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La Playlist Classique
Classical Music: 50 of the Best, Radio Musica Clasica, Wolfgang Amadeus Mozart, