Brahms: Symphony 2/Academic Festival

On this CD:

1. Symphony No. 2 in D major, Op. 73
Composed by Johannes Brahms
Performed by Royal Philharmonic Orchestra
Conducted by James Judd

2. Academic Festival Overture, for orchestra in C minor ("Akademische Festouvertüre"), Op. 80
Composed by Johannes Brahms
Performed by Royal Philharmonic Orchestra
Conducted by James Judd

Tracks:

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

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 grazioso (Quasi andantino) - Presto ma non assai
Symphony No. 2 In D Major, Op. 73: IV. Allegro con Spirito
Tragic Overture, Op. 81

Tracks:

Symphony No. 3 In F Major, Op. 90: I. Allegro con brio - Johannes Brahms
Symphony No. 3 In F Major, Op. 90: II. Andante - Johannes Brahms
Symphony No. 3 In F Major, Op. 90: III. Poco allegretto - Johannes Brahms
Symphony No. 3 In F Major, Op. 90: IV. Allegro - Johannes Brahms
Academic Festival Overture, Op. 80 - Johannes Brahms

Tracks:

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

Customer Reviews:

Good but not memorable for me.......2007-05-17

I purchased this cycle with eager anticipation but was frankly disappointed when I opened up the set and popped it in my stereo. I love the CSO/Solti sound (esp the brass section) as much as anybody but I am disappointed with the energy, balance, and precision of entrances and note lengths. If you want a great set, buy the HSO/Eschenbach!

Brahms symphonies.......2006-11-07

I'll make this simple. If your interested in a great set of the four Brahms symphonies pick this up immediately. Great sound(late analogue warmth), terrific performances(Solti and Chicago are sturdy as always), and an extremely low price.

This set has several distinct advantages over some of the others out there. For starters each symphony occupies its own cd. Sounds simple enough but I'm quickly tiring of sets that split up symphonies under 80 minutes long just to pack each cd to the brink. Nothing's worse than having a complete symphony and half of another on one cd and the other half of the second symphony on disc number 2. No sense switching discs to listen to one work unless that work is over 80 mintues long(ie- Mahler). I'm also getting sick of sets that couple insequential symphonies together to fill up discs(ie- symphonies number 1 and 4 on one disc). I like to listen in sequential order.

This set allows that. One symphony per disc. Discs two and three each have an overture to fill up some time and that's fine since both are after the symphony. How about Abbado and others putting these overtures and other 'bonus' works _before_ the main attraction? What's that about?

I mentioned it early but the price issue is also huge. Sure, you could buy Abbado's Berlin set which is great but be ready to shell out over $120(!) on Amazon. You'll get a couple of additional short works with that set but come on. Is it worth another $100 or so? Your call but I'd say no way.
Pick this up for around $20 and be assured that your getting quality Brahms at a great price.

sloppy.......2006-02-28

It's sloppy. Interpretation not well thought through. Solti is a well known name, but I wasn't impressed. It sounds uninspired. Check out a different set of the Brahms' symphonies.

One of Solti's better recordings in Chicago.......2005-10-14

This Brahms Symphonies set with Sir Georg Solti/Chicago Symphony is one of Solti's better recordings in Chicago. Recorded in 1979, just before the Digital age and technology took over, these are beautiful, smooth and creamy recordings with rich bass and nice mid range. Solti is intense but never driven, and he knows just how much intensity to put into Brahms without over-driving him and making the music become melodramatic or vulgar. The sound London's engineers got in these recordings is better than for the Solti/Chicago Beethoven Symphonies recorded earlier that decade, 1972-74.

The Chicago Symphony under Solti was "HOT" in recording sales during the 1970s. I was in college from 1977-81, and all the brass and woodwind players raved about Chicago's recordings of Strauss, Mahler, and other composers which were currently being released. I especially recall a flute player who was estatic because she received three Solti/Chicago LPs for Christmas gifts one year. The brass and woodwinds are often emphasized in many Solti/Chicago recordings, with the strings less prominent than some orchestras; but here the balance is very equal where needed, and the brass do yeoman service in the passages most needed, such as the running figures at the end of Symphony 2:IV.

Solti does take alot of repeats, especially in Symphony 2:I, which makes this movement several minutes longer than most recordings. And he isn't afraid to take his time - tempos aren't too fast, and never feel driven: not always the case in a Solti recording. I of Symphony 1 and Symphony 3 also have repeats, thus making these movements longer than in recordings of Bruno Walter or George Szell.

The companion works, Academic Festival Overture and Tragic Overture are also excellent in every way, recalling Bruno Walter/Columbia Symphony (Sony), who recorded these works in stereo 20 years before Solti/Chicago.

Very good.......2005-03-18

This is the Brahms Symphonies set to get. Every performance is great, and the sound is pretty high quality. I do not notice any problems with the acoustics. Highly recommended.

Average customer rating:

great series

The Story Of Brahms

Manufacturer: Vox (Classical)
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001KDB
Release Date: 1995-04-16

Tracks:

