Brahms: Symphonies Nos. 1 & 3 [Import]

Track Listings

1. Symphony No.1 - I - Un Poco Sostenuto - Allegro

2. Symphony No.1 - Ii - Andante Sostenuto

3. Symphony No.1 - Iii - Un Poco Allegretto E Grazioso

4. Symphony No.1 - Iv - Adagio Non Troppo Ma Con Brio

5. Symphony No.3 - I - Allegro Con Brio

6. Symphony No.3 - Ii - Andante

7. Symphony No.3 - Iii - Poco Allegretto

8. Symphony No.3 - Iv - Allegro

Tracks:

Thema: Chorale St. Antoni
Variation I (Poco Piu Animato)
Variation II (Piu Vivace)
Variation III (Con Moto)
Variation IV (Andante Con Moto)
Variation V (Vivace)
Variation VI (Vivace)
Variation VII ( Grazioso)
Variation VIII (Presto Non Troppo)
Finale (Andante)
I: Un Poco Sostenuto - Allegro
II: Andante Sostenuto
III: Un Poco Allegretto E Grazioso
IV: Adagio - Piu Andante - Allegro Non Troppo Ma Con Brio

Tracks:

I: Allegro Non Troppo
II: Adagio Non Troppo
III: Allegretto Grazioso (Quasi Andantino) - Presto Ma Non Assai
IV: Allegro Con Spirito
I: Allegro Con Brio - Un Poco Sostenuto
II: Andante
III: Poco Allegretto
IV: Allegro - Un Poco Sostenuto

Tracks:

Academic Festival Overture Op. 80
Tragic Overture Op. 81
Alto Rhapsody Op. 53
I: Allegro Non Troppo
II: Andante Moderato
III: Allegro Giocoso - Poco Meno Presto
IV: Allegro Energico E Passionato - Piu Allegro

Customer Reviews:

no kidding.......2007-07-06

this IS the best brahms set in the market. honesly, as much as i love klemperer, i was pretty surprised by the amount of tension he managed to retain throughout this studio recording - something the greatest conductors often couldn't do.
To me, and i do not seem to be alone in this regard, the gem of the set is the fourth symphony. It is here that Klemperer simply out does Celibidache, Toscanini, and Furtwangler. The passacaglia is imbued with a sense of inevitability - i was completely taken aback by the impact of the climax. The relationship between the variations was so perfectly thought out that after this recording every other passacaglia seems inconsequential. Furtwangler might have imbued each passage with more fire, but even his profound insight is cursory compared to what Klemperer manages to convey.
Klemperer's supreme sense of architecture and drama also churns out an inimitable Academic Overture, which is also simply the most stunning and satisfying account I have ever heard. While in the beginning the orchestra might not seem completely synchronized, such misgivings are done away with by the time the last theme, the climax, is performed.
the rest are also similarly great, although owing the Furtwangler, Klemperer's first symphony doesn't top the rest of the competition like the other symphonies do.
there are a few records out there that i would call definitive - but this brahms set is the closest ever.

Not sure what all the fuss is about........2006-09-15

For me this set of Brahms is ho-hum. It is average, but nothing special. I feel the same way about Herbert von Kajaran's interpretation of Brahms. Brahms is without a doubt my favorite composer and I have heard many versions of his symphonies. For my tastes, the London Philharmonic's sound has always been too thin for Brahms. The only time I liked the London Philharmonic performing Brahms was Antal Dorati's set on Mercury Living Presence.
I prefer the rich and warm sound of the Berlin Philharmonic. The set of symphonies that Claudio Abbado released on DG in the 1990's has taken top honors for me. Most of the previous traversals with the Berliners (i.e. von Karajan) have taken the tempos too slow for my tastes.
As far as I'm concerned you can do much better elsewhere: Abbado, Szell, and Dorati - heck even Bruno Walter's set with the Columbia Symphony Orchestra is better than this presentation.

Five stars +.......2005-11-14

Klemperer is one of my favourites, probably because I got to know Mahler through him. For me this is the best Brahms symphonies cycle yet. The tempos are well judged as always and the Philharmonia at top form as always under Klemperer. I feel that the 4th is the gem of this cycle unsurpassed in every aspect. Along with the German Requiem again with Klempeper and the Philharmonia I find these CDs the best Brahms orchestral music on the market.

Karajan or Klemperer in Brahms?.......2005-09-29

Otto Klempeerer owes his late career in London and on EMI records to von Karajan. Since its founding in 1949, the Philharmonia Orch. was closely allied with Karajan, who built it up as his own career took off after the war. But when Furtwangler died in 1954 and his arch-rvial Karajan took over the Berlin Phil., the impressario of the Philharmonia, Walter Legge, knew that he neeeded a new stellar conductor or his orchestra would fail. He chose Klemperer, then almost forgotten and already past 65 when he made his initial appearances in London in 1951.

Legge's gamble paid off. Klemperer became the darling of London critics and audiences, and his performance style--measured, serious, with impeccable integrity--became the standard in Mozart, Beethoven, Wagner, and Brahms. He cared little for beauty of osund, smooth phrasing, or stylistic refinement. Words like "granitic" and "primordial" were used regularly.

