavish event that was honouring him and his work. Brahms hated publicity like this and the original request for a "fine symphony" was obviously not what the composer had any intention of writing. Instead, the composer immersed himself in this work, very different from what anyone planned for, but still an outstanding showcase for his talent.
This was not to be the pompous, high-brow work of academia that some people had hoped for. Although there are many clear elements of this, the expansive orchestra that Brahms wrote this work for also delivered music that was full of fun, frivolity and the sheer joy of being alive. This was more Brahms celebrating the days of student songs and everything that went with them than the revered figure of German music that he had now become.
In total contrast to this opening work the closing work by Brahms, his fourth (and last) symphony written in E minor takes the listener almost by default into a far darker space and this is overall a far more familiar space for Brahms to be working in.
Over its four movements, this work gets about as dark as any symphony can get, yet surprisingly there is also a beautiful and far lighter second movement to this work. Brahms may have taken us all into a dark place with his music, but he also, wisely here and throughout symphony four, provides light and hope out of the darkness. Perhaps these emotional extremes are what over the years have made this music so popular with audiences; maybe we all feel in part some connection with this music.
Conducting tonight was Maxim Emelyanychev and as always with his work he seems to find his own unique insight into getting the best out of any work and the orchestra, and if there is one message from all of the music played this evening it is that the only thing you need to do to understand music as a listener, is let it touch your heart at a purely emotional level.
Review by Tom King (c) 2026
www.artsreviewsedinburgh.com
It makes sense for this review to start with the middle work of three tonight, the headline work, presented as part of "The Quilter Cheviot Benedetti Series" of performances. Felix Mendelssohn's Violin Concerto in E was the composer’s last concerto, and maybe he saved the best till last as this work is considered by many people to be one of the most important in violin history, and an essential work for any aspiring violinist to master. This work was written in 1844, only a few years before Mendelssohn's death in 1847 at the far too young age of 38.
This very distinctive work with the violinist starting almost immediately was originally written by Mendelssohn for his long time friend and often musical performance partner, violinist Ferdinand David, and there is always that very personal, almost intimate feeling about this work whenever you hear it performed properly. Tonight, in the hands of Nicola Beneditti, all the warmth, intimacy and emotion of Mendelssohn's Violin Concerto was in this performance. Nicola Benedetti is one of those special talents who always seem to capture that elusive extra that a work needs to be not only performed, but brought to life, and the appreciation shown by this audience at the end of this performance said everything there is to say about it.
Mendelssohn was book-ended by Johannes Brahms this evening. First by the opening work tonight, Brahms Academic Festival Overture from 1880, and the closing work, his Symphony No 4 in E minor from 1884.
Academic Festival was written by Brahms to be part of a rather lavish event that was honouring him and his work. Brahms hated publicity like this and the original request for a "fine symphony" was obviously not what the composer had any intention of writing. Instead, the composer immersed himself in this work, very different from what anyone planned for, but still an outstanding showcase for his talent.
This was not to be the pompous, high-brow work of academia that some people had hoped for. Although there are many clear elements of this, the expansive orchestra that Brahms wrote this work for also delivered music that was full of fun, frivolity and the sheer joy of being alive. This was more Brahms celebrating the days of student songs and everything that went with them than the revered figure of German music that he had now become.
In total contrast to this opening work the closing work by Brahms, his fourth (and last) symphony written in E minor takes the listener almost by default into a far darker space and this is overall a far more familiar space for Brahms to be working in.
Over its four movements, this work gets about as dark as any symphony can get, yet surprisingly there is also a beautiful and far lighter second movement to this work. Brahms may have taken us all into a dark place with his music, but he also, wisely here and throughout symphony four, provides light and hope out of the darkness. Perhaps these emotional extremes are what over the years have made this music so popular with audiences; maybe we all feel in part some connection with this music.
Conducting tonight was Maxim Emelyanychev and as always with his work he seems to find his own unique insight into getting the best out of any work and the orchestra, and if there is one message from all of the music played this evening it is that the only thing you need to do to understand music as a listener, is let it touch your heart at a purely emotional level.
Review by Tom King (c) 2026
www.artsreviewsedinburgh.com
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