Brahms: Symphony No.3/Rhapsody, Op.53

1. Symphony No. 3 in F major, Op. 90
Composed by Johannes Brahms
Performed by Boston Symphony Orchestra with Jard van Nes
Conducted by Bernard Haitink

2. Alto Rhapsody, for alto, male chorus & orchestra, Op. 53
Composed by Johannes Brahms
Performed by Boston Symphony Orchestra with Jard van Nes
Conducted by Bernard Haitink

Brahms: Symphony No.3/Rhapsody, Op.53,Jard van Nes,Johannes Brahms,Bernard Haitink,Boston Symphony Orchestra,Polygram Records,Choral,Classical,Classical Music,Romantic Symphony,Secular Aria and Chorus,Symphonic

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 All Works by Brahms | Brahms, Johannes | ( B ) | Featured Composers, A-Z | Classical | Styles | Music Romantic | Symphonies | Forms & Genres | Classical | Styles | Music Overtures | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Similar Items: Beethoven: The Complete Symphonies and Piano Concertos Great Recordings Of The Century - Schubert: Symphonies nos. 3, 5, & 6 / Beecham, Royal Philharmonic Orchestra Wagner: Orchestral Music Furtwangler Conducts Brahms - Complete Symphonies, etc / North German RSO, Berlin PO Leon Fleisher Plays Brahms ASIN: B0001O3Y8A Release Date: 2004-04-06

Tracks:

1. Thema: Chorale St. Antoni
2. Variation I (Poco Piu Animato)
3. Variation II (Piu Vivace)
4. Variation III (Con Moto)
5. Variation IV (Andante Con Moto)
6. Variation V (Vivace)
7. Variation VI (Vivace)
8. Variation VII ( Grazioso)
9. Variation VIII (Presto Non Troppo)
10. Finale (Andante)
11. I: Un Poco Sostenuto - Allegro
12. II: Andante Sostenuto
13. III: Un Poco Allegretto E Grazioso
14. IV: Adagio - Piu Andante - Allegro Non Troppo Ma Con Brio

Tracks:

1. I: Allegro Non Troppo
2. II: Adagio Non Troppo
3. III: Allegretto Grazioso (Quasi Andantino) - Presto Ma Non Assai
4. IV: Allegro Con Spirito
5. I: Allegro Con Brio - Un Poco Sostenuto
6. II: Andante
7. III: Poco Allegretto
8. IV: Allegro - Un Poco Sostenuto

Tracks:

1. Academic Festival Overture Op. 80
2. Tragic Overture Op. 81
3. Alto Rhapsody Op. 53
4. I: Allegro Non Troppo
5. II: Andante Moderato
6. III: Allegro Giocoso - Poco Meno Presto
7. 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 All Works by Brahms | Brahms, Johannes | ( B ) | Featured Composers, A-Z | Classical | Styles | Music Romantic | Symphonies | Forms & Genres | Classical | Styles | Music Overtures | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music Eschenbach, Christoph | ( E ) | Featured Performers, A-Z | Classical | Styles | Music Houston Symphony Orchestra | ( H ) | Featured Performers, A-Z | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Similar Items: The Nine Symphonies Bruckner: Symphony No. 6 Mahler: Symphony No. 6; Piano Quartet [Hybrid SACD] Saint-Saëns: Symphony No. 3; Poulenc: Organ Concerto; Barber: Toccata Festiva Beethoven: The Complete Symphonies and Piano Concertos ASIN: B00005TNML Release Date: 2002-05-07

Tracks:

1. Symphony No.1 In C Minor, Op.68: I. Un Poco Sostenuto - Allegro
2. Symphony No.1 In C Minor, Op.68: II. Andante Sostenuto
3. Symphony No.1 In C Minor, Op.68: III. Un Poco Allegretto E Grazioso
4. Symphony No.1 In C Minor, Op.68: IV. Adagio - Piu Andante - Allegro Non Troppo, Ma Con Brio
5. Academic Festival Overture, Op.80

Tracks:

1. Symphony No.2 In D Major, Op.73: I. Allegro Non Troppo
2. Symphony No.2 In D Major, Op.73: II. Adagio Non Troppo
3. Symphony No.2 In D Major, Op.73: III. Allegretto Grazioso (Quasi Andantino) - Presto Ma Non Troppo
4. Symphony No.2 In D Major, Op.73: IV. Allegro Con Spirito
5. Variations On A Theme By Haydn, Op.56a: Chorale (St. Antoni)
6. Variations On A Theme By Haydn, Op.56a: I. Poco Piu Animato
7. Variations On A Theme By Haydn, Op.56a: II. Piu Vivace
8. Variations On A Theme By Haydn, Op.56a: III. Con Moto
9. Variations On A Theme By Haydn, Op.56a: IV. Andante Con Moto
10. Variations On A Theme By Haydn, Op.56a: V. Vivace
11. Variations On A Theme By Haydn, Op.56a: VI. Vivace
12. Variations On A Theme By Haydn, Op.56a: VII. Grazioso
13. Variations On A Theme By Haydn, Op.56a: VIII. Presto Non Troppo
14. Variations On A Theme By Haydn, Op.56a: Finale

Tracks:

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

Tracks:

1. Symphony No.4 In E Minor, Op.98: I. Allegro Non Troppo
2. Symphony No.4 In E Minor, Op.98: II. Andante Moderato
3. Symphony No.4 In E Minor, Op.98: III. Allegro Giocoso
4. Symphony No.4 In E Minor, Op.98: IV. Allegro Energico E Passionato
5. Tragic Overture, Op.81

Customer Reviews:

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

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

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

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

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

Overall, an unbeatable value.

