Symphony 4 E Minor Op 98 / Variations Op 56a

On this CD:

1. Symphony No. 4 in E minor, Op. 98
Composed by Johannes Brahms
Performed by Berlin Philharmonic Orchestra
Conducted by Wilhelm Furtwangler

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

Symphony 4 E Minor Op 98 / Variations Op 56a, Music, Brahms, Haydn, Furtwangler, Berlin Philharmonic, Classical, Classical Music, Orchestral & Symphonic

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

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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!!

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

Average customer rating:

Unsurpassably great
The best Brahms cycle I have heard so far
Furtwangler's best Brahms symphony recordings
Simply Mandatory For Brahms Lovers
Anything but dull

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

Manufacturer: Music & Arts Program
ProductGroup: Music
Binding: Audio CD

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Furtwangler Conducts Beethoven - Beethoven: symphonies no 3,4,5, & 9, Leonore
Great Recordings Of The Century - Beethoven: Symphony no 9 / Furtwangler, Schwarzkopf
Recordings 1942-1944, Vol. 1
EMI Great Recordings of Century - Brahms: Symphonies Nos. 1-4/Klemperer
Leon Fleisher Plays Brahms

ASIN: B00002062I
Release Date: 1999-11-16

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.

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

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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.

Average customer rating:

Vintage performances
One of the great bargains of DG's catalog
Bohm is a master in this Repetoire!!
Classic Brahms symphonies; formidable musicianship
Karl Bohm's Underrated Great Brahms Symphony Cycle

4 Symphonies / Variations
Johannes Brahms , Christa Ludwig , and Karl Bohm
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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Beethoven: The Complete Symphonies and Piano Concertos

ASIN: B000069KIZ
Release Date: 2002-10-08

Customer Reviews:

Vintage performances.......2006-09-25

Late analog recordings ARE supposed to be rich and warm! This is an excellent example!

One of the great bargains of DG's catalog.......2005-10-11

Karl Bohm's recording of Brahms Four Symphonies with the Vienna Philharmonic (recorded 1975-76) is one of the great bargains of the DG catalog. These are recorded in beautiful analog stereo sound in the Musikvereinsalle, one of the world's great concert halls, and Bohm was in great shape when these were put on tape.
The Vienna Philharmonic could of course play these works in their sleep, having recorded and performed them numerous times under other great conductors since Brahms (1833-1897) was living. Karl Bohm (1894-1981) had ample experience conducting Brahms, having recorded Symphonies 1 and 2 with the Vienna Philharmonic in 1940, and again with Symphonies 1 and 2 with the Berlin Philharmonic for DG, about 1960. There is a famous Bohm/Dresden State Orchestra recording of Brahms Symphony 4 from the late 1930s, reissued in the US on Dutton (but may be deleted now), and a Vox LP (mono) of Brahms 3 by Bohm/Vienna from about 1952.

Bohm's tempos here are slower than some, especially the Allegros, but his sense of forward motion and phrasing do not make them seem overly long or tedious, as is the case with Bernstein's 1983 recordings, with the same orchestra (DG).
Symphony 1 is big and bold, and Bohm is not afraid to slow down for big moments, although he does not jerk tempos around for effect, as do some conductors. Symphony 2 seems more autumnal than some recordings, but is perfect in flow and pacing. Symphonies 3 and 4 sound beautiful, and are again on the moderate to slow side. These are all beautiful recordings, and I have the highest admiration for them.

DG waited a long time to release Karl Bohm's Brahms Symphonies, as they already had cycles by Karajan/Berlin (1978 and 1987-88, 2 different cycles), Bernstein/Vienna (1983) and Abbado/Berlin (early 1990s) in their catalog. But they have done a great job with this presentation, and the dismates: Haydn Variations, Tragic Overture, and Alto Rhapsody with Christa Ludwig, are all first rate and very beautiful.

One apt description for this release would be "think of Bruno Walter with a better orchestra." Since Bohm was Walter's assistant at the Munich opera in the early 1920s - the beginning of his career - this is an appropriate description.

Bohm is a master in this Repetoire!!.......2004-04-01

There is truly something special about the relationship between this conductor and this orchestra...Bohm has always had a special way with this music. Never does he allow technique overshadow the beauty and opulence of this composer's writing. The opening of Symphony No. 4 is breatheless in it's beauty and this sets the mood for the entire interpretation. The Vienna Phil has always sounded great but here it is UNBELIEVEABLE!! Take note of the wonderful way with the shaping of phrases. Never pushy or hard-driven, we have here Brahm's done in a way that is entirely devoid of sentimentality or glossy technique.