Is he the antithesis of Karajan, who valued everything that Klemperer disdained? Listening to these Brahms symphony recordings in improved sound, I think the Klemperer vs. Karajan debate isn't all that valid. These four symphonies aren't granitic or primordial, nor are they particularly slow. In fact, the first movement of the Second moves lightly, as does the finale of the Fourth. If anything, Karajan's presentation is more massive and imposing in every symphony. The main difference begins with Klemperer's steady pace, which he tends to hold without allowing the phrase to be molded as flexibly as Karajan.

Karajan made two complete Brahms cycles for DG, the latter in digital sound. He was undoubtedly a great Brahms conductor, but so was Klemperer. Here the Philharmonia sounds sharp and alert and not very big in number, while Karajan's Berlin forces sound sumptuous and huge.

These two giants had no peer in Brahms from the death of Toscanini to the present day, excepting occasional recordings by Giulini, Bernstein, and perhaps in today's market, Harnoncourt. Some would also rank bruno Walter's two Brahms cycles at this exalted level, but for me only the mono one with the NY Phil., now available on a Sony import, qualifies, and besides the inadequate sonics, the orchestra does not play as beautifully as what we hear in this set. It's great to have Klemperer's classic set, which is totally free of eccentricity, back in such good sound. Five stars without a doubt.

My deserted island pick.......2005-06-20

If I had to go to that deserted island, I would be in doubt of which of these 3 CDs to take with me. I have perhaps 500 classical CDs, but this box stands out. I am not going to write very much, however: Brahms is my favourite composer. Brahms was Klemperer's favourite composer. His conducting is perfect all the way. These are so-called slow interpretations, i.e. compared to Toscanini and Walter, but not slow compared to, say Abbado; I think these tempos are perfectly suited to bring out the richness of the texture. The result I will describe as civilized, human, warm, even hot, dramatic, strictly to the point, even sharp, although there are sharper interpretations out there, but they don't got the same lyrical intensity as Klemperer's.

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A jewel in my collection
Great Brahms Cycle From An Unexpected Place
The best Brahms for the best price!

Brahms: Symphonies Nos. 1-4

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Variations On A Theme By Haydn, Op.56a: V. Vivace
Variations On A Theme By Haydn, Op.56a: VI. Vivace
Variations On A Theme By Haydn, Op.56a: VII. Grazioso
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Tracks:

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Tracks:

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Symphony No.4 In E Minor, Op.98: IV. Allegro Energico E Passionato
Tragic Overture, Op.81

Customer Reviews:

A jewel in my collection.......2005-11-15

Brahms was the torchbearer of the First Viennese School, holding down tradition's fort in the face of the Liszt/Wagner music of the future. Despite his preference for Classical forms and structure, his temperament was unquestionably Romantic. Brahms resolved these seemingly opposite forces in his music, but realizing Brahms' vision in performance can be elusive. Among the symphony cycles, rarely has Brahms sounded so fully Classical and fully Romantic simultaneously than in this set.

The critical element in Eschenbach's readings is that they are somewhat slower than most, with tempi similar to those of Furtwangler's. This approach allows the thick orchestration to breathe, making it easier to appreciate Brahms' unrivaled mastery of musical architecture. Furthermore, it highlights his imagination while remaining within the confines of the traditional symphonic forms. For the slow movements, it fully showcases Brahms' lyricism that a faster tempo would have glossed over.

I did find the first movement of the Fourth to be a little slow, but it was still within the realm of reasonable interpretation. I'm sure it will grow on me as I listen more.

The inclusion of four add-ons is a nice bonus--most Brahms sets include only the Academic Festival and Tragic Overtures. No revelations here, but they are well performed.

Overall, an unbeatable value.

Great Brahms Cycle From An Unexpected Place.......2003-08-29

It's not all the time that it happens, but every once in a while, a symphonic cycle box set made by an orchestra that is not universally seen as a world-class outfit makes an impact. Such is the case here with this cycle of Brahms' four symphonies and various other works performed here by the Houston Symphony Orchestra under the leadership of Christoph Eschenbach, who served as Music Director from 1989 to 2001.

This Brahms cycle was made during the early 90s, and shows both Eschenbach and the Houston Symphony in top form. Eschenbach observes the first-movement exposition repeats of the first three symphonies, thus making their running times longer (the opening of No. 1 is almost nineteen minutes; that of No. 2 nearly twenty-two; and that of No. 3 over thirteen and a half), but the quality is never sacrificed. Dunja Vejzovic and the male voices of the Houston Symphony Chorus are excellent on the recording of Brahms' early choral work Alto Rhapsody; and the orchestra does good work on the Haydn Variations, the Academic Festival Overture, and the highly charged Tragic Overture.

Given all of this, it is bewildering that it has only been in recent times that the Houston Symphony has achieved the respect it has long deserved. After all, many big names had stood on the podium before Eschenbach: Beecham, Stokowski, Barbirolli, and Previn. But Eschenbach seemed to break through the orchestra board's long-time ultra-conservative musical mentality, and thus he elevated the Houston Symphony to world-class status. The proof can be found in this superbly recorded and superbly priced Brahms set, which is well worth seeking out.