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

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

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

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

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

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

Average customer rating: Perfect Music From an Angelic Voice TRIBUTE TO A GREAT ARTIST

Marian Anderson Manufacturer: RCA ProductGroup: Music Binding: Audio CD All Works by J.S. Bach | Bach, Johann Sebastian | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Brahms | Brahms, Johannes | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Handel | Handel, George Frideric | ( H ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Schubert | Schubert, Franz | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Robert Schumann | Schumann, Robert | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Strauss | Strauss, Richard | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rachmaninov | Rachmaninov, Sergei | ( R ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Anderson, Marian | ( A ) | Featured Performers, A-Z | Classical | Styles | Music General | Sacred & Religious | Classical | Styles | Music General | Classical | Styles | Music General | Folk | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Oratorios | Opera & Vocal | Styles | Music Folk Songs | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music Passions | Vocal Non-Opera | Opera & Vocal | Styles | Music $7.99 and Under | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Bach, Johann Sebastian | ( B ) | Composers, A-Z | Classical Music Blowout | Stores | Music Brahms, Johannes | ( B ) | Composers, A-Z | Classical Music Blowout | Stores | Music Handel, George Frideric | ( H ) | Composers, A-Z | Classical Music Blowout | Stores | Music Rachmaninov, Sergei | ( R ) | Composers, A-Z | Classical Music Blowout | Stores | Music Schubert, Franz | ( S ) | Composers, A-Z | Classical Music Blowout | Stores | Music Schumann, Robert | ( S ) | Composers, A-Z | Classical Music Blowout | Stores | Music Strauss, Richard | ( S ) | Composers, A-Z | Classical Music Blowout | Stores | Music Verdi, Giuseppe | ( V ) | Composers, A-Z | Classical Music Blowout | Stores | Music Anderson, Marian | ( A ) | Performers, A-Z | Classical Music Blowout | Stores | Music Opera & Vocal | Classical Music Blowout | Stores | Music Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: Spirituals Marian Anderson Rare and Unpublished Recordings, 1936 - 1952 Prima Voce - Marian Anderson / Shaw He's Got the Whole World in His Hands Paul Robeson Live at Carnegie Hall ASIN: B000003ES6 Release Date: 1990-10-25

Tracks:

1. St. Matthew Passion: Erbarme dich
2. Messiah: He Shall Feed His Flock
3. Ave Maria
4. Liebesbotschaft
5. Wohin?
6. Death And The Maiden, D. 531
7. Stille Tranen (2 Gedichte, Op. 35: No. 10)
8. Der Nussbaum (Myrthen, Op. 25: No.3)
9. Alto Rhapsody, Op. 53 (After 'Harzreise im Winter')
10. Immer leiser wird mein Schlummer, Op. 105, No. 2
11. Morgen, Op. 27, No. 4
12. In The Silence Of The Secret Night, Op. 4, No. 3
13. Un Ballo In Maschera: Re dell'abisso affrettati
14. Go Down, Moses
15. Crucifixion
16. My Lord, What A Morning

Customer Reviews:

Perfect Music From an Angelic Voice.......2000-05-07

I can't add much to the superb review by lesismore26 (I give it five Stars! ) but I do have one disagreement. I LIKED the Ulrica aria. Yes, the voice is past its prime, but the artistry is very much there. In fact, the piece makes it clear that while her voice sounds perfect for her repertoire, it could have handled opera quite beautifully too. It's true that the pure, ethereal quality of her tone is DEFINITELY well suited to Baroque and Classical oratorio, and true that there simply aren't that many roles for contraltos. But it is also true that these reasons had NOTHING to do with why this particular contralto was not singing in opera houses. Another voice as dazzling as hers would have had composers creating roles tailored for them.

I wouldn't trade her spirituals and lieder, but I would have liked to hear her sing Erda, or Clytemnestra, maybe even Dalila (if you can imagine this Angelic persona in THAT role!)

