Wilhelm Furtwängler Conducts Johannes Brahms

On this CD:

1. Symphony No. 1 in C minor, Op. 68
Composed by Johannes Brahms
Performed by Vienna Philharmonic Orchestra
Conducted by Wilhelm Furtwangler

2. Variations on a Theme of Haydn for orchestra in B flat major (St. Anthony Variations), Op. 56a
Composed by Johannes Brahms
Performed by Vienna Philharmonic Orchestra
Conducted by Wilhelm Furtwangler

3. Hungarian Dance for piano, 4 hands, in D minor, WoO 1/2
Composed by Johannes Brahms
Performed by Vienna Philharmonic Orchestra
Conducted by Wilhelm Furtwangler

4. Hungarian Dance for piano, 4 hands, in F major, WoO 1/3
Composed by Johannes Brahms
Performed by Vienna Philharmonic Orchestra
Conducted by Wilhelm Furtwangler

Tracks:

Symphony No. 1 In C, Op. 68: I Un poco sostenuto - Allegro
Symphony No. 1 In C, Op. 68: II Andante sostenuto
Symphony No. 1 In C, Op. 68: III Un poco allegretto y grazioso
Symphony No. 1 In C, Op. 68: IV Adagio piu andante - Allegro non troppo ma con brio
Symphony No. 1 In C, Op. 68: Adagio piu andante - Allegro non troppo ma con brio

Tracks:

Symphony No. 2 In D, Op. 73: I Allegro non troppo
Symphony No. 2 In D, Op. 73: II Adagio non troppo
Symphony No. 2 In D, Op. 73: III Allegretto grazioso
Symphony No. 2 In D, Op. 73: IV Allegro con spirito
SYMPHONY NO. 3 IN F, OP. 90: I Allegro con brio
SYMPHONY NO. 3 IN F, OP. 90: II Andante
SYMPHONY NO. 3 IN F, OP. 90: III Poco allegretto
SYMPHONY NO. 3 IN F, OP. 90: IV Allegro

Tracks:

Symphony No. 4 In E, Op. 98: I Allegro non troppo
Symphony No. 4 In E, Op. 98: II Andante moderato
Symphony No. 4 In E, Op. 98: III Allegro giocoso
Symphony No. 4 In E, Op. 98: IV Allegro energico e passionato
Variations On A Theme By Haydn, Op. 56A: Haydn Variations

Tracks:

Piano Concerto No. 2 In B Flat, Op. 83: I Allegro non troppo
Piano Concerto No. 2 In B Flat, Op. 83: II Allegro appasionato
Piano Concerto No. 2 In B Flat, Op. 83: III Andante
Piano Concerto No. 2 In B Flat, Op. 83: IV Allegretto grazioso
Variations On A Theme By Haydn, Op. 56A: Chorale St. Antoni: Andante
Variations On A Theme By Haydn, Op. 56A: Var. I Poco piu animato
Variations On A Theme By Haydn, Op. 56A: Var. II Piu vivace
Variations On A Theme By Haydn, Op. 56A: Var. III Con moto
Variations On A Theme By Haydn, Op. 56A: Var. IV Andante con moto
Variations On A Theme By Haydn, Op. 56A: Var. V Vivace
Variations On A Theme By Haydn, Op. 56A: Var. VI Vivace
Variations On A Theme By Haydn, Op. 56A: Var. VII Grazioso
Variations On A Theme By Haydn, Op. 56A: Var. VIII Presto non troppo
Variations On A Theme By Haydn, Op. 56A: Finale. Andante

Amazon.com essential recording

What a bonanza: some of the most searching interpretations ever made of symphonic cornerstones, from a now bygone era of performance, here beautifully remastered by Music & Arts and packaged into a bargain set. Wilhelm Furtwängler's dynamic, always-evolving--and often unpredictable--visions of a classic score could overwhelm listeners with their paradoxical aura of the inevitable, wresting away the easy, dull comfort of familiarity. This is most dramatically the case with the conductor's performances of Beethoven. They still move and shake us free of lazy assumptions about this music with all the power of artistic truth. Furtwängler came relatively late to Brahms (like so many of the composer's most abiding admirers) but identified deeply with Brahms's dark strain of melancholy and self-consciousness. The Furtwängler trademarks are all here--palpable molding of tempos and dynamics to concentrate drama, oracular moments of insight, and an astonishingly compelling, organic sense of the whole.

