Symphony 4 / Academic Festival Overture

On this CD:

1. Symphony No. 4 in E minor, Op. 98
Composed by Johannes Brahms
Performed by New Philharmonia Orchestra
Conducted by Alexander Titov

2. Academic Festival Overture, for orchestra in C minor ("Akademische Festouvertüre"), Op. 80
Composed by Johannes Brahms
Performed by New Philharmonia Orchestra
Conducted by Alexander Titov

3. Hungarian Dance for piano, 4 hands, in G minor, WoO 1/1
Composed by Johannes Brahms
Performed by New Philharmonia Orchestra
Conducted by Alexander Titov

4. Hungarian Dance for piano, 4 hands, in G minor, WoO 1/5
Composed by Johannes Brahms
Performed by New Philharmonia Orchestra
Conducted by Alexander Titov

5. Hungarian Dance for piano, 4 hands, in D major, WoO 1/6
Composed by Johannes Brahms
Performed by New Philharmonia Orchestra
Conducted by Alexander Titov

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

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Choruses | Vocal Non-Opera | Opera & Vocal | Styles | Music

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4-for-3 Classical | 4-for-3 Music | Stores | Music

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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

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

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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

General | Symphonies | Classical | Styles | Music

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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!!

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

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
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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.

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.

Brahms: Symphony No. 4; Academic Festival Overture; Tragic Overture

Average customer rating:

Szell often excelled in Brahms, but not here
Excelente
Superb
a rare dud
A classic that's nearly perfect

Brahms: Symphony No. 4; Academic Festival Overture; Tragic Overture

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000276D
Release Date: 1991-04-05

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; Poco meno presto
Symphony No. 4 In E Minor, Op. 98: IV. Allegro energico e passionato; Piu allegro
Academic Festival Overture, Op.80
Tragic Overture, Op.81

Customer Reviews:

Szell often excelled in Brahms, but not here.......2006-11-26

I think the reviewer below who calls this Brahms Fourth a dud is overstating the case. Szell never fals below the high standard of execution that made the Cleveland Orch. world famous, so ensemble and balances are perfect. But for some reason he seems dispirited. The opening movement, whose first theme he disjoints, has no ecstasy or soaring qualaity: it's just one note after the other. This is even more true in the slow movement, which seems to be sleepwalking.

I ofund this a shock given that Szell generally followed Toscanini's model in Brahms, which was swift and tense. The Scherzo catchesa spark or two, but the phrasing remains foursquare rather than flowing or exciting. When the finale arrived and I heard the opening bars played with every chord at the same volume, with no attempt to express the shape of Brahms's great theme, I gave up. From college I remember Szell's Academic Festival Over. being one of the best, and it has more sprightly energy than the symphony by a long shot; recording and inner detail are marvelous also. But you'd never guess that Brahms had written a celebratory piece. Likewise, the Tragic Over., which is the best thing on this budget CD, is forceful and well recorded but short on real tragedy.

In all, this is the least successful instalment in Szell's Brahms cycle, which includes a riveting First and Third.

Excelente.......2004-12-15

George Szell es un director grandioso, Brahms un compositor increible, juntemos dos grandes y obtenemos un CD de coleccion.
La cuarta sinfonia de Brahms es una exquisites, un conjunto increible de musica sublime y luminosa. La orquesta de Cleveland es bajo la direccion de Szell de lo mejor, quizas lo sabran pero el sonido de sus cuerdas esa solo igualado por la filarmonica de Viena, en su mejor epoca, asi es una orquesta grandiosa, pulcra, brillante, perfecta.
La cuarta sinfonia es en esta version formidable, grandiosa, imponente y bella. Se acompaña esta obra con dos piezas infaltables del repertorio de Brahms la obertura tragica, una pieza temperamental y de gran fuerza, y la solemene y no tanto Obertura para el festival Academico, para esta obra por favor no crean eso de que fue escrita rapidamente para una acto solemne pero por obligacion, NO, es una obra completamente bien construida, con esmero y de gran calidad.
George Szell se luce y hace que la Orquesta de Cleveland se luzca mas aun.
Brahms como siempre lo mejor.