Symphony No. 3 In F Major, Op. 90: Allegro con brio
Piano Concerto No. 2 In B-Flat Major, Op. 83: Allegro appassionato
Quintet in E-flat Major, Op. 83: Rondo
Symphony No. 2 In D Major, Op. 73: Adagio non troppo
Serenade, Op. 106: No. 1
Violin Concerto in D Major. Op. 77: Allegro giocoso, ma non troppo vivace
Symphony No. 2 In D Major, Op. 73: Allegro con spirito
Capriccio in B Minor, Op. 76: No. 2
Hungarian Dance No. 6 in D-flat Major
Symphony No. 1 In C Minor, Op. 68: Andante sostenuto
Piano Concerto No. 1 In D Minor, Op. 15: Maestoso
Lullaby, Op. 49: No. 4
Hungarian Dance No. 1 in G Minor
Variations On A Theme By Paganini, Op. 35: Book II
Rinaldo, Op. 50
Waltz in A-flat Major, Op. 39: No. 15
Love Song Waltzes, Op. 52: No. 1
Hungarian Dance No. 5 in F-sharp Major
Variations on a Theme by Haydn: Op. 56a
Symphony No. 1 In C Minor, Op. 68: Excerpts
Symphony No. 2 In D Major, Op. 73: Allegro non troppo
Violin Concerto In D Major, Op. 77: Op. 77
Academic Festival Overture: Op. 80
Piano Concerto No. 2 in B-flat Major: Allegro non troppo
Symphony No. 3 In F Major, Op. 90: Allegro
Clarinet Quintet In B Minor, Op. 115: Allegro
Tragic Overture: Op. 81
Academic Festival Overture: Op. 80
9 Hungarian Dances: No. 1 in G Minor
9 Hungarian Dances: No. 2 in F Major
9 Hungarian Dances: No. 10 in E Major
9 Hungarian Dances: No. 5 in F-sharp Major
9 Hungarian Dances: No. 6 in D-flat Major
9 Hungarian Dances: No. 7 in A Major
9 Hungarian Dances: No. 17 in F-sharp Minor
9 Hungarian Dances: No. 19 in B Minor
9 Hungarian Dances: No. 21 in E Minor

Customer Reviews:

great series.......2007-01-10

This CD along with the others in the series is very good. So far we have collected about ten different ones. They are thorough and interesting. I homeschool and it has been a great additon to our teaching materials and tools. The narrarated history format interspersed with the composer's music is key to keeping the interest of the children. A must-have for introducing classical music with historical background to your kids and at a great price on Amazon!

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

Average customer rating:

no kidding
Not sure what all the fuss is about.
Five stars +
Karajan or Klemperer in Brahms?
My deserted island pick

EMI Great Recordings of Century - Brahms: Symphonies Nos. 1-4/Klemperer
Johannes Brahms , Philharmonia Orchestra , Christa Ludwig , Philharmonia Chorus , and Otto Klemperer
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Wagner: Orchestral Music
Leon Fleisher Plays Brahms

ASIN: B0001O3Y8A
Release Date: 2004-04-06

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.

Average customer rating:

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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ASIN: B00005TNML
Release Date: 2002-05-07

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 E Grazioso
Symphony No.1 In C Minor, Op.68: IV. Adagio - Piu Andante - Allegro Non Troppo, Ma Con Brio
Academic Festival Overture, Op.80

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 Grazioso (Quasi Andantino) - Presto Ma Non Troppo
Symphony No.2 In D Major, Op.73: IV. Allegro Con Spirito
Variations On A Theme By Haydn, Op.56a: Chorale (St. Antoni)
Variations On A Theme By Haydn, Op.56a: I. Poco Piu Animato
Variations On A Theme By Haydn, Op.56a: II. Piu Vivace
Variations On A Theme By Haydn, Op.56a: III. Con Moto
Variations On A Theme By Haydn, Op.56a: IV. Andante Con Moto
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
Variations On A Theme By Haydn, Op.56a: VIII. Presto Non Troppo
Variations On A Theme By Haydn, Op.56a: Finale

Tracks:

Symphonie No.3 In F Major, Op.90: I. Allegro Non Troppo
Symphonie No.3 In F Major, Op.90: II. Andante Moderato
Symphonie No.3 In F Major, Op.90: III. Allegro Giocoso
Symphonie No.3 In F Major, Op.90: IV. Allegro Energico E Passionato
Alto Rhapsody, Op.53 - Dunja Vejzovic

Tracks:

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, 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!!

Leonard Bernstein Conducts Brahms (Collectors Edition)

Average customer rating:

Great Performances, Okay Sound, Great Selections!
Bernstein's Riveting Brahms Symphonies and more with the Vienna Philharmonic Orchestra

Leonard Bernstein Conducts Brahms (Collectors Edition)

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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ASIN: B0001WGDXA
Release Date: 2004-05-11

Customer Reviews:

Great Performances, Okay Sound, Great Selections!.......2006-07-28

Brahms has always been one of my favourite composers and Bernstein and the Vienna PO have done an excellent interpretation of all his Symphonies and especially of the Violin and Double Concerti. The sound quality for a live recording is also quite okay and this is especially so of the last disc which contains the Concerti.

The packaging of a cardboard box which holds the paper sleeves which house the 5 discs is also nice to behold. You also get a nice 16-page booklet with an essay on Brahms written by Bernstein himself.

I was amused to also discover that when it comes to Brahms' symphonies, it appears the 3rd movements are charms when it comes to "borrowing" the melodies for pop/rock tunes too. The progressive rock band, Yes, have openly used the 3rd movement of the 4th one as one of the tracks on their wildly successful album, "Fragile" while if you listen closely to the one from the 3rd Symphony, you'll realise that Santana totally ripped off the melody for the second track on his "Supernatural" album, "Love of My Life" with Dave Matthews. At least Yes had the decency to give the credit to Brahms when they did it though.

This box set though comes highly recommended.

Bernstein's Riveting Brahms Symphonies and more with the Vienna Philharmonic Orchestra.......2005-09-09

Leonard Bernstein has been praised and condemned by musical critics who have examined his unique, distinctive style of conducting. Along with Herbert von Karajan, Bernstein was probably among the two finest music directors of his generation; critics have thoroughly compared and contrasted Bernstein's emotional approach with Karajan's stern, almost business-like approach to conducting. Regardless of whether or not you may love Bernstein's style of conducting, he is still revered and loved by his harshest critics, the musicians who enjoyed playing for him as members of some of the world's greatest symphony orchestras. For example, I had the pleasure of meeting one of the Vienna Philharmonic's concertmasters last March here in New York City, hearing his lavish praise of Bernstein as both a musician and person. He still regarded Bernstein as one of his favorite conductors, viewing their concerts as among the highlights in his own noteworthy career as solo violinist and concertmaster of the Vienna Philharmonic Orchestra.