TRIBUTE TO A GREAT ARTIST.......1999-12-22

Marian Anderson is remembered in too many instances for the wrong reasons: the first Afro-American artist to be engaged by the Metropolitan Opera in a leading role; the artist who sang the monumental concert at the Lincoln Memorial in 1939 after being denied the use of Constitution Hall by the Daughters of the American Revolution --- an action that sparked mass indignation and worldwide attention to the fact that the racial prejudice was alive and well in the United States; the artist who became a symbol of grace and dignity during the civil rights movement. While all of these things are true, they eclipse the simple fact that Marian Anderson's singularly individual and distinctive, and true contralto voice was one of the jewels of the musical century, and that her pursuasive powers as an interpreter of the lieder of Schubert, Schumann, Brahms, and Sibelius were the stuff of which legends are made. What is also overlooked is that the fabled voice was a long way past its prime at the time of that Metropolitan Opera debut in early 1955. The role was that of the witch Ulrica in Verdi's "Un Ballo in Maschera"--- not a leading role, but a very important and pivotal one nonetheless ---- but by that time the voice had become dry, unsteady, frequently out-of-tune, and very "old" sounding. Anderson was already around 58 years old, and while her "debut" was historic from a social standpoint ----- it opened the doors for such future legends a Leontyne Price, Martina Arroyo, Shirley Verrett, Grace Bumbry ------ it was certainly not a great vocal milestone. It was simply too late for any sort of a career at the Metropolitan Opera, and though it was the blatant racial prejudices of the times that prevented Marian Anderson from singing on the opera stage during the years of her vocal prime, it would appear, as evidenced by her work on records (even by those made in her greatest years -- the 1930's and 1940's), that her temperment and vocal demeanor was far more suited to the concert and recital platforms, and it was in this milieu that Marian Anderson lavishly demonstrated her true genius. To begin with, the excerpts on this recording from Verdi's "Un Ballo in Maschera" didn't need to be included for the reasons cited above: they were recorded immediately after the Met debut in 1955 and the voice is in the condition one would have expected. The rest of the contents were recorded during the artist's vocal prime much earlier. Virtually all of the Schubert selectionsare beautifully done, especially the "Ave Maria", which became Anderson's trademark. The "Liebesbotshaft" (from "Schwanengesang) and "Wohin" (from "Die Schone Mullerin") show the voice at its most fluid, as do all of the items by Schumann. The Brahms "Alto Rhapsody", another Anderson speciality, haunting in its desolation and feelings of isolation, helped in no small part by Anderson's deep purple contralto tones. Selections by Richard Strauss (a beautifully realized rendition of "Morgen") and Rachmaninoff round off the lieder portion of the recording. Bach's "Erbarme dich" (with orchestral accompanyment) is one of the most beautiful ever recorded, and Handel's "He Shall Feed His Flock" illustrates vividly just how how much this music needs a true contralto voice. In this age of pushed-up and pulled-down mezzo-sopranos, it is a revelation to hear what this type of voice accomplish in all of this music. If you want to become acquainted with one of the greatest vocal phenomenons of this century, this superb RCA Victor mid-priced recording is an excellent place to start.

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 Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: Schubert: 8 Symphonies Beethoven: Symphonies Nos. 1, 2, 4, 5 Beethoven: Symphonies Nos. 3 & 9; Overtures Symphonies 1-9 Beethoven: Symphony Nos. 6, 7 & 8/2 Overtures 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.

Average customer rating: Peculiar Amazon indexing

100 World's Best Loved Melodies Manufacturer: Madacy Records ProductGroup: Music Binding: Audio CD Polkas | Ballets & Dances | Classical | Styles | Music Polonaises | Ballets & Dances | Classical | Styles | Music Waltzes | Ballets & Dances | Classical | Styles | Music All Works by J.S. 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ASIN: B0009VNBR4 Release Date: 2005-07-05

Tracks:

1. Blue Danube
2. Waltz of Flowers
3. Waltz No. 1
4. Waltz of the Snowflakes
5. Naila Waltz
6. Spanish Dance
7. I Dream of Jeannie With the Light Brown Hair
8. Sugar Plum Fairy
9. Dance of the Comedians
10. Camptown Races
11. Carnival of the Animals Finale
12. Dance of the Clown [From "A Midsummer Night's" Dream]
13. Dance of the Hours
14. Dance of the Swans [From "Swan Lake"]
15. Faust Ballet
16. Tritsch Tratsch Polka
17. Hungarian Dance
18. Dance of the Priestesses
19. Overture from "William Tell"
20. Toreador Song [From "Carmen"]
21. Overture from "Carmen"
22. Samson & Delilah
23. Ride of the Valkyries
24. Baracole from "The Tales of Hoffmann"
25. Scheherazade
26. Water Music - The Hornpipe
27. Nocturne
28. Eine Kleine Nachtmusik
29. Hungarian Rhapsody
30. Prde L& Arlenne
31. Preer Gynt Suite No. 1 Anitra's Dance
32. Liebestraum
33. Adagio from "The New World Symphony"
34. Flight of the Bumblebee
35. Ave Maria
36. Air on a G String
37. Neapolitan Song
38. Violin Concerto
39. Serenade No. 4

Tracks:

1. When You Wish Upon a Star
2. Chances Are
3. Calcutta
4. Cherry Pink and Apple Blossom White
5. Gigi
6. They Call the Wind Maria
7. Memories Are Made of This
8. Catch a Falling Star
9. Smoke Gets in Your Eyes
10. So in Love
11. Begin the Beguine
12. Misty
13. Little Things Mean a Lot
14. Embraceable You
15. It Might as Well Be Spring
16. On the Street Where You Live
17. Moment to Remember
18. Anniversary Song
19. Golden Days
20. Theme from a Summer Place
21. Tonight
22. Lullaby of Broadway
23. Easter Parade
24. Tenderly
25. Young at Heart

Tracks:

1. Claire de Lune
2. Piano Concerto No. 1
3. Minute Waltz
4. Piano Concerto
5. Fantasy Impromptu
6. Piano Sonata No. 20 - Finale
7. Swan
8. Polonaise No. 6
9. Waltz in C Minor
10. 1812 Overture
11. Light Cavalry Overture
12. Nutcracker Overture
13. Marche Militaire
14. Tannhauser Overture
15. Radetsky March
16. Tragic Overture
17. Triumphal March
18. Tales of Vienna Woods
19. Emperor's Waltz
20. Waltz. Wine, Women and Song
21. Voice of Spring
22. Fledermaus Overture
23. Skater's Waltz
24. Roses from the South
25. Romance
26. Symphony No. 5
27. Mer
28. Moonlight Sonata
29. Capriccio Espagnol
30. Lohengrin
31. Symphonie Fantastique
32. Greensleeves
33. Souvenir
34. Lonely Heart
35. Die Meistersinger
36. Polovtsian Dance

Customer Reviews:

Peculiar Amazon indexing.......2007-06-08

A search for Deep Purple's "Smoke on [in] the water," brought up this title. I rate it only #1 because I could not locate the "Smoke on the Water" listing. Amazon seems to be having an indexing problem.