Perhaps the most viscerally thrilling account here is of the First Symphony, from 1951, which, as John Ardoin brilliantly describes it in The Furtwängler Record, has the "magnificent rawness of a Michelangelo." But, when you think you've reached an untoppable high at its conclusion, listen to the finale from Furtwängler's final wartime concert in Berlin, 1945 (the only extant movement on disc), included in this set. The symphonies presented here are a far cry from the stuffy, pedantic, anachronistic Brahms served up by so many lesser lights. Furtwängler grasps and conveys the subtly layered ambiguities in these scores, the blending--particularly in the Second's Adagio (1945) and the final measures of the Third (1943)--of deep shadow with serene sunlight. His Brahms Four from 1943 at times verges on the terrifying; ultimately it passes beyond tragedy into new wisdom as Furtwängler scoops, caresses, sculpts, and simply builds musical contours. The set also includes two interpretations of the Haydn Variations (1943 and 1951) and the legendary 1942 Second Piano Concerto featuring Edwin Fischer as soloist--a touchstone of musical partnership. There's a varying level of background hiss and distortion throughout the set, but in general this is an extraordinary CD transfer. And in Furtwängler's presence, any distracting artifacts of the recorded sound soon fade into insignificance. This is a must not only for listeners serious about Brahms but for anyone intrigued by the art of musical interpretation. --Thomas May

Customer Reviews:

Unsurpassably great.......2005-06-01

In a sense, Furtwangler's best Brahms recordings, collected here, are even more impressive than his Beethoven. Beethoven is almost foolproof, and even in a mediocre performance he will come across intact, but botch Brahms and a tedious soup is all that remains. Compared to Furtwangler's Brahms, all other versions seem not interpreted but merely played through. Under Furtwangler's baton, Brahms emerges as a tragic artist of Shakespearean proportions, with the unbelievable 1945 performance of the last movement of the First--as another listener points out, it stands with his 1942 Ninth among his greatest achievements on record--and the complete performance of the Fourth as particular standouts. As others have noted, the Third isn't quite up to par--personally I prefer the version in the EMI box, which has a terrifically dynamic first movement--but all in all these are performances to render almost all others insignificant. Nowhere else does Furtwangler better exemplify his uncanny ability to find the living core of a piece of music and bring it out whole. This is visionary artistry of the highest order, to which all discussion of conductorial eccentricity is irrelevant, and it will make a Brahms lover of anyone who encounters it fully. A completely extraordinary set of recordings, and a must.

The best Brahms cycle I have heard so far.......2005-04-18

The Furtwangler cycle of Brahms is comething special indeed. The sound leaves much to be desired, but trust me, after you hear the performances you will never want to hear Brahms any other way (no matter how good the sound is)!! This cycle is raw, uninhibited, fierce, probing, tragic but above all powerful. Take the finle of the 4th symphony as an example. It is played at a faster pace of any other recording I have heard of the piece. At the end the variations played on strings are almost a little sloppy. But playing them at that tempo gives the overall movement such great power, spontaniety and drive that it does'nt matter. These performances are should be the gold standard for all others. No other brahms cycle comes ever close.

Furtwangler's best Brahms symphony recordings.......2005-03-02

...all in one set! I'm not going to jump on "madamemusico's" one-star review too much, since she has certainly gotten her share of well-earned unhelpful votes, but I don't know what the hell the argument that Brahms is a "classicist" has to do with anything. The way I look at it, Brahms may have been a classicist with regard to form, but he had heart and soul of a romantic, so I don't understand what precludes his symphonies from being played as full-blooded romantic music. Just admit you don't like Furtwangler, and don't taint the ratings here with personal biases. 'Nuff said on that subject.

"Brahms music is boring and his orchestration is too thick," is one of my least favorite of the countless cliches' about romantic era composers and their music. When I worked at a record store several years ago, I was playing a really good and exciting recording of a Mendelssohn symphony, and a lady came in and, after listening to it for a few minutes, she asked, "What is this? It's really good." "Mendelssohn's (I think it was the 3rd) Symphony," I responded. "Really?!" she said, surprised; "I thought Mendelssohn was boring." "That's because you've never heard any GOOD Mendelssohn," I said. She bought the CD. I am not a big Mendelssohn fan, but the point of this anecdote is that you frequently get the same kinds of opinions about Brahms, based on cliches' about his music that preclude people from giving it serious consideration: "Oh yeah, Brahms; thick and boring. Not my cup of tea." Then you hear some GOOD Brahms, and you are a fan for life.