The enthusiasm and admiration which the Vienna Philharmonic Orchestra had for its favorite American conductor is present in this splendid Deutsche Grammophon collection which has been compiled recently from the original digital recordings made during live concerts held in the early 1980s. Among these are one of my favorite recordings of the Brahms 2nd Symphony, which is a lush, lovely reading of Brahms' most pastoral symphony, and a valid interpretation inspite of Bernstein's tendency for slower tempi. Similarly, the other three symphony recordings are splendid in their own right, with the brooding 1st Symphony a mesmerizing, exciting performance. I strongly recomend this CD collection as a fine example of Bernstein still conducting at the height of his artistic powers, demonstrating the excellent collaboration between the conductor and his favorite European orchestra. Without question, this remains one of the best Brahms symphony cycles available to discerning collectors and novices of classical music alike.

Average customer rating:

Not good, not bad, just generic
Beautiful orchestra, but Muti conducts from an easy chair
Muti delivers
Bargain Brahms from a Great Brahms Orchestra

Brahms: Complete Symphonies
Brahms , Philadelphia Orchestra , and Riccardo Muti
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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Great Recordings Of The Century - Janet Baker Sings Mahler / Barbirolli, et al

ASIN: B000065TV5
Release Date: 2002-06-11

Tracks:

Symphony No. 1 In C Minor, Op. 68: Un Poco Sostenuto - Allegro - Mano Allegro
Symphony No. 1 In C Minor, Op. 63: Andante Sostenuto
Symphony No. 1 In C Minor, Op. 63: Un Poco Allegretto E Grazioso
Symphony No. 1 In C Minor, Op. 63: Adagio - Piu Andante - Allegro Non Troppo, Ma Con Brio
Variations For Orchestra In B Flat Major On A Theme By Joseph Haydn Op. 56A

Tracks:

Symphony No. 2 In D Major, Op. 73: Allegro Non Troppo
Symphony No. 2 In D Major, Op. 73: Aagio Non Troppo - L'Istesso Tempo, Ma Grazioso
Symphony No. 2 In D Major, Op. 73: Allegretto Grazioso (Quasi Andantino) - Presto Ma Non Assai - Tempo 1
Symphony No. 2 In D Major, Op. 73: Allegro Con Spirito
Academic Festival Overture, Op. 80
Tragic Overture, Op. 81

Tracks:

Symphony No. 3 In F Major, Op. 90: Allegro Con Brio
Symphony No. 3 In F Major, Op. 90: Andante
Symphony No. 3 In F Major, Op. 90: Poco Allegretto
Symphony No. 3 In F Major, Op. 90: Allegro
Symphony No. 4 In E Minor, Op. 98: Allegro Non Troppo
Symphony No. 4 In E Minor, Op. 98: Andante Moderato
Symphony No. 4 In E Minor, Op. 98: Allegro Giocoso - Poco Meno Presto - Tempo 1
Symphony No. 4 In E Minor, Op. 98: Allegro Energico E Pissionato - Piu Allegro

Customer Reviews:

Not good, not bad, just generic.......2007-07-02

I concur with Santa Fe Listener on this one...this is classic Muti, preferring not to take any chances, remaining true to his belief that the composer, rather than the conductor, should do the talking. While his performances don't have the same creepily synthetic quality of later Karajan, nonetheless it has the generic, all-the-notes-in-right-place flavor which makes it all too easy to forget after a short time.

As a cycle, it is nicely affordable & certainly doesn't run roughshod over the music, so it at least has got that going for it. I guess it would a good starter set for the novice, but for anyone already familiar with these symphonies, there are far better sets (my own personal preference is Walter) from which to choose.

Beautiful orchestra, but Muti conducts from an easy chair.......2006-11-26

Listeners form their own allegiances, but I'm shockeed that early reviewers think that Muti has made a first-rate Brahms cycle. It's certainly true that the Philadelphia Orch. sounds gorgeous, but Muti never asks them to stretch. Every single movement is taken at a comfortable pace with underplayed solos and not the slightest hint of real struggle or tension. This is Brahms relegated to assisted living. There are other conductors who take a plush-velvet approach to the Brahms symphonies (Sawallisch and the aging Barbirolli), but without inner drama, these readings get boring veyr fast. Even the push-and-pul of Jochum is preerable. As to the truly great Brahmsians of the stereo era, I will stick with late Walter, Bernstein, Karajan, and when I am in the mood, the ever-tantalizing, ever-frustrating Celibadache.

Muti delivers.......2004-05-22

Muti's recordings of the Brahms symphonies are powerful and sweeping, with good detail and a realistic acoustic. Muti provides his usual (and wonderful) lyricism, which fits most of the pieces very well.

Karajan's First Symphony on DG is more darkly dramatic than Muti's is here (if you like drama -- and drama works for the First -- you might consider Karajan). Muti's performance is anything but slack, however. And Muti gets a better sound than Karajan does from the engineers; Muti's recording is more natural, with nice, open imaging.

For me, Muti's Fourth is bested only by Kleiber's classic interpretation on DG. Kleiber doesn't dip as far into the emotional possibilities of the work as Muti, maybe, but that isn't Kleiber's goal. His Brahms is more classical than Muti's, more Appollonian, and only Kleiber solves all of the Fourth's problems with his extraordinary panache and grace, IMHO. Still, I enjoy Muti's version very much, and if it were my only version I'd be mighty happy with it.

Overall, if you want a very good collection of all four symphonies, Muti and the Philadelphians won't disappoint.

Nutshell: Committed performances and digital sound coupled with a midline price. Very fine.