Average customer rating:

Backhaus: The Complete British Acoustic Recordings, 1908-25 Manufacturer: Pearl ProductGroup: Music Binding: Audio CD Polonaises | Ballets & Dances | Classical | Styles | Music Waltzes | Ballets & Dances | Classical | Styles | Music All Works by J.S. Bach | Bach, Johann Sebastian | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Brahms | Brahms, Johannes | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Chopin | Chopin, Frédéric | ( C ) | Featured Composers, A-Z | Classical | Styles | Music General | Dohnányi, Ernö von | ( D ) | Featured Composers, A-Z | Classical | Styles | Music Grieg, Edvard | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Handel | Handel, George Frideric | ( H ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Liszt | Liszt, Franz | ( L ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Domenico Scarlatti | Scarlatti, Domenico | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Schubert | Schubert, Franz | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Robert Schumann | Schumann, Robert | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Smetana | Smetana, Bedrich | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Weber | Weber, Carl Maria von | ( W ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rachmaninov | Rachmaninov, Sergei | ( R ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Etudes | Forms & Genres | Classical | Styles | Music Fantasies | Forms & Genres | Classical | Styles | Music Fugues | Forms & Genres | Classical | Styles | Music Preludes | Forms & Genres | Classical | Styles | Music Character Pieces | Short Forms | Forms & Genres | Classical | Styles | Music Nocturnes | Short Forms | Forms & Genres | Classical | Styles | Music Sonatinas | Sonatas | Forms & Genres | Classical | Styles | Music Suites | Forms & Genres | Classical | Styles | Music Scherzo | Forms & Genres | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music General | Keyboard | Instruments | Classical | Styles | Music Piano | Keyboard | Instruments | Classical | Styles | Music Backhaus, Wilhelm | ( B ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Lullabies & Berceuse | Vocal Non-Opera | Opera & Vocal | Styles | Music Caprices | Vocal Non-Opera | Opera & Vocal | Styles | Music ASIN: B0000542HD Release Date: 2001-02-27

Tracks:

1. Prelude In C Sharp Minor, Op. 3, No. 2
2. Liebestraum No. 3 In A Flat
3. 'Harmonious Blacksmith' Vars
4. Prelude No. 1 In C, Op. 28, No. 1
5. Etude No. 1 In C, Op. 10, No. 1
6. Norwegian Bridal Procession, Op. 19, No. 2
7. Finale: Perpetuum Mobile
8. Fantasy-Impromptu In C Sharp Minor, Op. 66
9. La Cam-panella
10. Etude No. 20 In D Flat, Op. 25, No. 8
11. Etude No. 21 In G Flat, Op. 25, No. 9
12. Etude No. 5 In G Flat, Op. 10, No. 5
13. Prelude
14. Fugue
15. Etude No. 18 In G Sharp Minor, Op. 25, No. 6
16. Etude No. 13 In A Flat, Op. 25, No. 1
17. Etude In E Flat Minor, Op. 10, No. 12
18. First Movement (Abridged)
19. Third Movenment (Abridged)
20. Novelette No. 7 In E, Op. 21, No. 7
21. Waltz No. 11 In G Flat, Op. 70, No. 1
22. Waltz No. 14 In E Minor, Op. Posth.
23. Waltz No. 5 In A Flat, Op. 42
24. Polka In F
25. Sonata In F, L. 188 (Kk. 525)
26. Sonata In G, L. 490 (Kk. 523)
27. Etude No. 7 In C, Op. 10, No. 7
28. Waltz No. 6 In D Flat, Op. 64, No. 1
29. Moment Musical No. 3 In F Minor, Op. 94, No. 3
30. Hark! Hark! The Lark!

Tracks:

1. Hungarian Rhapsody No. 2 (Abridged)
2. Polka In F
3. Naila Waltz
4. Polonaise No. 6 In A Flat, Op. 53 (Abridged)
5. Caprice Espagnol, Op. 37
6. Don Juan Seranade
7. Widmung
8. Liebestraum No. 3 In A Flat
9. Waltz No. 5 In A Flat, Op. 42
10. Variations On A Theme Of Paganini, Op. 35, Book I
11. Variations On A Theme Of Paganini, Op. 35, Book II
12. Berceuse In D Flat, Op. 57
13. Moment Musical No. 3 In F Minor, Op. 94, No. 3
14. Traumeswirren, Op. 12, No. 7
15. Scherzo
16. Triana, No. 6
17. Don Juan Serenade

Amazon.com

Backhaus was among the giants of 20th-century keyboard artists, renowned for his solid--some would say stolid--Beethoven and Brahms interpretations. The younger Backhaus was a more overtly virtuosic pianist with a wide repertory. This invaluable Pearl set covers his British recordings, starting in 1908 when he was only 24, and it includes composers and works he abandoned in later years when he pared his programs down to essential masterworks. So we get his only recordings of Rachmaninoff, whom he admired as the greatest among living piano composers, along with Bach, Scarlatti, and others. Backhaus's dazzling virtuosity can be heard in his abridged Brahms Paganini Variations, the Liszt, La Campanella, with its marvelously even runs, and the Weber, Perpetuum Mobile, with precise articulation at fast speeds, among many other examples. Some of his early electrical recordings fill out disc two, sounding fresher than most of the acoustics. Seth Winner's transfers on both well-filled discs are uniformly fine. Collectors of historical recordings will want these rarities. --Dan Davis