I would not pretend that this is the only Brahms set you should have. The sound quality is variable, and Furtwangler's style is unique, but if you have any interest in Brahms' symphonies, and you have some more modern recordings that you like, then you really need to have this one; esp. since you can probably get an inexpensive copy on the Marketplace.

I have listened to many of Furtwangler's numerous Brahms recordings, and there is no question in my mind that M&A have assembled the best ones here. Part of the magic of Furtwangler's Brahms is that, despite the weight of the sound that he gets from these great orchestras, plenty of detail can be heard, and surprisingly little apology needs to be made for the sound, even though these recordings are from widely different sources.

Brahms recorded multiple good Brahms' Firsts, but this one from 1951 with Schmidt-Isserstedt's wonderful Hamburg orchestra is my favorite, and it has the best sound of any Furtwangler Brahms recording. The Tahra release of the First has slightly better sound than the M&A, but not enough to diminish the appeal of this set. The wartime Second might have the most thrilling account of the wonderful finale ever recorded. The Third, recorded in the last few months of Furtwangler's life is deeply ruminative, and is the most idiosyncratic of all of the readings here in that much of it is very slow, but it is easily the best of his Thirds, and I find it to be a uniquely satisfying reading. It has often been commented on the Brahms' music has an autumnal feel to it, and it seems to me that this is particularly explicit in the Third, with its luminous woodwind coloring, esp. the clarinet parts: the third was the last of the Brahms symphonies that I fell in love with-- courtesy of the Szell recording--and there is a palpable feeling of deep autumnal reflection in Furtwangler's reading, esp. in his achingly beautiful account of the third movement; and in the closing bars of the quiet coda, you can almost see the last autumn leaves slowly wafting down to the earth. The wartime Fourth is one of the most overtly tragic readings you will ever hear, with an amazing forward thrust to the finale; again, this is easily Furtwangler's best reading.

The fact that there are later Furtwangler Brahms recordings with somewhat better sound is not really a factor, such is the quality of the performances assembed in this M&A set. If you have this set you don't really need any other of Furtwangler Brahms symphony recordings. The EMI References set is good, but those performances are all runners-up to all of those in this set.

Simply Mandatory For Brahms Lovers.......2004-05-25

I feel that this set belongs in EVERY collection. It has great CD transfers, sensational conducting and WONDERFUL Brahms!

Sym. #1: This 1951 Hamburg with the North German Radio is, to my mind, the finest Brahms 1st on record. It is also on Tahra FURT 1054/7, but this M&A transfer is distinctly SUPERIOR: the Tahra has lots of extra hiss and a midrange that sounds rather hollow. However, you MUST have that Tahra set because it contains Furtwangler's majestic 1954 Lucerne Beethoven 9th in its best transfer. The only Furtwangler 1st to rival this Hamburg is the 1952 Berlin Phil. (deleted DG 415662-2). More mellow and less dramatic, it and this Hamburg are sonically just about the best of ALL Furtwangler recordings.

Sym. #2: The 1945 Vienna Phil. here is also available on 6-disc DG set 474030. They are close in sound quality, but I would give the edge to M&A. Incidentally, you must have the DG set for its 1944 Vienna Phil. Bruckner 8th in a finest-ever transfer. This Brahms 2nd is VERY dramatic, but the lesser 1948 with the London Phil. (Dutton) has grown on me of late - if it were the only Furtwangler available, most of us would be raving about it! My favorite Furtwangler Brahms 2nd remains the more reflective, less hectic 7 May 1952 Berlin Phil. account (mine is on an Electrola Da Capo LP).

Sym. #3: This 1954 Berlin is the best of 3 Thirds - it was also on DG 423572-2 (deleted) in sound that was the same as this M&A (the DG was coupled with my favorite Furtwangler account of the Schubert 8th from 1952). He isn't as persuasive in the 3rd, but the closing pages have a lovely autumnal, valedictory quality.

Sym. #4: This dynamic 4th from 1943 is his best, and this is its best-ever transfer.