Bargain Brahms from a Great Brahms Orchestra.......2003-11-13

When this set first came out in the early 90s, I bought the recording of the Second Symphony, which critics thought the strongest of the set. In deference to their judgment I avoided the rest of the recordings until now. I'd always thought the Muti Second a strong one without being absolutely first class, but now, heard in the company of other three symphonies and the Haydn Variations, it emerges even stronger in my estimation. Whereas Ormandy tended to wallow a bit in Brahms, Muti's approach is characteristically leaner without being in the least meaner. In fact, the ripe nostalgia of the Third Symphony, probably nobody's favorite Brahms, comes across wonderfully, as does the high drama of the Fourth, especially given Philips' burnished but impactive sound-those marvelous trombones in the finale! and trumpets and drums in the scherzo! (Not to mention the famous "auto horn" cadence from the Second Symphony finale!) The beauty of the string-and-wind playing is a given with this orchestra. But I think I've never fully appreciated the loveliness of Brahms's writing for woodwinds before hearing this set.

Luckily, though (for example) the Tragic Overture moves along at quite a clip in the faster sections--all the better for it, too, since dawdlin' in this work tends to make it sound maudlin--Muti isn't the juggernaut he often is, glossing over the subtleties along the way. This happens to some extent in his Beethoven, but he really lets Brahms breathe. A case in point is the First Symphony. I thought Muti's reading a bit too static, a bit too granitic on first hearing. But as I've lived with the performance, I've come to believe that Muti fully captures the Olympian grandeur of this best of all first symphonies, as British music critic Bernard Jacobson calls it in his notes to the recording.

So here you have a great Brahms orchestra captured in clear, assertive, yet airy sonics, in performances that are obviously the product of affection as well as serious study and attention to detail. At Philips' Trio price, this is certainly a deal.

Brahms: The Four Symphonies
Average customer rating:

A dissenting view...

Too lean, lacking in Brahmsian texture

Go. Buy. Be Happy.

Dont walk to store to buy it--Run!!

At Last -- Performances Worthy of the Music!

Brahms: The Four Symphonies
Johannes Brahms , Sir Charles Mackerras , and Scottish Chamber Orchestra
Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

All Works by Brahms | Brahms, Johannes | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
Romantic | Symphonies | Forms & Genres | Classical | Styles | Music
Overtures | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music
General | Symphonies | Classical | Styles | Music
General | Classical | Styles | Music
Similar Items:

Brahms: Serenades Nos. 1 & 2

Leonard Bernstein Conducts Brahms (Collectors Edition)

Furtwangler Conducts Brahms - Complete Symphonies, etc / North German RSO, Berlin PO

Brahms: The Complete Symphonies / Karajan, Berlin PO

ASIN: B000003D2C
Release Date: 1997-07-29

Tracks:

I. Un Poco Sostenuto/Allegro
II. Andante Sostenuto
III. Un Poco Allegretto E Graziso
IV. Adagio/Allegro Non Troppo, Ma Con Brio
Alternate Movement II - Initial Performing Version Of The Second Movement
Academic Festival Overture, Op. 80

Tracks:

I. Allegro Non Troppo
II. Adagio Non Troppo
III. Allegretto Grazioso (Quasi Andantino)
IV. Allegro Con Spirito
Chorale St. Antoni - Andante
Var. I - Poco Piu Animato
Var. II - Piu Vivace
Var. III - Con Moto
Var. IV - Andante Con Moto
Var. V - Vivace
Var. VI - Vivace
Var. VII - Grazioso
Var. VIII - Presto Non Troppo
Finale - Andante

Tracks:

I. Allegro Con Brio
II. Andante
III. Poco Allegretto
IV. Allegro
I. Allegro Non Troppo
II. Andante Moderato
III. Allegro Giocoso
IV. Allegro Energico E Passionato

Tracks:

Alyn Shipton Interviews Sir Charles Mackerras On The Unique Aspects Of This Chamber-Sized Brahms Cycle - Sir Charles Mackerras

Amazon.com

This fascinating set of the complete Brahms symphonies reflects Charles Mackerras' researches into late Romantic performance techniques. Using contemporary letters from the composer and his close associates, Mackerras makes a convincing case that conductors of the late 19th century typically preferred very wide variations in tempo within a movement, and a flexible sense of rhythm. This, of course, is something that many conductors have always done, but Mackerras combines the technique with an orchestra similar in size to the one that premiered many of these symphonies, and which Brahms himself preferred. The result is fresh and exciting, with many passages of Brahms' thick orchestration marvelously clarified. Add to this Telarc's gorgeous sound, and the result is a delight. --David Hurwitz

Customer Reviews:

A dissenting view..........2006-04-15

In performing these works with a smaller, chamber-scale type orchestra, the conductor certainly does achieve more clarity than is usual. However, I believe it's at the cost of the symphonic grandeur that the best "conventional" conductors (e.g. Walter, Klemperer, Szell and, not least Bernstein/Sony) are able to achieve. Brahms was continuing the tradition of Beethoven, not going back to the smaller scale orchestral size of Mozart. I found these performances attenuated and stripped of their power.

Too lean, lacking in Brahmsian texture.......2005-10-13

It's not merely a matter of leaning down the music to get rid of the alleged "murk," it's bringing out the wealth of inner detail now that one can actually have a chance to hear it. Mackerras plays these like chamber versions of the older interpretations, meaning he's giving us the minimal aspects of all the qualities of the music. I say, either go for magnificently recorded "Grand" like the Haitink with Boston--where the sound is full and rich and you can hear the details, or go for the incredible and universally well-regarded Bergland set on Ondine--small orchestra but thrilling performances and plenty of texture. The Harnoncourt set is even more revealing and he brings the music to a point where one can understand Schonberg's fascination with it.

This set was a first try at this, and is laudable for that, but it's being surpassed left and right. I bought it with enthusiasm when it first came out, played it and said "well, that's interesting" and then found I never went back to listen to it. I'm starting to think Mackerras is a bit of a bland conductor from this and other items of his I've purchased. Avoid and buy the Bergland.