The best Brahms for the best price!.......2002-09-23

When I saw this inexpensive 4cd box set, I knew that I had to get it, especially after hearing Eschenbach's recording of Bruckner's 6th w/Houston SO (the best ever btw). Some conductors (eg. Karajan) try to take you into different worlds in the different symphonies. However Eschenbach takes you to different places withnin the same world, giving the listener a more organic-whole musical listening experience. The rhythms are sharp, the readings are dark (Brahms was a hard-core loner) and intense. The opening of the first sym. reminds me of Klemperer, so deep and powerful. The stings are flawless and full of support. When one looks at set prices like Abbado's...the eschenbach set is one of the best Brahms bargain sets of all time. The filler pieces are equally strong, as are the singers in the alto rhap. A must have for all Brahmsians!!

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No. 1 Wedding Album

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Tracks:

Wedding Bells - The #1 Wedding Album
Bridal Chorus - Wagner
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Trumpet Tune And Air - Philip Jones
Prelude - Pierre Cochereau
Air - J.S. Bach
Largo In F - Randall Wolfgang
Sheep May Safely Graze - J.S. Bach
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One Hand, One Heart - Jose Carreras
Alleluja (Allegro) - Arleen Auger
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Brahms: Symphonies Nos. 1-4; Double Concerto; Serenade No. 2

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Splendid Brahms Symphony Cycle from Haitink, London Symphony Orchestra

Brahms: Symphonies Nos. 1-4; Double Concerto; Serenade No. 2

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Customer Reviews:

Splendid Brahms Symphony Cycle from Haitink, London Symphony Orchestra.......2006-05-12

The London Symphony Orchestra's LSO Live label finally offers as a box set acclaimed conductor Bernard Haitink's latest - and third - Brahms symphony cycle (The other two - which are still available - were recorded by Philips with Haitink conducting the Royal Concertgebouw and Boston Symphony orchestras in the 1970s and early 1990s.). Those interested in a fine Brahms symphony cycle by one of our greatest conductors will not be disappointed with this box set, which compiles the individual LSO Live CDs released over the past few years (These were recorded at live concert performances of Haitink conducting the London Symphony Orchestra primarily back in 2003 and 2004.).

Highlights include Haitink's spellbinding interpretations of the four Brahms symphonies and a brilliant performance by concertmaster Gordan Nikolitch and principal cellist Timothy Hugh of the Brahms Double Concerto. The London Symphony Orchestra's performances are absolutely impeccable, rivalling those from preeminent Dutch, German and Austrian orchestras.

Haitink offers a compelling interpretation of Brahms' 1st Symphony with the London Symphony Orchestra in excellent form, which ranks as among the best performed and recorded I have heard. His latest interpretation is one which seems a bit less restrained than his earlier versions, but still replete with strict adherence to Brahms' tempi. His latest interpretation is, in some respects, more exciting than his earlier Philips recordings, emphasizing the rich sonorities and complex architecture of Brahms' score.

Without question Haitink's LSO Live recording is the best live recording of the Brahms 2nd Symphony I have heard, easily eclipsing Kurt Masur's acclaimed account with the New York Philharmonic recorded nearly a decade ago by Teldec. It is also Haitink's finest recording of this work, which he has recorded previously with both the Royal Concertgebouw and Boston Symphony orchestras. Haitink does a wonderful job emphasizing the textural richness of Brahms' score, while keeping the orchestra playing well at a very brisk tempo. However, the real treasure on this recording is the excellent performance of the Double Concerto by the London Symphony's Concertmaster and Principal Cellist which opens this CD. Theirs is a vibrant, rhapsodic performance which compares quite well - indeed I think may be better - than the recent Deutsche Grammophon recording featuring violinist Gil Shaham with Claudio Abbado conducting the Berlin Philharmonic. Once again the orchestra plays with much intensity and warmth, led ably by Haitink.

Bernard Haitink's LSO Live CD of the Brahms Serenade Number 2 and the 3rd Symphony, is recorded from concerts he conducted in 2002 (serenade) and 2003 (symphony). Brahms' Serenade Number 2 could be regarded as an early precursor to his symphonies, since it is a five-movement work. Haitink leads the London Symphony Orchestra in yet another excellent performance, noted for warm, rhapsodic playing from the string section. However, the best performance on this CD is that of Brahms' Third Symphony. This piece itself is a bit unusual for a 19th Century symphony, in the form of Allegro Andante Poco Allegretto Allegro. In its overall tone, the work itself is a bit "darker" than the Second Symphony, which many have regarded as Brahms' "Pastoral" symphony. Haitink excels in emphasizing the more melancholy aspects of the work, leading the London Symphony Orchestra in the best-conducted and recorded version of this symphony that I've heard so far, with the possible exception of Harnoncourt's Teldec recording with him conducting the Berlin Philharmonic. Haitink's latest recording seems a bit darker than Masur's New York Philharmonic Orchestra recording from Teldec, and perhaps, Harnoncourt's as well.