2nd Piano Concerto: The 1942 live sound is congested (it's the only poor sound in this set). The transfer on DG 471294-2 is somewhat better, but both are pretty bad.

Haydn Variations: This 1951 Hamburg and the Berlin 1950 (DG) are my two favorites: both have excellent sound.

Brilliant as these are, there are accounts by other conductors that I also cherish. Some are foils that help to appreciate the greatness of Furtwangler's readings, and a few of them offer insights that are different and perhaps equally valid. In the 1st, Abendroth is stunning (his best: the live 1955 Berlin Radio on Tahra 145/146). If there were no Furtwangler Brahms 1st, this would be my favorite. I am also quite taken with the 1953 Schuricht/Suisse Romande on Archiphon 2.1 - its coupling is a Beethoven "Missa Solemnis" with Stader, Calveti, Haefliger & Rehfuss. Since Furtwangler never recorded the latter, you might want to try it this excellent Schuricht.

For the 2nd, my other favorites are Schuricht/VPO (London LP) and Fritz Busch (EMI). The Max Fiedler and Walter Damrosch 2nds (on different Biddulph CDs) are weirdly hypnotic - a trip back to the past. In the 3rd, I love Kna (Tahra), Schuricht (Greenhill), and Mengelberg (Naxos). For the 4th, three worth hearing are Abendroth (Arlecchino), Busch (Dante LYS), and Schuricht (Ades).

Edwin Fischer isn't my top choice in the 2nd Concerto, despite the lovely slow mvt. I prefer Curzon with Kna/VPO on a Decca LP. And for the Haydn Variations, I also like the pokey Kna/VPO (Decca) and the Schuricht (Ades).

But make no mistake: if my house were on fire and I could keep only one Brahms set, it would be this Furtwangler. If I could grab two, the old Weingartner (deleted EMI) would come along for contrast. As Fielding once observed, "what is a jewel without its foil?"

Anything but dull.......2003-10-02

Many (perhaps most) people see Brahms as being particularly dull. This set, without any doubt, completely destroys this myth. Just listen to the 1945 recording of the finale to the First symphony, and you will hear one of the most inspiring, most desperately intense recordings of orchestral music you are ever likely to hear (on this score, it is rivalled only by Furtwangler's titanic 1942 recording of Beethoven's Ninth symphony). The main reason why I greatly admire Furtwangler's conducting is that he almost always conveyed a complete understanding of what the music really means; he was a master of the lost art of reading inbetween the lines. This is in great evidence here. The marvelous 1951 Hamburg recordings of the First symphony and the Haydn variations have such a warm, personal sound, and are both intense and noble. The Second symphony has been refered to as Brahms' Pastoral symphony. Furtwangler realises, just as with Beethoven's Pastoral symphony, that this music is not un-dramatic to the point of being comatose, but rather is a thrilling symphony to the wonders of nature, very beautiful, but with a spiritual side as well. The first three movements of the Third symphony are incredible. How could he get that sound out of an orchesta? I cannot describe it in words; you just have to listen to it. The finale of the Third symphony is, from an interpretive standpoint, mildly dissapointing for Furtwangler. (For just about anyone else, it would have been extraordinary.) I agree with John Ardoin (author of a fine book on Furtwangler's recordings; the liner notes are taken from it) here, in thinking that the transition from the introduction to the main Allegro is too abrupt and unexpected, and the very end of the movement is rather unremarkable for Furtwangler. These are very fine interpretive points, however, and the overall experience is still thoroughly enjoyable. The Fourth symphony is excellent here, through and through. Particularly notable is the finale, which, as a previous reviewer noted, is almost apocalyptic. The wartime Haydn variations is somewhat less contemplative and warm toned than its 1951 counterpart, but is more 'straightforward' in its interpretation, and is perhaps more 'festive', joyful, or whatever else you care to call it. To cap this set off is an incredible performance of the 2nd piano concerto, with Edwin Fischer. I don't always care for his playing (I generaly don't find enough subtlety in his touch, listen to Hofmann for that), but here he and Furtwangler work as one, which of course is a great thing. On top of all this, the sound quality, even with the concerto (from 1942), is quite good, and with the Third, is exceptionaly clear. If I were to have no Brahms but this, I would still be happy.