Go. Buy. Be Happy........2005-06-30

This is not only my favorite recording of the Brahms 4, but it is in fact my favorite recording of anything whatsoever. There are several reasons for this:
1. It's Brahms.
2. It' his 4 symphonies. If you have never heard them, do so before you die. Which could be tomorrow. So GO!
3. Many have mentioned that this recording is different, that it is supposedly closer to the original way the music was played. Maybe. All I know is that when I listen to other recordings, I can't stand it. The strings overwhelm the winds, and the whole thing is rightly called muddled. This recording is lighter, more nuanced, and you can hear all the parts, including all 4 horns, each woodwind instrument (you don't have to strain to hear the bassoon!) and even the 3 trombones when they are allowed to play. Maybe it's because I learned these pieces playing in the horn section, but to me, it is a crime to mask all these parts that Brahms worked so hard on.
4. OK, some of the tempos are "extreme". But frankly, they work. They give a passion and a fire to these pieces that leaves me dissatisfied without them.

Honestly, I think I have listened to these tracks well over a hundred times each. It NEVER get's old. Order this today, and get it priority mail. If you're not happy, there's no helping you.

Dont walk to store to buy it--Run!!.......2005-05-05

I can't even stomach listening to others' attempts at the Brahms' big 4 after hearing this set in '98. Music making of the highest degree.

Note to other cd producers/labels: stop recording the Brahms' 4 symphonies--it's been perfected and can't be improved upon!!

At Last -- Performances Worthy of the Music!.......2003-05-03

I've been on the hunt for wonderfully performed versions of these magnificent symphonies for years. My love for them was born decades ago listening to the incomparable Toscanini recrdings on LP (performances still happily available on CD and well worthwile despite the unavoidable loss of sonic quality compared to modern recordings). Mackerras's set is simply superb.

I couldn't agree less with the reviewer who expresses dislike of Mackerras's version of the First. I cannot think of a peer to this performance and am overwhelmed by what McKerras has done with a work that has few peers in all of the symphonic lterature. My view? Bravo!! Not just to the First, but to all four.

My last stop in my hunt before the McKerras versions was the Sandlerling set, which I have reviewed at length at the Sanderling recording site. There I express more completely my admiration for the McKerras recordings, discovered only after I gave up on Sanderling, and my views concering certain other conductors' Brahms efforts. I won't repeat them here, but suggest a visit to the Sanderling cite if you're interested.

What I must say, however, in conclusion, is that Brahms does not sound very interesting when performed indifferently. Most of the performances I've listened to, in recordingas and in concert, have been so slow, so overfed (stuffed with lush strings), so droopy and uninspired that I've been slightly surprised that to find anyone who still listens to this music with attention and interest. (The old Toscanini recordings couldn't have been expected to bear the burden of interesting people in this music alone forever.) After hearing the fabulously conducted Mackerras versions, revealing again and anew the incredible, timeless beauty and energy of these great works, I don't think I need fear this any longer.

Tracks:

Spring From The Four Seasons: Allegro
Spring From The Four Seasons: Largo e pianissimo sempre
Spring From The Four Seasons: Allegro: Rustic Dance
Symphony No. 6, 'Pastoral': Allegro ma no troppo
From Symphony No. 1 'Spring': Allegro animato e graxioso (Finale)
Voices of Spring
Carmina Burana: The Sun Tempers All From Springtime
Carmina Burana: Love Flutters Everywhere From 'The Court Of Love'
Carmina Burana: Day, night and everything from The Court of Love
Appalachan Spring

Tracks:

Summer From 'The Four Seasons': Allegro Non Molto
Summer From 'The Four Seasons': Adagio: Presto
Summer From 'The Four Seasons': Presto: Impetuous Summer Storm
Summer From 'The Four Seasons': Sheep May Safely Graze
Summer From 'The Four Seasons': Adagio sostenuto Moonlight sonoata
Summer From 'The Four Seasons': Wedding March from A Midsummer Night's Dream Suite
Summer From 'The Four Seasons': Dawn From Peer Gynt Suite
Summer From 'The Four Seasons': Prelude: The Afternoon Of A Faun
Summer From 'The Four Seasons': Hoe-Down From Rodeo
Summer From 'The Four Seasons': The Pines Of Janicuulum From 'The Pines Of Rome'
Summer From 'The Four Seasons': Summertime From Porgy & Bess Suite
Soace
Summer From 'The Four Seasons': Finale From 1812 Overture
Summer From 'The Four Seasons': The Stars and Stripes

Tracks:

Fall: Dancing & Singing Of The Peasants: Allegro
Fall: The Sleeping Drunkards: Adagio
Fall: The Hunt: Allegro
Fall: Academic Festival Overture
Fall: Dream of a Witches' Sabbath
Fall: A Night on Bald Mountain
Fall: The Sorcerer's Apprentice
Fall: Danse Macabre
Fall: Largo from Symphony #9

Tracks:

Winter: allegro non molto
Winter: Largo
Winter: Allegro
Winter: Joy To The World
Winter: Hallelujah From Messiah
Winter: Sinfonia From Christmas Oratorio
Winter: Sleighride
Winter: Sleighride From Three German Dances
Winter: Miniature Overture
Winter: March
Winter: Dance Of The Sugar-Plum Fairy
Winter: Waltz Of The Flowers
Winter: Snowflake Waltz
Winter: Strauss Jr: Snowdrops Waltz
Winter: Troika (Russian Three Horse Sleigh)
Winter: Skaters' Waltz
Winter: Carol Of The Bells
Winter: Fantasy On Greensleeves
Winter: March from Babes in Toyland

Customer Reviews:

Good variety of music.......2006-10-16

I bought this 4-disc set at Costco a decade ago when it was still called Price Club, and I still listen to it. Each of the 4 discs contains music from a particular season of the year, and the compilations cover numerous pieces from all the styles of classical music; from Baroque thru the Romance period. Leading each disc are the appropriate parts from the 4-Seasons by Vivaldi. Thee are followed by pieces from composers such as Copland, Beethoven, Strausss, Mozart, Dukas, etc... Some of the pieces are quite famous, and should have been left out as most classical fans already have them; i.e. Beethoven's Pastoral Symphony. The up-side is that this set also has a lot of more obscure pieces that are quite good; such as "Sleighride" by Mozart. Overall, this set provides multiple hours of good listening that is appropriate for a car ride, or while reading a book.