Haitink has conducted the London Symphony in an unusually warm, vibrant performance of the Brahms 4th Symphony, which is replete with excellent solo performances from the french horns, woodwinds and strings. I was especially pleased with Haitink's dignified, but still brooding, interpretation of the 4th movement, which comes across as a musical interlude between darkness and light. I personally regard this recording of the Brahms 4th symphony as the best currently available, in a crowded pack that includes distinguished recordings from the likes of Claudio Abbado, Herbert Blomstedt, Carlos Kleiber, Kurt Masur, and Kurt Sanderling.

Fans of Haitink's critically acclaimed 1970s Brahms symphony cycle may miss the ambient warmth of the Concertgebouw's main concert hall in this Brahms symphony cycle, but I will contend that these new recordings sound more vivid than the earlier Philips recordings. LSO Live is currently releasing Haitink's second Beethoven symphony cycle from live performances he conducted last year; I am eagerly awaiting these, suspecting that they will be regarded as among the finest Beethoven symphony recordings issued in the last few years. Later this year he will be visiting New York City, leading the London Symphony Orchestra in a Beethoven symphony cycle at Lincoln Center's Avery Fisher Hall. Not only do I look forward to this visit, but also to Haitink's future performances at Carnegie Hall's Stern Auditorium as Principal Conductor of the venerable Chicago Symphony Orchestra.

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Moonlight Sonata: Excerpt
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Flight of the Bumblebee
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The Barber of Seville - Overture: Excerpt
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Gymnope No. 1
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Semper Fidelis: Excerpt
Blue Danube Waltz: Excerpt
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Requiem - Dies Irae: Dies Irae, Excerpt
Rigoletto - La Donna Mobile: La Donna Mobile, Excerpt
The Four Seasons "Spring" - Allegro: Allegro, Excerpt
The Four Season "Winter" - Largo: Largo, Excerpt
Lohengrin - Bridal Chorus: Bridal Chorus, Excerpt
Die WalkRide of the Valkyries: Ride of the Valkyries, Excerpt

Customer Reviews:

I can name that tune in three notes.......2005-02-19

My family likes to put this disc in on shuffle and play name that tune. I wish they made more discs like this, only with more obscure works.

A Fabulous CD.......2004-10-14

The Idiot's Guide to Calssical Music is an awesome Cd for those people who want to have a tiny sample of all the great classical compositions. Track 61 and 63 are my favorite.

Mega-Sampler! This really does have 99 tracks!.......2002-03-20

Yes, this CD really does have 99 tracks. How do they do it? Each is about a minuet long. Some are longer, some are shorter, but you get the micro-essential moments of the music.

If you like burning your own CDs, then this is a great source for intra-track fillers, along the lines of They Might Be Giants' "Apollo 18" album, which has all of those short tracks on the end. The idea is to put your CD player on shuffle, so the short tracks get mixed in with the bona fide songs. The result being a very unusual album.

The booklet gives an explanation of the track, where you heard it (i.e. the Warner Brother's Cartoons, or on famous films), and where you can get the full piece of music. So it's a mega sampler CD.

I can honestly say that this CD is a great gift for the friend who has everything.

Fun Sampler.......2001-11-09

For the beginner. You will be surprised at how many of the 99 themes you recognize here. It is an easy introduction to classical music. Nice booklet too.

Useful........1999-03-22

Take it for what it is, a clever and useful GUIDE to classical music. No, it is NOT an uncut rendition of Beethoven's 9th symphony. It IS a cd that will jog your memory. You have heard many of the tunes presented here, but not always knowing what the work was. This is your chance to catch up with all the great classical music you have been exposed to. Cheap too.

Average customer rating:

Marriner Doesn't Sink

Brahms: Symphonies Nos. 1 & 2
Johannes Brahms , Neville Marriner , and Academy of St Martin in Fields
Manufacturer: Hanssler Classics
ProductGroup: Music
Binding: Audio CD

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Brahms: Symphonies Nos. 3 & 4

ASIN: B000009D7D
Release Date: 1998-06-23

Tracks:

Symphony No. 1, Op. 68, In C Minor: I. Un poco sostenuto. Allegro
Symphony No. 1, Op. 68, In C Minor: II. Andante sostenuto
Symphony No. 1, Op. 68, In C Minor: III. Un poco Allegretto e grazioso
Symphony No. 1, Op. 68, In C Minor: IV. Adagio. Piu andante. Allegro non troppo, ma con brio

Tracks:

Symphony No. 2, Op. 73, In D Major: I. Allegro non troppo
Symphony No. 2, Op. 73, In D Major: II. Adagio non troppo
Symphony No. 2, Op. 73, In D Major: III. Allegretto grazioso (Quasi Andantino). Presto ma non assai
Symphony No. 2, Op. 73, In D Major: IV. Allegro con spirito

Customer Reviews:

Marriner Doesn't Sink.......2000-06-29

Of course there is no shortage of fantastic Brahms cycles available on compact disc, but I believe there is a place for this one as well. The St. Martin in the Fields Orchestra plays with such fantastic clarity, and Sir Neville Marriner provides such admirable interpretive lucidity, that I would venture to declare this the modern cycle to get.