Furtwaengler Conducts Brahms: Violin Concerto (Menuhin) & Double Concerto (Boskovsky, Brabec)

Average customer rating:

Wonderful Violin Concerto, dismal Double Concerto
Imaginative, Joyous and so mellifluous
Joy epitomised
Satisfaction-both performance and sounds

Furtwaengler Conducts Brahms: Violin Concerto (Menuhin) & Double Concerto (Boskovsky, Brabec)

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Furtwängler Conducts Richard Strauss & Bedrich Smetana
Beethoven: The Complete Symphonies and Piano Concertos

ASIN: B00000DO5O
Release Date: 2001-01-09

Tracks:

Vln Con in D, Op.77: I. Allegro Non Troppo - Yehudi Menuin
Vln Con in D, Op.77: II. Adagio - Yehudi Menuin
Vln Con in D, Op.77: III. Allegro Giocoso, Ma Non Troppo Vivace - Poco Piu Presto - Yehudi Menuin
Double Con in a, Op.102: I. Allegro - Willi Boskovsky/Emanuel Brabec
Double Con in a, Op.102: II. Andante - Willi Boskovsky/Emanuel Brabec
Double Con in a, Op.102: III. Vivace Non Troppo - Willi Boskovsky/Emanuel Brabec

Customer Reviews:

Wonderful Violin Concerto, dismal Double Concerto.......2006-01-12

I give a rave to this classic Brahms Violin Concerto, which has now been remastered in excellent sound. This is the original EMI References recording, however, which is in much poorer sound. (See my review under the reissue.)

I just wanted to add a note about the 1952 Double Concerto. Furtwangler conducts the Vienna Phil. in a radio broadcast that has been captured in dismal, edgy sound, not even as good as the Lucerne Festival sonics for the Violin Concerto. The soloists are Willi Boskovsky and Emanuel Barbec, first desks in the orchestra. This is a work that benefits from a spirited, not-t00-rugged approach. Unfortunately, Furtwangler is slow, and the soloists dig into every note like a dentist going after old fillings. Two stars.

Imaginative, Joyous and so mellifluous.......2004-01-27

Yehudi Menuhin's Brahms Violin Concerto with Furtwangler is a singular performance - momentous. There is grandeur and life pulsating in Furtwangler's conducting. Brahms was a composer who thought in terms of the orchestra. So one cannot simply say that this is concerto merely for the violin. The orchestral passages that Brahms writes are sometimes celestial by the sheer passion and fierceness of music, and then there are moments of pleasant melancholy, sweet repose and heartbreaking nostalgia.

The breadth of emotions that Brahms brings needs a very imaginative playing. And Yehudi Menuhin is one of the most imaginative, original and musical violinists that the past century gave us. A person warm at heart, whose romantic ideal was to unite the world in bonds of love through music, he plays his music likewise - with warmth, joy and passion. The whole concerto quivers with life throughout and the phrasing is exquisite from the master. The remarkable entry of the violin in the first movement evokes an image of a joyous child running out of her house in thrill of seeing the world and the orchestra is, as though, chasing the child to hold it by hand. And then the sweet sojourn through the world...After its entry, the violin launches into a long solo journey encountering some breathtaking melodies enroute and in Yehudi's hands all melodies come out flowering.
The orchestral following of the violin is excellent and always at par with Yehudi's vivacious playing. The second movement displays sheer lyricism. I must admit here, that I've found Milstein's rendition of the third movement more refreshing than Yehudi's in this performance. Yet, one can remark that Milstein plays the third movement like a Hungarian dance, while Yehudi plays it as if it were a jaunty song. The only objection one can have to this CD is that the sound is MONO. Inspite of this, thanks to Furtwangler, the music sears and roars and one never feels the real disadvantage of the mono recording. Music defeats lack of technology in Furtwangler's hands!

The Double Concerto is excellent. Right from the wild, barbaric beginning, to the very end, one feels the tension maintained. It was planned to be played by Yehudi and Pablo Casals, but things didn't materialise. Hence, Furtwangler picked up Willi Boskovsky, the then concertmaster of the Vienna Philharmonic and Emanuel Brabec from the cello section. The pain and poingnancy, the suffering and the reconciliation are so aptly embodied in the playing of the violin and cello respectively that once really feels that the violin is expressing its pain to the cello who is trying to console him. A CD worth a million, I must say.