Sym 1-4 / Piano Ctos 1-2 / Violin Cto / Double Cto

Average customer rating:

A Brahms collection well worth remembering
A Wonderful Bargain
all the music that fits...

Sym 1-4 / Piano Ctos 1-2 / Violin Cto / Double Cto
Brahms , and Sawallisch
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
Similar Items:

Liszt: Works for Piano and Orchestra
Mozart: Chamber Music
Sibelius: The Complete Symphonies & Tone Poems
Beethoven: Piano Trios; Violin & Cello Sonatas
Beethoven: The Complete Symphonies and Piano Concertos

ASIN: B00006HM8Y
Release Date: 2002-11-05

Tracks:

I: Un Poco Sostenuto-Allegro
Allegro
II Andante Sostenuto
III Un Poco Allegretto E Grazioso
IV Adagio-Piu Andante-
Allegro Non Troppo, Ma Con Brio-Piu Allegro
Variations On A Theme By Joseph Haydn (St. Anthony), Op. 56a
Tragic Overture, Op. 81

Tracks:

I: Allegro Non Troppo
II: Adagio Non Troppo-L'istesso tempo, ma grazioso
III: Allegretto Grazioso (Quasi Andantino)-Presto Ma Non Assai- Tempo I
IV: Allegro Con Spirito
Symphony No. 3, Op. 90 F Major: I: Allegro Con Brio-Un Poco Sostenuto
II: Andante
III: Poco Allegretto
IV: Allegro- Un Poco Sostenuto

Tracks:

I: Allegro Non Troppo
II: Andante Moderato
III: Allegro Giocoso
IV:Allegro Energico E Passionato-Piu Allegro-
Langsam Und Sehnsuchtsvoll-
Allegro-
Adagio-
Academic Festival Overture, Op. 80

Tracks:

I: Maestoso
II: Adagio
III: Rondo: Allegro Non Troppo
1. Gestillte Sehnsucht- Longing Assuaged- Nostalgie Apaisee
2. Geistliches Wiegenlied- Sacred Cradle Song- Berceuse Mystique

Tracks:

I: Allegro Non Troppo
II: Allegro Appassionato
III: Andante Piu Adagio- Tempo I
IV: Allegretto Grazioso- Un Poco Piu Presto
1. Wie Melodien Zieht Es Mir- Like Melodies Flowing- Comme Des Melodies Cela Passe
2. Immer Leiser Wird Mein Schlummer- Ever Softer Grows My Slumber- Mon Sommeil Se Fait Toujours Plus Leger
3. Klage- Lament-Plainte
4. Auf Dem Kirchhofe- In The Churchyard- Au Cimetiere
5. Verrat- Betrayel- Trahison

Tracks:

I: Allegro - Mozart
II: Adagio - Mozart
III: Rondeau: Allegro- Allegretto- Tempo I - Mozart
I: Allegro Non Troppo
II: Adagio
III: Allegro Giocoso, Ma Non Troppo Vivace

Tracks:

I: Allegro
II: Andante
III: Vivace Non Troppo
I: Andante- Poco Piu Animato
II: Scherzo: Allegro- Molto meno Allegro
III: Adagio Mesto
IV: Finale: Allegro Con Brio

Customer Reviews:

A Brahms collection well worth remembering.......2007-02-14

Everyone is looking for a bargain these days and too often we get cheated with something cheap and nasty. Don't get nervous, however. This is a real nugget.
The title may be slightly misleading. It's not just Brahms' orchestral works - there are also chamber pieces and Lieder with just a little Mozart Violin Concerto thrown in to fill up the space...though I'd have preferred a Brahms clarinet quintet. Ach weh, das Leben ist nie perfekt!

If you think of the great 20th century conductors, Wolfgang Sawallisch is probably not the first name that springs to mind. Yet you would be hard put to it to find anything to fault with any of these performances and some are truly outstanding. The Violin concerto is probably not one of these, because of the final movement, yet Franz Peter Zimmerman as soloist has perfect intonation and the Berlin Philharmonic for the most part plays with him in beautiful balance. It's a fine partnership with some lovely and some very dramatic moments. I just wish the finale had been played with a little more rubato. There's nothing wrong with it, but it's definitely more German than Hungarian. The Berlin Philharmonic also plays in the Mozart. The rest is all with the London.

Let's come to the First Piano Concerto. For me this is a seminal Brahms work. Put together out of the ruins of the "first" symphony this is a youthful but extraordinarily complex piece full of extreme contrasts, with violent and passionate emotions vying with moments of pure lyricism. For the soloist it is less technically than physically and emotionally demanding with its many pages of `doubled' writing but Stephen Kovacevich (Bishop) is the ideal pianist for it, never flagging, even in the monumental finale. This is a performance of immense power, strength, beauty and warmth, encapsulating as it does, and as no other does, both the despair and triumph of youthful passion, and I can honestly say I have never heard it better performed. In it Sawallisch shows himself to be the perfect conductor, holding the orchestra back and giving the soloist free rein and then applying full throttle at exactly the right moments.
Twenty-two years separate the two piano concertos, yet what is most striking is the similarity between the two works, the Second being, if anything even more symphonic than the First with its four movements. The conflict here is not between the piano and the orchestra - each is locked together in the first two movements in a joint and at times arduous battle with the Fates - yet in many ways it's also more like a gigantic piano quintet and Sawallisch and Kovacevich work here in perfect harmony to establish a fantastic rapport. In the third movement the structure is perhaps even songlike with the pianist accompanying the orchestra, particularly the cello, rather than vice versa and the finale is pure delight with both orchestra and piano ending up hopping and skipping round each other in a charming puckish way. Brahms is here at his most winsome and appealing and this is one of the lightest and most attractive endings I have heard to an otherwise at times very intense and demanding piece of music .
Many will buy this selection for the orchestral works - well that is after all what it says on the label - so I imagine there will also be many who are surprised to find the Lieder. Brahms was a wonderful composer of songs and his unerringly full-blooded choice of lyric - to which he always paid the closest attention - puts him right at the forefront of the great romantic song composers of the period, though it is here that his debt to Schumann is probably at its greatest. Ann Murray has a lovely voice and though I would not put her front of Schwarzkopf or Kathleen Ferrier, these are more than respectable performances. Stephen Kovacevich shows a different but very impressive side of his talent as accompanist. My favorite here, however, is his setting for choir and orchestra of Hölderlin's deeply pessimistic Hyperions Schicksalslied, which absolutely transforms the poem and gives us a wonderful glimpse at least of Ein Deutsches Requiem.