While the First is certainly adequate--I prefer to be a bit more overwhelmed than I was here--the Second is really exceptional. It is in this piece that the chamber atmosphere and impeccable technique of the Orchestra really comes out to the advantage of the work. Instead of undermining the Romanticism of this remarkable symphony, the small ensemble pulls off an entirely unique, entirely valid performance. Whole new elements are revealed merely by the fact that every point and every counterpoint is completely audible. The gorgeous cello melody in the first movement leaps out in all of its euphoric, euphonic glory, and yet you can still hear what's going on behind it. This, obviously, also has something to do with the recording job, which is practically unrivaled.

So to fill out your Music Collection and complement your Gunter Wand and Bruno Walter with a great sounding, wonderfully played, whole new way to hear the Brahms Symphonies, there is not a better choice--in my opinion--than this cycle.

Brahms: Symphonies Nos. 1 - 4
Average customer rating:

great Brahms symphony cycle

Beware of this pressing

Brahms: Symphonies Nos. 1 - 4
Sanderling , and Staatskapelle Dresden
Manufacturer: RCA Classics/Bmg
ProductGroup: Music
Binding: Audio CD

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EMI Great Recordings of Century - Brahms: Symphonies Nos. 1-4/Klemperer

Brahms: Symphonies Nos. 2 & 3

Johannes Brahms: Symphony No. 4 in E minor, Op. 98 - Carlos Kleiber / Vienna Philharmonic Orchestra

Beethoven: Symphonies Nos. 4 & 6 "Pastorale"

ASIN: B000025LT5
Release Date: 1995-11-06

Tracks:

Symphony No. 1 Op. 68 In C Minor
Tragic Overture Op. 81
Symphony No. 2 Op. 73 In D Major
Symphony No. 3 Op. 90 In F Major
Symphony No. 4 Op. 98 In E Minor
Variations On A Theme By Joseph Haydn, Op. 56a

Customer Reviews:

great Brahms symphony cycle.......2006-09-26

This is a great traversal of the Brahms symphonies (plus the Haydn Variations and Tragic Overture), recorded by one of the top orchestras in Europe, the Staatskapelle Dresden. This cycle is not to be confused with the other cycle that Kurt Sanderling conducted with the Sinfonie Orchester Berlin or the one conducted by Thomas Sanderling. Rather, this cycle is the same as the one packaged on RCA Eurodisc (which I think has gotten 4 1/2 stars in reviews so far). In this RCA Navigator packaging, the third symphony is not split across disks as it is in the Eurodisc packaging. Here are the track listings:

disk 1 offers symphony no. 1 and the tragic overture
disk 2 offers symphonies 2 and 3
disk 3 offers symphony 4 and the haydn variations

In either case, this Sanderling/Dresden set offers great analog recording from the early 1970s, brilliant orchestral playing, and highly musical interpretations. The fourth movement of the first symphony is one of the finest I've ever heard. I would place this in my top tier of Brahms symphony cycles along with sets by Furtwangler, Abbado, Toscanini (Philharmonia), and Walter (NY Philharmonic).

Beware of this pressing.......2006-02-08

I have Sanderling's other set of Brahms and like it very much. This one has wow and is very much out-of-focus. Very disappointing. (My equipment is first-class.) I'd like to hear from someone who has a clean copy.

Average customer rating:

Highly recommendable version
head south
None More Musical
Can vary by taste but this set is outstanding IMHO
Better fare is available

Brahms: Symphonies Nos. 1-4 (Box Set)

Manufacturer: Bmg Int'l
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Beethoven: Symphonies Nos. 1-9 (Box Set)
Bruckner: Symphonies Nos. 1 - 9 [Germany]
Franz Schubert: Symphony No. 8; Symphony No. 9
Dvorák: The Symphonies
Mahler: Symphony No. 10 [Performing Version by Deryck Cooke]

ASIN: B00005QHUZ
Release Date: 2001-11-05

Tracks:

Un Poco Sostenuto - Allegro
Andante Sostenuto
Un Poco Allegretto E Grazioso
Adagio Non Troppo Ma Con Brio
Allegro Con Brio
Andante
Poco Allegretto
Allegro

Tracks:

Allegro Non Troppo
Adagio Non Troppo
Allegretto Grazioso (Quasi Andantino)
Allegro Con Spirito
Allegro Non Troppo
Andante Moderato
Allegretto Giocoso - Poco Meno Presto
Allegro Energico E Passionato - Piu Allegro

Customer Reviews:

Highly recommendable version.......2007-02-19

Got this version a couple of weeks back. I can safely say, I like it very much. There is presence and clarity to Wand which I am only beginning to rediscover. Heard him 12 years ago in London in Bruckner's 8th, which I then got on CD from a friend by chance recently. By the way, if you don't have that version yet, get it. That lead me to order the other Bruckner symphonies with Wand and the Berliner. They are all fantastic and rival Jochum's legendary. Jochum is probably still beter in the 9th. This lead me to get the Schubert 8&9 with Wand, and since they also really appealed to me (more warmth/passion than Karajan without loosing the fitting 'Germanic' style/structure)I decided also to get Brahm's symphonies with Wand.