Addendum: Yehudi recorded the Brahms concerto with Rudolf Kempe and the sound there is stereo. The playing in that version is so very different from the playing here. That shows Sir Yehudi's philosophy of music that he never played the same piece exactly the same way he played it last time. Each time he brings a new gestalt to music. Much has been written by the pundits castigating Menuhin for his decline in technique in his middle ages and this has diverted many a keen music listeners from a master phrase-maker. It is rather sad that Menuhin's Brahms is not recommended by Penguin and Gramophone Classical CD guides. This CD convinces me that one must be beware of the critics and explore music through one's own instincts.

Joy epitomised.......2004-01-27

Yehudi's Brahms Violin Concerto with Wilhelm Furtwangler is joy and lyricism epitomised. The first movement is full of revelations and the soulful playing of the enchanting melodies (with which the Brhams concerto is replete), is fulfilling to the heart. After one has heard the concerto and is walking on the street, one will have such sweet melodies to choose from this concerto to hum along.
The Double Concerto is one of the finest ever commited on the Cd and is true depiction of what Brhams wanted to convey through this music - suffering and reconciliation. In the musical hands of Furtwangler, the music flows naturally.

Satisfaction-both performance and sounds.......2001-01-16

Wilhelm Furtwangler left six recordings of Brahms' three concertos. This CD contains two remarkable recordings. Violin Concerto (with Yehudi Menuhin and Orchester der Luzerner Festspiele(Luzern Festival Orchestra)) is very important document. Menuhin plays very confidently unlike later recordings(Especially first movement's cadenza by Kreisler and intro of last movement). And Furtwangler made huge scale in orchestral parts very naturally. Recording condition is very good than other documents left in 1949.(I reviewed Beethoven's violin concerto which recorded Kunsthaus in Luzern very kindly.). Furtwangler left other recording with Gioconda de Vito and Orchestra Sinfonica di Torino della RAI in 1952, but this recording quality is very awful. Double Concerto (with Willi Boskovsky, Emanuel Brabec and Wiener Philharmoniker) is very powerful and decisive than violin concerto(I was very surprised in first movement's violent introduction.). It was recorded live in 27 January 1952. Unlike other works played together, this concerto's performance is very passionate(They played Brahms' Haydn Variations(Testament) and first symphony(EMI), too. But these works' performance rate is not so good.). Needless to say, Furtwangler left other recording(with Wolfgang Schneiderhan, Enrico Mainardi and Orchester der Luzerner Festspiele in 1949) but its recording quality is bad than this recording(It has so fatal distortion in first movement.).

Furtwängler conducts Brahms: Variation on Theme by Haydn Op.56a / Symphony No.1

Average customer rating:

A Paladin Among Brahms 1's

Furtwängler conducts Brahms: Variation on Theme by Haydn Op.56a / Symphony No.1
North German Radio Symphony Orchestra - Hamburg , and Wilhelm Furtwängler
Manufacturer: Tahra
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B000003O7D
Release Date: 1995-10-27

Customer Reviews:

A Paladin Among Brahms 1's.......2000-07-31

This performance puts others to shame. Brahms' first symphony was a work close to Furtwangler's heart, as Tahra's lovingly detailed liner notes inform us, and the sheer brilliance and passion of this performance leave no doubt of that fondness. From the first ardent timpani beats to the thunderous conclusion, Furtwangler is a nonpareil interpreter. Just listen to the first five minutes if you have any doubt; the tempo control is masterful, and the orchestra plays with an inner fire too often missing from today's slick corporate ensembles. Best of all, the sound is wonderfully vivid; Tahra has done a tremendous job remastering a recording that was in fine mono sound to begin with. Fans of this symphony cannot afford to be without this work

Average customer rating:

Wilhelm Furtwangler Conducts Brahms

Manufacturer: Grammofono 2000
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B000003UJK
Release Date: 1997-11-18

Tracks:

Sym No.1 in c Op.68: I. Un Poco Sostenuto. Allegro - Wilhelm Furtwangler/VPO
Sym No.1 in c Op.68: II. Andante Sostenuto - Wilhelm Furtwangler/VPO
Sym No.1 in c Op.68: III. Un Poco Allegretto E Grazioso - Wilhelm Furtwangler/VPO
Sym No.1 in c Op.68: IV. Adagio. Allegro Non Troppo Ma Con Brio - Wilhelm Furtwangler/VPO
Sym No.2 in D Op.73: I. Allegro Non Troppo - Wilhelm Furtwangler/VPO