Average customer rating: Wonderful, celebratory collection

50 Years of Vox Manufacturer: Vox (Classical) ProductGroup: Music Binding: Audio CD Mazurkas | Ballets & Dances | Classical | Styles | Music Trios | Chamber Music | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music All Works by J.S. 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20th, & 21st Century | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Vocal & Song | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Trumpet | Brass | Instruments | Classical | Styles | Music General | Keyboard | Instruments | Classical | Styles | Music Piano | Keyboard | Instruments | Classical | Styles | Music Clarinet | Reeds & Winds | Instruments | Classical | Styles | Music Guitar | Strings | Instruments | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music General | Symphonies | Classical | Styles | Music Modern & 20th Century | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music | Cantatas | Romances Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music Marches | Miscellaneous | Styles | Music Classical | Box Sets | Stores | Music ASIN: B000001K6U Release Date: 1995-10-24

Tracks:

1. Symphony No. 4 In C Minor, D.417: 'Tragic'
2. Caprice No. 20 In D Major for Violin And Piano, Op.1
3. Donizetti's Opera: 'Lucia di Lammermoor'
4. Lyric Pieces, Op. 54: Nocturne
5. Symphony No. 29 In A Major, K.201: Allegro moderato
6. Piano Concerto No. 19 In F Major, K.459: Allegro
7. Fireflies
8. Hornpipe
9. Violin Concerto in D Major: Capriccio
10. Diabelli Variations Nos. 6,7,9,10
11. Nocturne In A-flat Major, Op.32 No.2
12. Piano Sonata No. 12 In F Major, K.332: Adagio
13. Clarinet Sonata No. 2 In E Flat Major Op.120: Allegro appassionato
14. Hungarian Rhapsody No. 6
15. Mephisto Waltz

Tracks:

1. La Cenerentola
2. Royal Fireworks: Overture
3. 2-Piano Concerto In E Flat Major, K.365: Allegro
4. Mass In B Minor, BWV 232: Dona Nobis Pacem
5. Night on Bald Mountain
6. Swedish Rhapsody No. 1, Op.19: 'Midsommarvaka'
7. Norwegian Dance Op.35, No. 1
8. Holiday Symphony: Fourth Of July
9. Sinfonia India

Tracks:

1. Two Studies for Doktor Faust: Cortege
2. Etude No. 7 In E Minor
3. Flute Suite No. 2 In B Minor
4. Piano Sonata No. 21 In C Major, Op.53: 'Waldstein'
5. Variations serieuses, Op.54
6. Trio No. 1 In B Major, Op.8: Allegro
7. Sonata For Trumpet And Piano
8. Angels
9. Violin Concerto No.2, Op.22
10. Mazurka No. 7, Op.3
11. Piece en forme de Habanera
12. Estampes (Jardins sous la pluie)
13. Organ Toccata in F Major
14. Water Music: Suite In D
15. The Thunderer March

Customer Reviews:

Wonderful, celebratory collection.......2003-09-27

Amazon currently sells this as a sealed cutout for an incredible $4.97 in the used CD section, under this code:
Label: Scde
ASIN: B00005MJTD

As many of the old Vox single CDs & boxes disappear or are reshuffled into deceptively "premium" packaging, this wonderful, celebratory collection remembers the glory years with a wide-ranging selection of great music, from the post-war mono recordings that, among other achievements, resuscitated Otto Klemperer's career & sent him on to settle some old scores, to pristine sessions from the Eighties engineered by the team of Marc Aubert & Joanna Nickrenz. Along the way there are some delightful surprises; pianists Novaes, Philipp, Haebler; Alfgren's lovely "Swedish Rhapsody" superbly played by the Baltimore Symphony as something more than a light classic; the under-rated Donald Johannos & Dallas Orchestra challenging Lenny Bernstein in 1967, the height of the Charles Ives revival, with a remarkable "Fourth of July;" Ravel's "Habanera" performed by violinist Elmar Oliveira. Included is a colorful 40 page booklet, written by frequent Vox liner note contributor, Richard Freed, outlining the Vox history with special attention to its visionary founder, George H. de Mendelssohn-Bartholdy (a collateral descendent of Felix & Fanny). My set also came with a "complete listing" insert of Vox Boxes, so many of which have been discontinued since 1995. One could only wish for a fourth CD devoted to the avant garde music Vox issued on the Turnabout & Candide labels, proudly mentioned in the booklet, but alas, tapes apparently buried in a secret vault somewhere.