Had already Furtvängler's and Jochum's on CD and Boult's on LP. I live far away from my LP's at the moment (sadly so) so Boult's is faint in my memory although I recall that I really liked it (a shame EMI haven't published them on CDs...even if the LP sounds better). Furtwängler is magic, but the sound quality is unfortunately poor. A shame that they don't sound as good as say the EMI La Bohème and Tosca from the same years.

With Wand the structure is clearer without loosing the passion. The orchestra plays very well, and it is hard not to get carried with them and Wand. Of course, the emotions music trigger are always impossible to describe, but in short I highly recommend Wand...so much so, that I have ordered the holy grail (Beethoven's symphonies) with him as well. For me, here Furtwängler rules, so it will be interesting to see how Wand compares.

Keep enjoying....

head south.......2006-09-16

Brahms left Hamburg and did not return; why should you? My advice: head south to Vienna for Brahms. (Proviso: I own the original issues of these, but improved sound would only clarify the shortcomings.)

None More Musical.......2006-01-28

I rarely stop looking for perfect performances and have an unhealthy habit of doubling and quintupling up works that I already own. Rarely does a performance come by that is so outstanding, so immediately satisfying all my desires, that I stop looking for new or even different recordings of the works in question. Maurizio Pollini's rendition of the late Beethoven sonatas is one such performance (although it hasn't kept me from amassing some 20-plus versions of each of those sonatas), G.Wand's Brahms is another.

Incredibly musical, these four recordings (in great sound, now that they are remastered) exude a vitality that is beyond words. G.Wand is the ego-less conductor who disappears in the music making, leaving only Brahms and the listener. The result is a most thankful one, indeed. I am nost suggesting you throw away your Abbado, Karajan, Walter and Bohm (the rest can probably go, though) - but these are the performances I always turn to, the ones that never disappoint me, no matter what mood I am in. That's more than I can say about most recordings.

This may sound like hyperbole - but except for the handful of people I know who don't rank this set atop their Brahms collections all others would agree that it isn't.

Can vary by taste but this set is outstanding IMHO.......2004-01-17

Brahms (unlike, say Mozart) can be effectively performed in a wide range of styles, so personal taste is a big issue with the various versions of his symphonies. My feeling is that (because of this variability in Brahm's music) a range of performances might be enjoyable. Amongst the ten or so I'm aware of, Wand's is the most satisfying. But I also really enjoy Lennie's versions, even though he is rightly accused of slowing them down almost to a crawl---but they are nevertheless Brahms. If you are looking for a set of the Symphonies, however, you can't do much better than these.

Better fare is available.......2003-08-05

The Symphonies of Brahms in particular regularly keep me alert to the possibilities of new and rewarding adventures in discovery and enjoyment. When it comes to sets of these works, it is difficult, of course, to find a conductor who hits a home run by emphatically touching all four bases (symphonies). A number of factors might be responsible for one's falling short. Sometimes, it's the lack of fantasy, inspiration, loving care, revealing colors and nuances or just that "special" feel. But, aside from the subtractive or missing elements, additive features may contribute to nonfulfillment. For example, in the last movement of the First Symphony Wand is somewhat overdriven. At times, he is also choppy. In the Third Symphony's first movement his pace is too fast, and again, occasionally, as in the First Symphony, he comes down a little too hard. Reposefulness and some beauty and color are sacrificed in the composer's lovely second and third movements. Once more, the culprit is speed. In the last movement Wand chooses the opposite approach as he permits some mannerisms to stifle the music's continuity...His Brahms Second is rather characterless. The second movement reminds me of Szell's--emotionally cool. As for the Brahms Fourth, I find Wand rather insensitive to the music's poetic element. Regarding complete one box sets, I prefer Jochum/Berlin Philharmonic (mono) in DG's "Originals" series and Weingartner (mono) on Capitol/EMI. The best collection in stereo of the Four Brahms Symphonies by the same conductor is, I feel, Bruno Walter's with the Columbia Symphony, but you must purchase INDIVIDUAL discs on Sony. I also like Klemperer/Philharmonia, but though EMI now offers his performances in a single container, I prefer the sound on his previous individual EMI issues, which seem headed for deletion. The latest Brahms/Klemperer recordings as well some other recent reissues by EMI seem to have lost a bit of the slightly warmer, more natural sound the former recordings had. I admit this is a personal call; therefore, others might feel differently.