Tracks:

Sym No.2 in D Op.73: II. Adagio Non Troppo - Wilhelm Furtwangler/VPO
Sym No.2 in D Op.73: III. Allegretto Grazioso - Wilhelm Furtwangler/VPO
Sym No.2 in D Op.73: IV. Allegro Con Spirito - Wilhelm Furtwangler/VPO
Con No.2 in B flat Op.83: I. Allegro Ma Non Troppo - Edwin Fischer
Con No.2 in B flat Op.83: II. Allegro Appassionato - Edwin Fischer
Con No.2 in B flat Op.83: III. Andante - Edwin Fischer
Con No.2 in B flat Op.83: IV. Allegretto Grazioso - Edwin Fischer

Wilhelm Furtwängler Conducts Weber, Brahms, Wagner

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Wilhelm Furtwängler Conducts Weber, Brahms, Wagner

Manufacturer: Tahra
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music
ASIN: B00000G5SV
Release Date: 1954-01-01

Furtwängler Conducts Brahms, 1947 (2CDs)

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Furtwängler Conducts Brahms, 1947 (2CDs)

Manufacturer: Elaboration
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B000R4GAFI

Product Description

Elaboration 901 (1997 remastering of 1947 recordings) ADD - Lucerne Festival Orchestra - Elaboration reissues lack liner notes

Wilhelm Furtwängler Conducts Johannes Brahms

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Wilhelm Furtwängler Conducts Johannes Brahms

Manufacturer: Preiser Records
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Tracks:

Sym No.1 in c: Un Poco Sostenuto - Allegro
Sym No.1 in c: Andante Sostenuto
Sym No.1 in c: Un Poco Allegretto E Grazioso
Sym No.1 in c: Adagio - Piu Andante - Allegro Non Troppo
Var Uber Ein Thema Von Joseph Haydn, Op.56a
Ungarische Tanze No.2 in d & No.3 in F

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Wilhelm Furtwängler Conducts Weber, Brahms, Wagner

Manufacturer: Tahra
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music
ASIN: B00008G3LJ
Release Date: 1998-12-08

Average customer rating:

Wilhelm Furtwängler Conducts Brahms

Manufacturer: Grammofono 2000
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B000003UH3
Release Date: 1995-12-12

Tracks:

I. Allegro Non Troppo
II. Andante Moderato
III. Allegro Giocoso
IV Allegro Enegico E Passionato
Variazione N. 1 - Poco Piu Animato... Variazione No. 2 - Piu Vivace...

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Furtwängler Conducts Brahms

Manufacturer: Grammofono 2000
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B000007TGL
Release Date: 1998-06-23

Tracks:

Con No.2 in B flat Op.83: I. Allegro Non Troppo - Adrian Aeschbacher
Con No.2 in B flat Op.83: II. Allegro Appassionato - Adrian Aeschbacher
Con No.2 in B flat Op.83: III. Andante - Adrian Aeschbacher
Con No.2 in B flat Op.83: IV. Allegretto Grazioso - Adrian Aeschbacher
German Requiem Op.45: No.1 Selig Sind Die Da Leid Tragen - BPO/Wilhelm Furtwangler
German Requiem Op.45: No.2 Denn Alles Fleisch Ist Wie Gras - BPO/Wilhelm Furtwangler

Tracks:

German Requiem Op.45: No.3 Herr, Lehre Doch Mich - Kerstin Lindberg-Torlind/Bernhard Sonnerstedt
German Requiem Op.45: No.4 Wie Lieblich Sind Deine Wohnungen - Kerstin Lindberg-Torlind/Bernhard Sonnerstedt/Stockholm Phil Chor
German Requiem Op.45: No.5 Ihr Habt Nun Traurigkeit - Kerstin Lindberg-Torlind/Bernhard Sonnerstedt/Stockholm Phil Chor
German Requiem Op.45: No.6 Denn Wir Haben Hier Keine Bleibende Statt - Kerstin Lindberg-Torlind/Bernhard Sonnerstedt/Stockholm Phil Chor
German Requiem Op.45: No.7 Selig Sind Die Toten - Kerstin Lindberg-Torlind/Bernhard Sonnerstedt/Stockholm Phil Chor

Music Track:

Music Track

music track

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