Superb.......2004-05-26

Here is the right ingredients for Brahms E minor symphony. Add the delicacy of the winds with the incredible warmth of the brass and this is certainly has to be once of the most successful Brahms in the history of interpretation.

Movement one has a natural unforced flow which allows the themes to expand nicely. Woodwinds are just wonderful..

The slow music in the second movement is well done. The secondary theme which comes from the lower strings is marvelous.

The third movement has a excellent sense of pace without the bombast we hear from other groups...

The variations in this recording are the most flawlessly caught...the trombone choir in the last pages is fantastic.

Bravo Cleveland and Szell

a rare dud.......2003-03-06

Every once and a while, even a great conductor gets it wrong. George Szell provided us with an awesome recording legacy, but this Brahms 4th, sorry to say, isn't part of it. This is a slow, lifeless performance that struggles desperately to get going but never does. The beautiful opening movement is heavy, dull, and depressing, with some truly awful balancing for those pizzicato strings. A strange and perplexing failure, because Szell is so masterly in the middle symphonies (2 and 3) by Brahms. Fortunately, Sony has put them both on one budget disc, and it is one of the great bargains in the catalogue. As far as the 4th goes, I think you're better off with Walter, also on Sony, Kleiber on DG, or a really great powerhouse from -- of all people -- Charles Munch and the BSO on RCA.

A classic that's nearly perfect.......2001-12-12

This is surely one of the finest recordings you can get of the Brahms Fourth. The clarity Szell draws from the Cleveland orchestra is amazing, and every voice is heard. Szell's strength is that he is an exemplary musician. However, this is also his weakness, as he is so rigid in his tempi that he loses much of the dramatic impact of the work. The fourth movement is quite compelling tempo-wise, but lacks that real "oomph" that makes a great reading. If you want really engaging emotional involvement, look for Von Karajan or Bernstein. But if you want the most precise musicianship available and ultra-clear voices, the Szell is your pick.

Average customer rating:

Pieces too lengthy and ambient for a 'best of'.

Brahms: Greatest Hits

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B000002A1H
Release Date: 1994-08-09

Tracks:

Hungarian Dance No. 5
Lullaby, Op. 49, No. 4
Academic Festival Overture, Op. 80
Variations On A Theme By Joseph Haydn, Op. 56a: Finale. Andante
Violin Concerto In D Major, Op. 77: Allegro, Ma Non Tanto
Symphony No. 4 In E Minor, Op. 98: Allegro Giocoso - Poco Meno Presto
Piano Quartet In G Minor, Op. 25: Rondo Alla Zingarese. Presto
Tragic Overture, Op. 81
Waltz In A-Flat Major, Op. 39, No. 15
Symphony No. 1 In C Minor, Op.68: Adiagio-Allegro Non Troppo Ma Con Brio

Customer Reviews:

Pieces too lengthy and ambient for a 'best of'........2003-11-17

'Greatest Hits' compilations are purposeful for those who don't want 'the whole piece'.This cd has too many long and ambient versions to be suitable for beginners to Brahms.Alot of his outstanding moments are 'blended in', rather than 'stood out'.So his melodic element is missed on some selections.But there are stand-outs.This Hungarian Dance n.5 is the most extravagent version i've heard.The tempo-changes are clever, and the orchestra packs a gypsy punch.A couple of the chamber works are great (tho u can find similar to those versions on many brahms' best of's).I find the melody of 'lullaby' is a bit lost in how very slowly it's done.Most 'Brahms' Greatest Hits' do focus more heavily on his orchestral pieces.This one also does, so I feel theres too few of his great chamber (trio/4tet/5tet) themes.

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

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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
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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.

Thank you, Maestro Mackerras!