It would be beyond the scope of this commentary to review the performances of the four Symphonies in detail, not to mention the ability of the reviewer! Suffice it to say that Sawallisch and the London Philharmonic play these all with strict attention to Brahms' markings and excellent dynamic contrast, though always remaining aware that during the 20th century, like it or not, tempi in most classical pieces did speed up. No-one can play Brahms successfully without, at the right moments, passion, and for me the highlight (one of many) was the swirling attack in the emotionally turbulent opening to the First Symphony. Sawallisch cannot fail to have been aware of the immense presence of Karajan in these symphonies and to his eternal credit he does not attempt to fight with this, by striving to be different, but lets the orchestra "have its head" and as a consequence his performance of the battling First Symphony is very fine indeed. The key moment in this work for me is the entry of the horn in the slow introduction to the finale and I'm pleased to say, in this performance it is absolutely right. The second symphony, composed only a year later in the beautiful surroundings of the Wörther See in Austria's Lake District, is altogether a much more relaxed affair, and a great opportunity for the conductor to allow the orchestra a chance really to show its style, which is precisely what Sawallisch does and this is one of the London Philharmonic's most sumptuous performances. Interestingly for the Third Symphony Sawallisch opts for the slower Klemperer tempi and there is some very grand playing here, especially in the richly contrasted first movement. However, I feel in the third movement he is a tad too slow, with the result that some of the seething and restless undercurrents are allowed to fade. This is a very "classical" rendering of a tragic work in which the finale is seen, and I'm sure Brahms was striving for this, as both resigned and conclusive. I don't really feel, however, that Sawallisch has quite got to the bottom of this profoundly ambiguous piece. As for the Fourth, in this symphony often described as "autumnal" or "resigned" but probably one of the most passionate and perturbed of all Brahms' works, with time and again the resolution of soft legato passages broken into by turbulent outbursts, Sawallisch does not quite get the same precision of playing in the third movement as Karajan and at one point seems to lose the rhythmic impetus altogether, however, he quickly regathers it and the final passacaglia is as bold, dramatic, and tragic, as anyone could wish for.

The best is saved till last. Who else but Brahms could have composed a world class piece for an instrument that can only play about 11 notes, the Waldhorn? Well he does, and this work, the Horn Trio Op.40, is pure joy from beginning to end, the only hint of sadness being in the slow movement, which is an elegy on the death of his father, who was, guess what, a Waldhorn player. The violinist in this piece is Franz Peter Zimmerman, the same as who performed so well in the Violin Concerto and the pianist none other than Wolfgang Sawallisch, one of the very few recordings of him as a performer. Warum, ich frage mich? The final movement simply bounds along, with some perfect staccato playing by Marie Luise Neunecker on such an abominable instrument! No-one could ever have had a better ride into Elysium.

Is this a bargain? Well I'll let you judge for yourself, but this is my only Brahms recording and I won't be buying another, I imagine, for a little while yet. I suppose purely on the strength of the performances it's 4 stars rather than 5, but given the price and the range of the set, it would be churlish not to give it its 5.

A Wonderful Bargain.......2003-04-01

In this elegant and efficiently packaged compact box from EMI you get all of Brahms's orchestral music (except the two serenades) in first-rate performances at an unbeatable price. Wolfgang Sawallisch is one of the most distinguished conductors alive today and his performances of the great German classics are always worth listening to. Not a showman or an attention-grabber, Sawallisch unfailingly delivers beautifully thought-through performances that are nuanced and subtle. As a result, his work can strike some people as too laid back and emotionally reticent. Musicians, on the other hand, marvel at what they hear. (Check out the DVD version of the documentary film "The Art of Conducting," where long-time Sawallisch fan and colleague Elisabeth Schwarzkopf doesn't hesitate to mention him in the same breath with Klemperer, Boehm, Furtwaengler and Toscanini.) Especially if you're past the neophyte stage as a Brahms listener, you're likely to find Sawallisch's performances very satisfying. As far as specific performances go, let me admit that in another Amazon.com review I've compared these Brahms symphony recordings unfavorably with an earlier Sawallisch set on Philips. I've now changed my mind because EMI apparently has remastered the performances for this box set and they now sound marvelously fresh and alive - even better played(!) than on previous issues. Ditto the two overtures, Haydn Variations and "Schicksalslied." The concerto performances, gorgeously imagined and performed with scrupulous attention to structural detail, are also excellent. Sawallisch seems to have found his ideal partner in pianist Stephen Kovacevich, who matches the conductor insight for insight in the two piano concertos ... just listen to how magically Kovacevich and Sawallisch conjure Mozart in the finale of the B-flat concerto! The two string concertos are also done memorably by Frank Peter Zimmerman, with cellist Heinrich Schiff assisting in the great, late Double Concerto. Finally, the set provides a generous number of bonus performances including handsome renditions of the Mozart third violin concerto (with Zimmerman); some Brahms lieder (performed by Kovacevich and Ann Murray); and the wonderfully autumnal Horn Trio (where Sawallisch himself presides at the piano). Even if you own other performances of this music, I urge you to buy this set: it provides a remarkably satisfying brahmsian synthesis of public rhetoric and private emotion that I'm sure will continue to impress you the more you listen. Sound quality is marvelously warm and true for a digital recording.

all the music that fits..........2003-01-02

if you're a fan of brahms' symphonies and concertos, then this EMI compilation is the perfect match...his four symphonies, two piano concertos, violin concerto, and double concerto are well presented by sawallisch, the berlin philharmonic, and soloists....nothing outlandish or unusual, just straight-on brahms for those who enjoy a good balance from the orchestra, soloists, and wallet.....if I had to choose only one cd release for brahms, this would be it.