Bob Rixon

Average customer rating:

100 Golden Classics Manufacturer: Madacy Records ProductGroup: Music Binding: Audio CD Ballets | Ballets & Dances | Classical | Styles | Music Polkas | Ballets & Dances | Classical | Styles | Music Polonaises | Ballets & Dances | Classical | Styles | Music Waltzes | Ballets & Dances | Classical | Styles | Music All Works by J.S. 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Non-Opera | Opera & Vocal | Styles | Music ASIN: B000026EEJ Release Date: 2000-06-20

Average customer rating: A Master's Brahms

Brahms: 4 Symphonien; Haydn-Variationen; Alt-Rhapsodie Manufacturer: Capriccio ProductGroup: Music Binding: Audio CD All Works by Brahms | Brahms, Johannes | ( B ) | Featured Composers, A-Z | Classical | Styles | Music Romantic | Symphonies | Forms & Genres | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Classical | Box Sets | Stores | Music ASIN: B000001WSZ Release Date: 1995-04-16

Customer Reviews:

A Master's Brahms.......2005-08-15

I have been a fan of Kurt Sanderling's magnificent analog Dresden Brahms cycle for 30 years and wasn't too keen to investigate this Berlin cycle, recorded digitally in 1992. And it didn't help that the usual Brit and American critics almost unanimously panned it as being slower and much inferior to the Dresden performances (still available on RCA/BMG.) But the critics are wrong: Sanderling's Berlin Brahms remake offers some of the most insightful Brahms conducting I've ever heard. Yes, Sanderling's tempos tend to be slower than in Dresden, but that's neither here nor there. What is important is that Sanderling's tempos invariably work in relation to each other so that musical texture and harmonic relationships are wonderfully articulated and defined. This is some of the richest sounding Brahms you'll ever hear, but it's also amazingly transparent. Some of that achievement is due to the gorgeous sound quality achieved by Capriccio's engineers, but most of the credit is Sanderling's, the result of very careful balancing of orchestral choirs. Brahms once said something to the effect that melody per se didn't fire his composer's imagination, but a good bass line was absolutely crucial. Sanderling understands the structurally foundational importance of the Brahms bass, that quite literally everything in a Brahms composition develops out of it. As a result, with Sanderling Brahms's symphonic arguments develop inexorably and with a marvelous cumulative effect. Not flashy, not hysterical-sounding, but tremendously exciting nevertheless. In retrospect, we can now appreciate that Kurt Sanderling (now in his nineties and retired) was the last of the great German conductors, an artist whose musical insights deepened over the length of his career. Nothing proves that point better than these Brahms performances with the (now defunct) Berlin Symphony Orchestra. As good as his earlier Dresden cycle is (and it is spectacularly fine), Sanderling's valedictory Berlin cycle is finer still. It is an amazing achievement. Although the set is spread out over four discs and is quite pricey, it is worth every penny!

Average customer rating: A great conductor, but not always shown off at his best Exceptional conductor Exceptional issue ! Exceptional finesse Brilliant "Artiste" Rescued From The Vaults

Igor Markevitch Manufacturer: Umvd Labels ProductGroup: Music Binding: Audio CD Minuets | Ballets & Dances | Classical | Styles | Music All Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Brahms | Brahms, Johannes | ( B ) | Featured Composers, A-Z | Classical | Styles | Music Cimarosa, Domenico | ( C ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gluck | Gluck, Christoph W. | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gounod | Gounod, Charles | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Franz Joseph Haydn | Haydn, Franz Joseph | ( H ) | Featured Composers, A-Z | Classical | Styles | Music General | Kodály, Zoltán | ( K ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Schubert | Schubert, Franz | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Tchaikovsky | Tchaikovsky, Peter Ilyich | ( T ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Debussy | Debussy, Claude | ( D ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Classical | Symphonies | Forms & Genres | Classical | Styles | Music Romantic | Symphonies | Forms & Genres | Classical | Styles | Music Sinfonia Concertante | Symphonies | Forms & Genres | Classical | Styles | Music Overtures | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Contemporary | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Flute | Reeds & Winds | Instruments | Classical | Styles | Music Berlin Philharmonic Orchestra | ( B ) | Featured Performers, A-Z | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music | Cantatas | Romances Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Oratorios | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music Similar Items: Ferenc Fricsay: A Life in Music The 1950s Haydn Symphonies Recordings The 1950s Concerto Recordings Complete Recordings on Deutsche Grammophon Paul Paray Conducts French Orchestral Music ASIN: B00009LW31 Release Date: 2003-08-12

Customer Reviews:

A great conductor, but not always shown off at his best.......2006-03-14

I am as great an admirer of Igor Markevitch as the reviewers below who rhapsodize over this bargain 9-CD set from DG. But in truth there are few truly great performances contained here, the best of Markevitch's large output being readily available on DG, Philips, EMI, and Testament. He had the misfortune to suffer hearing loss at the end of his career and also to be associated too often with inferoir ensembles like the Lamouruex orchestra of Paris, caught here in rather awful, wiry sonics that DG has not remastered. So despite the general elation, I think it's worth examining these 9 CDs one by one. (I am adding short comments to the list prepared by a reviewer below.)

CD 1: Mozart 34th and 38th Symphonies with the Berlin Philharmonic (BP) from 1954, and Mozart's 35th Symphony (1957) and Gluck's Sinfonia in G Major (1958) with the Orchestre Lamoureux, Paris (OLP). MONO except for the Gluck
This is one of the best discs in the colleciton, featuring Markevitch's alert, lean, often rapid Mozart, played with great refinement by the Berliners. The sound is very good for the time, despite the expected edginess in the violins.

CD 2: Haydn Sinfonia Concertante (OLP, 1957), Cimarosa's Concerto for Two Flutes with flutists Aurele Nicolet and Fritz Demmler (BP, 1954) and Schubert's 3rd Symphony (BP, 1954). MONO
Unless you are a fan of spiky French instrumentalists, the elegant Haydn performance sounds cramped and sharp-edged. The much more minor Cimarosa is far better played. The Schubert Third gets the best sound by far. I'm not taken with Markevitch's clipped phrasing and lack of affection throughout, but it's a vigorous, committed performance.