No. 1 was done by Bohm years ealier in Berlin and this 70s performance is very fine but with a more mellow cast. The octaves in the opening strings are incredible. The Vienna horns shine magnificently through this interpretation of the C minor unlike any other.

As for symphony No. 2 and 3 they are given incredibly warm and stylish readings. Bohm does not plow over the music with a heavy hand(Szell is too detached)...this is Brahms that is Alive and Majestic. The recorded sound is Excellent!

Classic Brahms symphonies; formidable musicianship.......2003-07-31

Over the years, I have variously been told I would outgrow Brahms, or at least see his music move to the margins of my active repertoire of current musical interests. Fortunately, this has not yet happened to be the case. Instead, I have become ever more fascinated by the music, in which Schoenberg could discern the seeds of his New Music, and for which the dreaded conservative critic of Vienna, Hanslick, was wont to do battle against the tilting windmills of modernity in that turn- of-the-century epoch, especially those dragons of Wagnerism! To understand how such different cliques could have made such disparate, yet passionate use of Brahms as a key exhibit in their culture wars, one only has to listen .... again and again and again. Notoriously self-critical, Johannes made considerable efforts to present and publish only his best efforts in all genres of music. He only wrote four symphonies, but what distances other symphonists have traversed in nine, or more; it seems Brahms could compress into just four. The point of all this is that Brahms is a complicated composer who manages to draw upon much that is old, even traditional; while at the same time he strikes open into new horizons, new vistas, and above all new musics. Mozart is said to have bragged in his letters that his music had something for everyone: popular appeal for the common folk of his day, as well as formal schemes with complications and depths that probably only the highly trained musical cognoscenti would hear. Perhaps something equivalent must be also argued for Brahms' music. Thus, a conductor who succeeds in Brahms is by definition capable of discerning the old and the new, while preserving in passionate reserve the distinctiveness of Brahms's musical speech. The reissue of this set of performances of the Brahms symphonies merits our attention, because Karl Bohm was renowned in his own lifetime for being a prince of Mozartians. Given the evidence in this recorded set, he clearly was also among the most noble, and most notable, of Brahms conductors. Another part of the golden, glowing quality in these performances can only have come from the vaults of that other treasury, the Vienna Philharmonic. Brass, woodwinds, strings .... no one has quite the velvety depths of sound, as well as the mountainous granites of height and power, like the Vienna band. Karl Bohm was alleged to be quite demanding, to get what he wanted out of an orchestra; yet these recordings provide irrefutable proof that both he and the orchestra could be united in musical warmth and intimacy with the challenging demands of Brahms four symphonies. Even a somewhat stiff, foursquare, formally reserved quality that sometimes arises momentarily in these performance, every so slightly apparent in moments of transition in the keys, as the musical narrative shifts and transforms within the musical structure, would itself be quite true to what we know of Brahms as a human being. You find yourself musing that surely Karl Bohm had some of those same, authentically gruff and rough-hewn qualities himself, not too glowing nor too proud or polished to be capable of reminding us in his musical manner that Brahms played piano in the waterfront establishments of Hamburg. Now those musical patrons were neither typically noble-born, nor replete with necessities much beyond those of working-class survival. These recordings are classics, and have merited praise since their first release. Mention must also be made of alto Christa Ludwig's Alto Rhapsody, along with the burnished Viennese sounds of the male chorus that accompanies her. Sorrow, regret, and transcendently spiritualized resignation go hand in hand in her performance of this odd work. Brahms said himself that he believe it to be one of the best things he had ever prayed. Hearing all, surely we agree. Get this set now. With the marketing kids running the show, it can just as easily disappear from the catalogue as it so quickly arrived. Highly, highly recommended.

Karl Bohm's Underrated Great Brahms Symphony Cycle.......2003-03-29

The 1970's and the early 1980's were a time when several conductors recorded distinguished versions of Brahms' symphony cycle; most notable of these are those from Karajan, Haitink, Bernstein, and especially Sanderling. Although the finest remains Sanderling's exceptionally warm, brilliant recordings with the Dresden Staatskapelle, a close second has to be Karl Bohm's distinguished recordings with the Vienna Philharmonic. This splendid cycle includes the best version I have yet heard of Brahms' 1st Symphony (though a close second may be Kurt Masur's Teldec recording with the New York Philharmonic). Bohm's account of the 4th Symphony is among the darkest, most brooding I have heard, only eclipsed by Carlos Kleiber's definitive account with the Vienna Philharmonic that was digitally recorded only a few years later. I disagree with a previous reviewer who contends that Bohm's tempi tend to be slow, especially in the 2nd Symphony. After listening to several distinguished accounts from the likes of Bernstein, Harnoncourt and Masur, I find that Bohm's tempi are among the swiftest, only surpassed in speed by Masur. Unfortunately the 2nd Symphony is the only "failure" in this set; yet it is a failure only when you compare it against distinguished recordings made by Haitink, Harnoncourt, Masur, and especially Bernstein. The sound quality is exceptionally warm and rich for late analogue recordings. And of course, at this price, Bohm's Brahms Symphony cycle must certainly should be regarded a steal. Fans of Karl Bohm and the Vienna Philharmonic won't be disappointed with this impressive CD set.