Brahms: Symphonie No. 2; Akademische Festouvertüre

Average customer rating:

A revelatory Brahms 2nd
One of Bernstein's most natural and genial Brahms performances
Still a great version of the Brahms 2nd Symphony
Simply great!!
Excellent!

Brahms: Symphonie No. 2; Akademische Festouvertüre

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

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Imports | Stores | Music
ASIN: B000001GN7
Release Date: 1994-08-22

Tracks:

Sym No.2 in D, Op.73: 1. Allegro non troppo
Sym No.2 in D, Op.73: 2. Adagio non troppo-L'istesso tempo, ma grazioso
Sym No.2 in D, Op.73: 3. Allegretto grazioso (Quasi Andantino)-Presto ma non assai-Tempo I
Sym No.2 in D, Op.73: 4. Allegro con spirito
Aca Festival Ov, Op.80: Allegro-L'istesso tempo, un poco maestoso-animato-Maestoso

Amazon.com

Much as I admire Lenny, who was a genius by any standard, there's something about Brahms that just didn't sit well with him. He tries much too hard to do something with music that always works best when presented in the simplest, most unaffected manner possible. His tempos fluctuate wildly, but are almost always too slow, while constant indulgence in musical point-making is just too much of a good thing. Most people like chocolate, but not as a topping for fried liver and onions. Well, like that combination, Bernstein and Brahms just don't mix. --David Hurwitz

Customer Reviews:

A revelatory Brahms 2nd.......2006-04-15

This is not your typical Brahms 2nd. Bernstein, unlike in his conventional earlier Sony recording - which is outstanding, by the way - at this later stage in his career saw this symphony as a bridge between the symphonies of Beethoven and those of Bruckner. The scale of the work is enormously expanded, compared to usual performances, and the work benefits in three ways: first (and foremost), it achieves a monumental, epic quality. Second, all the lush Brahms' lyricism is gloriously elicited. Third all of Brahms' details are clearly brought out.

This might not be the version you first turn to, but it is one that will leave you with a greater knowledge of the music than you would otherwise have.

This later Bernstein approach to conducting didn't always work, as in his DG recording of Brahms 3rd. But this 2nd is an amazing success.

One of Bernstein's most natural and genial Brahms performances.......2006-02-18

It's irksome to read David Hurwitz's absurd ex cathedra remarks, and to realize that Amazon pays him for them. Bernstein was cosistently a great Brahmsian, and this Second Sym. from Vienna, recorded live in 1983, is one of his warmest and most natural performances. There are few tempo fluctuations, no mannerisms, and slow speeds only (marginally) in the finale--why can't Hurwitz even get the facts straight?

This is Brahms on a smaller scale than Bernstein's earlier version with the NY Phil. on Sony, closer to Bruno Walter's intimacy than Karajan's grandeur. Which is perfect for the Second, the most pastoral of the four symphonies. The orchestra plays with inner life, and even DG's early digital sound, which could be suspect, is balanced and natural. In all, a great recording, a standout in Bernstein's DG cycle.

Still a great version of the Brahms 2nd Symphony.......2004-12-20

Leonard Bernstein's tempi for the Brahms 2nd Symphony may be among the slowest I've encountered, yet this early Deutsche Grammophon digital recording remains one of the finest recordings I have heard of this symphony. Bernstein leads the Vienna Philharmonic in approximately forty five minutes of exquisite playing, memorable for the electrifying performances of the second, and especially fourth, movements. It is a fine interpretation which holds its own against more recent ones by the likes of Abbado, Harnoncourt, Masur, and especially, Haitink. And more to the point, some music critics still regard this as the definitive recording of the Brahms 2nd Symphony. At any rate, it is a splendid recording emphasizing the strong kinship felt between Bernstein and the Vienna Philharmonic for each other. If you're not interested in acquiring Bernstein's Deutsche Grammophon recordings of all of the Brahms symphonies, then this single CD should be acquired as a testament to splendid music making by one of the 20th Century's greatest conductors.

Simply great!!.......1999-10-07

I was really shocked when I saw David Hurwitz review of this CD. I have listened to it for two years and I just love it. It may indeed be a little slow on some parts, but the passion with which Bernstein plays Brahms (and specially this symphony) is unsurpassed. The second movement is simply the best interpretation I have listened to, with such passion you can't believe it! I highly recommend it.

Excellent!.......1999-09-02

David Hurwitz seems to be wrong again--this is a fine recording of Brahms's second symphony. The playing of the Vienna Philharmonic is unsurpassed for its beauty, and Bernstein calls attention to many details that are hidden in other performances. This is a very chamber-like interpretation of Brahms. It is true that the opening movement is much longer than you hear on most recordings (although it's about the same length as Abbado's widely-praised version), but Bernstein holds everything together and brings out the shape of the musical phrases in a way that is utterly convincing. The second movement is the most beautiful I've heard. In the third, Bernstein brings out the pizzicato passages very nicely. The fourth is electrifying! The slightly slower tempo causes the final bars to be that much more intense. All in all, this recording is crisp and full of delightful little moments, not just a slick run-through like Karajan sometimes was guilty of (as much as I love his work). Perhaps the critics don't like this version, but I think you'll really be missing out if you believe what they're saying. Give Bernstein a try!

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