CD 3 and 4: All Beethoven, with the exception of an insightful 15-minute, 1957 interview with Markveitch. Here we get Leonore III Overture (OLP, 1958), Symphony #3 'Eroica' (Symphony of the Air, 1956-57), Symphony #6 'Pastorale' (OLP, 1957), and the Coriolan, Fidelio, Name Day and Consecration of the House Overtures (all OLP, 1958). STEREO except for Sym. #3
All the overtures from the Lamoureux forces are thin and spiky, far from the usual Beethoven style. Fans may appreciate Markevitch's Russian-Gallic temperament here; I'm not so sure. The Eroica from Berlin is much better sounding, although the mono recording is boxy and somewhat muffled--in all his Beethoven Markevitch prefers fast tempi and sharp angles. Surprisingly, the Pastrole is in a different vein--warm and relaxed, with tempos often as slow as Klemperer's. But the Lamoureux orchestra's technical abilities are quite underwhelming, and I can't find a compelling reason to listen to the performance except in patches.

CD 5: Brahms Symphony #1 with the Symphony of the Air (1956), Alto Rhapsody (with Irina Arkhipova and the Russian State Academy Choir), Tragic Overture with the USSR State Symphony Orchestra (both 1963). STEREO
For the first time since CD 1 we get a compelling sense of Markevitch's stature. The Brahms First with Toscanini's (remaned) orchestra is fully the equal of anyone's--huge, heroic, and wonderfully played. The Russian performance of the Alto Rhapsody features the great Arkhipova, and for once the Soviet sonics are good. The Tragic Overture, dating from after Markevitch's decline in hearing (1963), seems a bit undernourished and is in dim, distant sound, but it casts a spell nonetheless.

CD 6: Brahms 4th Symphony (OLP, 1958), Kodaly Psalmus Hungaricus with tenor Robert Ilosfalvy (RSA Choir & USSR SSO, 1963). STEREO
The Brahms Fourth is a very good performance in the lean, propulsive Toscanini style. I don't fancy the scrappy playing of the Lamoureux orchestra, especially the coarse brass blatting away in the finale--other conductors like Szell have done better in this vein--but in its punchy, rough-and-ready way Markevitch's Brahms Fourth commands attention. We are in a differetn world with the Kodaly, however, which gets a stunning performance, and the brutish playing by the Russian orchestra really works.

CD 7: Orchestral music of Wagner--Preludes to Acts I and III of Lohengrin, Tannhauser Overture (all OLP, 1958), and Venusberg Music from Tannhauser, Siegfired Idyll and Ride of the Valkyries (all BP, 1954). MONO
The Berlin Phil. doesn't sound like the world-class orchestra it would become once again under Karajan, but these excerpts are well played and recorded for their time. Markevitch was a modernist in Wagner, favoring fast tempos and eschewing expressive profundities. The music can take it, but one is always aware that something deeper is necessary. An odd-man-out disc but enjoyable.

CD 8: French fare with Gounod's 2nd Symphony and Bizet's Jeux d'enfants (both OLP, 1957), and Debussy's La Mer and Deux Danses (both OLP, 1959). MONO except for the Debussy
These Lamoureux readings are Gallic to the core, of course, and thoroughly delightful. Everything that sounds wrong in Beethoven works perfectly here. The mono sound, however, is edgy and shrill at loud volume. Things improve for the Debussy--La Mer, a Markevitch showpiece, gets an alert, quicksilver performance with many individual otuches in phrasing. It comes closest to being great of anything in the whole ocllection.

CD 9: Tchaikovsky 6th Symphony (BP, 1953) and Francesca da Rimini (OLP, 1959). MONO and STEREO respectively.
The colleciton ends on a high note, since Markevitch was arguably the greatest Tchaikovsky conductor after Mravinsky. The mono sound for the Berliners is good for its era. This is a neurotic, anguished Pathetique of the kind we rarely hear today. Likewise the Francsca da Rimini, where the Lamoureux's shrill, thin woodwinds seem to add to the effect.

In sum, the half-dozen superior performances stand out fairly obviously, and all are worthwhile for any listener. Frankly, the rest belongs in the realm of specialty collecting, although naturally others may strongly disagree, especially anyone who likes the Lamoureux orchestra much better than I do.

Exceptional conductor.......2005-06-08

Markevitch was, once, part of Diaghilev's "Ballets Russe"'s ensemble, and understood Stravinsky, Tchaikovsky, and other Russian composers (and their intents) very-well, and very-dynamically. His Philips' recordings (1970) of Tchaikovsky symphonies (plus other works) are still, some of the best, integral cycles-of-interpretations to be had, and his expertise was not bounded-by Russian works - his (Berlioz) Damnation of Faust, among other interpretations - are some of the best that discipline can devise. A MARVELOUS conductor, as was the (also) Russian-born, Jascha Horenstein. ... Horenstein, Markevitch, & Sixten Ehrling were some of the BEST of the post-War (including some pre-War recordings) era, and very-much of ANY recordings of them are much worth-having ... including the present, DG set.