Brahms: Symphonies Nos. 1 & 4 [Hybrid SACD]

Average customer rating:

Brahms: Symphonies Nos. 1 & 4 [Hybrid SACD]

Manufacturer: Coviello Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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ASIN: B000PSJCD8
Release Date: 2007-05-29

Brahms: Symphonies Nos. 1-4; Haydn-Variations; Tragic Overture

Average customer rating:

Grab it while you can
A very nice orchestra, but Sanderling has no real purpose in mind
One of the best Brahms symphony cycles
Un-Varied & A Little Dull
Slow, Very Slow

Brahms: Symphonies Nos. 1-4; Haydn-Variations; Tragic Overture

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Beethoven: Symphonies Nos. 3 & 9; Overtures
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Brahms: Ein deutsches Requiem [A German Requiem]
Johannes Brahms: Symphony No. 4 in E minor, Op. 98 - Carlos Kleiber / Vienna Philharmonic Orchestra
Beethoven: Concerto for violin in D

ASIN: B000000FL6
Release Date: 1995-04-16

Tracks:

Symphony No. 1 In C Minor Op. 68: I. Un poco sostenuto - Allegro
Symphony No. 1 In C Minor Op. 68: II. Andante sostenuto
Symphony No. 1 In C Minor Op. 68: III. Un poco allegretto gracioso
Symphony No. 1 In C Minor Op. 68: IV. Finale: Adagio - Allegro non troppo, ma con brio
Variations On A Theme By Haydn Op. 56a: Chorale St. Antonii - Andante; I. Poco piu animato; II. Piu mosso; III. Con moto; IV. Andante con moto; V. Vivace; VI. Vivace; VII. Gracioso; VIII. Presto non troppo; Finale - Andante

Tracks:

Symphony No. 2 In D Major Op. 73: I. Allegro non troppo
Symphony No. 2 In D Major Op. 73: II. Adagio non troppo
Symphony No. 2 In D Major Op. 73: III. Allegretto gracioso (quasi andantino)
Symphony No. 2 In D Major Op. 73: IV. Allegro con spirito
Symphony No. 3 In F Major Op. 90: I. Allegro con brio
Symphony No. 3 In F Major Op. 90: II. Andante

Tracks:

Symphony No. 3 In F Major Op. 90: III. Poco Allegro
Symphony No. 3 In F Major Op. 90: IV. Allegro
Symphony No. 4 In E Minor Op. 98: I. Allegro non troppo
Symphony No. 4 In E Minor Op. 98: II. Andante moderato
Symphony No. 4 In E Minor Op. 98: III. Allegro giocoso
Symphony No. 4 In E Minor Op. 98: IV. Allegro energico e passionato
Tragic Overture In D minor Op. 81

Amazon.com essential recording

A thrilling Brahms cycle played by Germany's greatest orchestra under the baton of a legendary conductor. Do not confuse this set with Kurt Sanderling's later, less successful Brahms cycle on Capriccio. This is the one to get; it's just one more proof of the fact that there's no relationship between quality of performance and price. Even if you already have a decent selection of Brahms symphonies, you can afford to add this terrific set to your collection. --David Hurwitz

Customer Reviews:

Grab it while you can.......2006-12-02

I am going to have to agree with Mr. Hurwitz on this one, this cycle is a gem. Own many Brahms recording on balance these Symphonies more than match the competition.

A very nice orchestra, but Sanderling has no real purpose in mind.......2006-11-14

Jeffrey Lipscomb's reaction to this bargain set of Brahms symphonies matches mine. As he says, this is "middle European, middle of the road" all the way. If you are a fan of the Dresden orchestra (a wonderful ensemble but not the equal of Berlin, despite David Hurwitz's puffery), that's another reason to buy this set. As to interpretations, however, Sanderling is aimless--we just get one movement after another to no particular purpose. Tempos aren't especially slow, even though a few reviewers here mysteriously think they are. Dynammics tend to hover around mezzo forte, and Sanderling rarely provides any drama or sudden impact.

why do other give this set five stars? Who knows, maybe they've never heard any great Brahms performances. Even Jochum, far from my favorite, gives more interesting and impassioned accounts, and if you want to keep to the midle of the road, there's Muti, Haitink, Sawallisch, even Eschenbach from Houston. I think it's a bit misleading, though, for Mr. Lipscomb to imply that there are no great Brahms cycles in stereo after the mono era. I have heard great Brahms on disc from Tennstedt, Bruno Walter, Karajan, Klemperer, and Bernstein, to name a few. If he imagines that Carl Schuricht outdoes these mdern maestros, he's in a pretty small minority.

One of the best Brahms symphony cycles .......2005-04-21

This is undoubtedly one of the best Brahms symphony cycles ever committed to disc. Kurt Sanderling's view of these ubiquitous scores is one firmly steeped in the 19th century performing tradition. His rythmic impulse is steady while his gesture unerringly grand, which pays huge dividens in the opening of the third symphony: just the way it should be! The way Sanderling eases the tempo and lets the music soar slowly and steadily in the closing pages of the first movement of the second symphony is particularly telling. The first and fourth are slightly less alert and sound a bit bloated to my taste but that does nothing to detract from the greatness of this set. My only serious complaint is that Sanderling does not observe the exposition repeat in the first movement of the first sysmphony, which I think is essential to maintain the tension and cohesiveness of the argument. The recorded sound in this particular incarnation is a bit boxy and congested at times. These four recordings are now newly remastered by Denon, sounding better than ever, and separately available. They may be purchased through Amazon com. Japan or HMV Japan. Kurt Sanderling also recorded the first symphony live in 1973 in Tokyo, and that recording, which I think is better than the one in this set, is now available from TDK and may be obtained through HMV Japan.