Brahms: Symphony No. 4; Variations on a Theme by Haydn; Hungarian Dances

Average customer rating:

Outstanding Brahms Fourth in a Crowded Field!
Brahms From Amsterdam
More wonderful Brahms from an energized young Haitink

Brahms: Symphony No. 4; Variations on a Theme by Haydn; Hungarian Dances

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Brahms: Symphony No. 1; Tragic Overture; Academic Festival Overture

ASIN: B0002KVVBA
Release Date: 2004-08-10

Customer Reviews:

Outstanding Brahms Fourth in a Crowded Field!.......2007-03-17

Bernard Haitink's 1972 recording of Brahms' Fourth Symphony with the Concertgebouw Orchestra of Amsterdam stands out above the crowd for two key reasons: it is the most exciting rendition of this work that I have ever heard and it features virtuosic and polished orchestral playing from what is arguably the greatest orchestra in the world. Additionally, the sound quality is so good--clarity, ambience, orchestral detail, and lack of hiss--that you will be sure it is a top-notch digital recording even though it is not.

Haitink maintains a consistent tension throughout the work, never letting go. The first movement is given great forward momentum, the second is rhythmically taut (as opposed to lackluster, too often the case in this movement), the third bursts out with limitless energy, and the last sizzles with the drama and darkness befitting this work. Even the recent highly-praised account by Kent Nagano with the German SO of Berlin, as good as it is, is not in the same league as this Haitink recording. Besides, the Nagano CD costs about three times as much as this one! To top it off, Haitink delivers a beautiful account of the Haydn Variations that is lyrical and melodic. The orchestral playing is once again as good as it gets. Every section of the orchestra does its part magnificently. As a bonus, we are given the (only) three Hungarian Dances which Brahms himself orchestrated, played with great flair and with a real sense of the Bohemian and dance-like qualities of the music.

In sum, the performances on this CD are must-haves for Brahms fans. Probably even some who were not previously will be won over to this composer by virtue of these performances. With the most exciting Brahms Fourth I know of, outstanding fillers, and excellent sound quality, this CD would be a no-brainer at full price. At budget price, it is a steal.

Brahms From Amsterdam.......2006-03-19

One of the great Brahms cycles recorded during the last half century was the one done between 1970 and 1980 for Philips by the Concertgebouw Orchestra of Amsterdam and its great music director from 1964 to 1987, Bernard Haitink. Part of the proof of this can be seen on this remastered recording by the Universal Music Group, of which Philips is a part, of works from that cycle--the Fourth Symphony (recorded in June 1972); the Haydn Variations (recorded in June 1973); and the 1st, 3rd, and 10th Hungarian Dances (all three dances recorded in October 1980).

The world-class sound of the Concertgebouw Orchestra and the concert hall for which it is named shine in this recording. The Fourth Symphony, arguably one of Brahms' most dramatic pieces, is given a finely crafted performance; while the Haydn Variations, the work that placed Brahms on the orchestral map in 1868, are given a very steady rendering under Haitink's skillful direction. The Hungarian Dances, meanwhile, give the orchestra and the conductor the means to stretch out musically, and the finished result overall justifies both Haitink's and the Concertgebouw Orchestra's place in the classical music pantheon. None of the pieces is delivered in a heavy-handed fashion, but the drama of them definitely comes through all the same.

More wonderful Brahms from an energized young Haitink.......2006-02-23

Bernard Haitink can be a cautious, unimaginative condcutor, more so as he aged. But this Brahms Fourth from 1972 is sweeping, energetic, and full of lyricism. It stands out for excellent analog sound and the gorgeous sonority of the Concergenouw, also. There is such depth of tone to go with Haitnik's depth of feeling that I was carried away--as I have been by all of his early Brahms from the Seventies. If anything, this installment is actually the least extraordinary; the First, Second, and Third are especially magnificent. All told, this CD goes to the top of my list for a bargain Brahms Fourth and equals Carlos Kleiber as best of all in modern sound.

Average customer rating:

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

Brahms: Greatest Hits

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

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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

General | Symphonies | Classical | Styles | Music

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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.

Thank you, Maestro Mackerras!

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

Berlin Philharmonic Orchestra | ( B ) | Featured Performers, A-Z | Classical | Styles | Music
London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music
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.

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