Exceptional issue !.......2004-09-09

Since I heard once on vynil the incredible apssionate and to me the greatest veriosn ever made of the First Symphony of Johannes Brahms ever made .
And believe me , I love this symphony and I have heard at least one hundred versions : with Furtwangler , Toscanini superb performance of the forties , Istvan Kertsez , Kubelik Chicago , Munch , and a long etc .
But the inner mood and the clear but cleverly established sequence of the right tone and the use of the concise tempo in every phrase make of that version unique and unrepeteable .
I know about the Mozart Symphonies with the Berlin Philarmonic that still in those ages sounded with the furtwanglerain mood . They are sublime .
But consider once more that only with this Brahms Symphony, all the rest of the set you may consider a special buy , a worthable and fundamental bonus. Igor Markevitch was a conductor unfairly neglected .
Watch this CD because it will let you astonished and will prove by itself all the virtues of that master conductor .

Exceptional finesse.......2003-11-14

Of all the nine, really adorable, boxed sets by DG it was this one that I hastened to grab since Markevitch's interpretations had always been to my liking.
To be more honest, it was his Lamoureux recordings that I was after. In these recordings, it is the wind sound that dominates, and especially the brass section. For this reason, his Damnation and his Mozart Coronation had always been my favourites.
The present box contains a splendid Brahms 4th with a Chaconne, at the end that really moved me with its intensity (Markevitch slows quite a lot in the middle section to allow his woodwinds express themselves and this pronounces much more the forceful brass-dominated outer sections).
By the way, this set gives quite an idea of Markevitch's popularity at the time (recordings in the US with Toscanini's NBC Orchestra - renamed Symphony of the Air, recordings in Moscow with Brahms and Kodaly plus the 2 great European orchestras: the Lamoureux and the Berliners - some years before Karajan's arrival).

Brilliant "Artiste" Rescued From The Vaults.......2003-08-13

Now that Deutsche Grammophon is part of Universal, we have seen some interesting things happen, and not all of them bad. What I'm referring to in this case is the new "Original Masters" Limited Edition Box Set series. Finally, the classical music world has taken a page out of the jazz reissue handbook -- put out a quality product featuring rare recordings but make its availability limited, and people will snatch it up.

Now in its second round of the "Original Masters" box sets, DG has chosen to follow-up on the success of the "Great Conductors of the Century" series. They have just released two glorious 9-disc collections of the performances of conductors Igor Markevitch and Ferenc Fricsay, the vast majority of which have been previously unavailable on CD.

This particular set, "Un Veritable Artiste," showcases some of the numerous recordings made by the great conductor Igor Markevitch for Deutsche Grammophon and Philips, many of which have been rare (and expensive) collector's items for years. As the track information is non-existent above, I will try to be of assistance.

The first disc contains Mozart's 34th and 38th Symphonies with the Berlin Philharmonic (BP) from 1954, and Mozart's 35th Symphony (1957) and Gluck's Sinfonia in G Major (1958) with the Orchestre Lamoureux, Paris (OLP).

Disc two features Haydn's Sinfonia Concertante (OLP, 1957), Cimarosa's Concerto for Two Flutes with flutists Aurele Nicolet and Fritz Demmler (BP, 1954) and Schubert's 3rd Symphony (BP, 1954).

Discs three and four are all Beethoven, with the exception of an insightful 15-minute, 1957 interview with Markveitch. Here we get Leonore III Overture (OLP, 1958), 3rd Symphony (Symphony of the Air, 1956-57), 6th Symphony (OLP, 1957), and the Coriolan, Fidelio, Name Day and Consecration of the House Overtures (all OLP, 1958).

Disc five is all Brahms -- the 1st Symphony with Symphony of the Air (1956), and the Alto Rhapsody (with the Russian State Academy Choir) and Tragic Overture with the USSR State Symphony Orchestra (both 1963).

Disc six continues with Brahms, his 4th Symphony (OLP, 1958), and ends with Kodaly's Psalmus Hungaricus with tenor Robert Ilosfalvy (RSA Choir & USSR SSO, 1963).

Disc seven focuses on orchestral music from the operas of Wagner. Here we have the Preludes to Acts I and III of Lohengrin and the Tannhauser Overture (all OLP, 1958), and Venusberg Music from Tannhauser, Siegfired-Idyll and The Ride of the Valkyries (all BP, 1954).

Disc eight features all French fare with Gounod's 2nd Symphony and Bizet's Jeux d'enfants (both OLP, 1957), and Debussy's La Mer and Deux Danses (both OLP, 1959).

The final disc, number nine, wraps things up with Tchaikovsky's 6th Symphony (BP, 1953) and Francesca da Rimini (OLP, 1959).

Despite the fact that many of these recordings are in mono (mostly the pre-1957 ones), the first rate performances more than compensate for any audio shortcomings. The stereo performances are the warm, glowing and brilliant accounts that vintage collectors have appreciated for years.

Well, I guess the consolidation of the music industry isn't so bad after all, as long as I can look forward to more reissues like Igor Markevitch: Un Veritable Artiste.

Music Review:

1. Brahms: Violin Concerto/Beethoven: Violin Sonata No.8
2. C. Ph. E. Bach: Concertos for Harpsichord & Strings
3. Cafe Music: Cafe Vienna Waltz
4. Chopin's Fantasy
5. Christmas in the Works of Masters
6. Debussy: La Mer/Ravel: Boléro/Pavane
7. Debussy/Ravel: String Quartets
8. Dinner Music [Box set]
9. Dinner Party
10. Dvorak: Slavonic Dances for 4-hand piano

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