Willem Mengelberg: Conductor, Concertgebouw Orchestra
Average customer rating:

Vintage Mengelberg In Superb Transfers

Willem Mengelberg: Conductor, Concertgebouw Orchestra
Concertgebouw Orchestra , and Mengelberg
Manufacturer: Andante
ProductGroup: Music
Binding: Audio CD

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ASIN: B00007E8ML
Release Date: 2002-10-29

Tracks:

Hector Berlioz (1803-1869): "Rczy March" from The Damnation of Faust
Richard Wagner (1813-1883): Prelude to Act I from Lohengrin
Franz Liszt (1811-1886): Les prdes, S. 97
Franz von Supp1819-1895): Overture from Poet and Peasant
Richard Wagner (1813-1883): Prelude to Act I from Die Meistersinger von Ng
Cornelis Dopper (1870-1939): Ciacona gotica 19:54
Julius Ren (1855-1932): Six Old Netherlands Dances, Op. 46 (No. 5 "Bergerette" (Les grandes douleurs) & No. 6 "Pavane")
Piotr Ilyich Tchaikovsky (1840-1893): Waltz from Serenade for Strings, Op. 48

Tracks:

Christoph Willibald Gluck (1714-1787): Alceste Overture, Wq. 37
Beethoven, Symphony No. 3 in E-flat major, Op. 55, "Eroica": I. Allegro con brio
Beethoven, Symphony No. 3 in E-flat major, Op. 55, "Eroica": II. Marcia funebre - Adagio assai
Beethoven, Symphony No. 3 in E-flat major, Op. 55, "Eroica": III. Scherzo: Allegro vivace
Beethoven, Symphony No. 3 in E-flat major, Op. 55, "Eroica": IV. Finale: Allegro molto - Poco andante - Presto
Johannes Brahms (1833-1897): Academic Festival Overture, Op. 80
Franz Schubert (1797-1828): Rosamunde Overture, D. 644

Tracks:

Tchaikovsky, Symphony No. 5 in E minor, Op. 64: I. Andante - Allegro con anima
Tchaikovsky, Symphony No. 5 in E minor, Op. 64: II. Andante cantabile, con alcuna licenza
Tchaikovsky, Symphony No. 5 in E minor, Op. 64: III. Valse: Allegro moderato
Tchaikovsky, Symphony No. 5 in E minor, Op. 64: IV. Finale: Andante maestoso - Allegro vivace - Moderatoassai
Piotr Ilyich Tchaikovsky: Romeo and Juliet, Fantasy Overture
Piotr Ilyich Tchaikovsky: 1812 Overture, Op. 49

Album Description

This three-CD set highlights the inimitable artistry of Dutch conductor Willem Mengelberg, who led Amsterdam's Concertgebouw Orchestra for an unprecedented 50 years (1895-1945). The repertoire features Romantic favorites and rarely heard pieces by early 20th-century Dutch composers; the highlights include a Beethoven "Eroica" Symphony from 1940 and an entire disc of Tchaikovsky in recordings ranging from 1928 to 1940. Through this set, music lovers can rediscover one of the legendary names from the Golden Age of interpretation, one whose performances were often idiosyncratic to the point of controversy but who always elicited spirited, state-of-the-art playing from the ensemble he virtually created, the Concertgebouw Orchestra. The vintage sources were painstakingly remastered at Art & Son Studios in Paris using the 24-bit CAP 440 technique.

The handsomely illustrated, 84-page booklet includes an introduction by Pulitzer Prize-winner Tim Page, a thought-provoking essay by American writer Harry Haskell ("Mengelberg and the Concertgebouw Orchestra: A Virtuoso and His Instrument") and detailed artist biographies from "The New Grove Dictionary of Music and Musicians." All texts appear in English, French and German.

Customer Reviews:

Vintage Mengelberg In Superb Transfers.......2005-04-18

If you are already a Mengelberg enthusiast, this set is self-recommending. But if you are new to the Dutch conductor's uniquely exciting interpretations, this 3-disc Andante set is an ideal place to start. Lavishly packaged with perceptive notes, it contains what are probably the finest transfers these performances have ever received.

Every performance here simply exudes passion, extraordinary precision, and absolute commitment. Just listen to the bronze-like glow of the horns at the opening of the Suppe, the trenchant lower strings in the Brahms Academic Festival Overture, or the delicate filigree throughout the enchanting Dopper piece. While Mengelberg's arbitrary gearshifts in the Beethoven Eroica may raise eyebrows, the quality of the playing is beyond belief: this is arguably the best-PLAYED Eroica ever recorded. Likewise the Liszt Les Preludes, one of the greatest performances of ANYTHING I have ever heard.

I could go on and on. Suffice it to say that this superb set deserves to be in any serious classical music collection.

Highest recommendation.

Music Track:

Music Track

music track

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