Un-Varied & A Little Dull.......2004-05-26

I owned this set on LPs long ago and finally weeded it out. Then this inexpensive CD set appeared, and I thought I would give Sanderling another try. I suppose the good news here is that this Dresden set is quite a bit better than the later Capriccio CD readings. But after that, I'm afraid the good news is in somewhat shorter supply.

This is middle European, middle of the road Brahms. It is tidier and more steady than Bruno Walter's - the Dresden is certainly a far more distinguished ensemble than Walter's Columbia Symphony. It is also warmer and less metronomic than the elderly Klemperer.

Unfortunately, you will hear none of Schuricht's soaring lyricism, nothing of Furtwangler's impassioned drama, and not a whit of Weingartner's nuanced poise. There is just a rather monochromatic sameness that runs throughout this entire set. It's all rather straight in an inoffensive, cautious way. Most of this playing is a bit static, uninflected.....and dull.

I have recently reviewed at length the Furtwangler set on M&A, as well as Weingartner's EMI set and Carlos Kleiber's 4th (DG). So I will be brief: if you are interested in hearing a dramatic and intensely committed 1st, try Furtwangler. In the 2nd (likely the weakest performance in Sanderling's set), hear the gorgeously sculpted reading by Busch (EMI), Schuricht's great live account (Archiphon), or Furtwangler's impassioned VPO reading. In the 3rd, try Weingartner (EMI), Knappertsbusch (Tahra), or Abendroth (Tahra). For #4, both Furtwangler and Schuricht (Ades) are outstanding, as is the Weingartner.

But a problem arises: all of these, save the Schuricht 4th, are historic readings in mono sound. I suppose that's the main reason why I hang on to this Sanderling - it's the only stereo "complete" set I have left. It serves as a foil to my other performances. Whenever I momentarily suspect that one of my cherished older performances is somehow lacking, I just put on one of these Sanderling accounts and I quickly gain renewed appreciation for the greater artistry elsewhere.

Recommended .... as a foil to contrast with better Brahms conducting available in lesser sound. On its own terms, this Sanderling is beautifully played and recorded. But to my ears, there are far finer interpretations waiting for you out there.

Slow, Very Slow.......2003-04-23

I cannot abide the tempo Sanderling picks for the first movement of the First. Painfully slow! Indeed, except for the Fourth Symphony, the tempi chosen for all four of the symphonies seem too slow to me. I also cannot tolerate the excessive vibrato of the brass and woodwinds in the fourth movement of the First in the broad introduction to the main theme. Sandlerling never seems to perceive or bring about an emotional climax in any of this music. How this is possible escapes me. As if that were not enough, Sanderling doesn't catch on at all to Brahms's rythmic originality and playfulness -- nowhere so apparent as in this dull performance of the Hayden Variations. Bottom line: Sanderling simply doesn't understand ths music very well. The fact that the recording itself is very good technically can't overcome this.

That said, the different orchestral parts in these performances emerge clearly and in proper balance, even lushly, if one's looking for that, throughout all of the symphonies. While Sanderling does not butcher the music (his Fourth is the most convincing of the four), he adds very little reason to listen to it -- tragic for those new to these monumental, magnificent works.

Are there other choices? Toscanini's old set, once was and maybe even now is my favorite. The unremitting tension of these perfrmances still leaves me breathless after decades of listening to them. I never warmed to the Walter versions, which I haven't tried again for a long, long time. Abaddo? Didn't like them much the first time around and haven't been back. Wand? Wand's set is pretty good, all things considered, but I wish he had had a better orchestra. The Sanderling performances, however, flat out do not merit the praise heaped on them by some, here and elsewhere. Fair to good is the best I can say for them. (Two and a half stars would be a better reflection of my considered view.)

I see from another reviewer that the Jochum set might be worthwhile. That will have to wait for me: I'm on to the Mackerras recordings now -- about which more later.

* * *

Having now listened to the Mackerras performances, I can recommend them without reservation: they are brilliantly conceived and executed, superior to any modern recordings I've heard. These are vastly preferable to the indifferent Sanderling effort. Mackerras's First is so good that it's difficult to stop listening to it over and over and neglecting the rest. His versions of the Third and Fourth are especially moving to me. Listen, for example, to the way he conducts the third movement of the Third: this is transfiguring stuff, very nearly on a par with what Toscanini alone, to my ear, achieved.

McKerras likely will replace my treasured Toscanini performances as the ones I go back to. A slightly negative note: I was a little underwhelmed by McKerras's Hayden Variations, but that's small beer compared to the Symphonies.

Music Review:

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1. Symphony No.1 - I - Un Poco Sostenuto - Allegro
2. Symphony No.1 - Ii - Andante Sostenuto
3. Symphony No.1 - Iii - Un Poco Allegretto E Grazioso
4. Symphony No.1 - Iv - Adagio Non Troppo Ma Con Brio
5. Symphony No.3 - I - Allegro Con Brio
6. Symphony No.3 - Ii - Andante
7. Symphony No.3 - Iii - Poco Allegretto
8. Symphony No.3 - Iv - Allegro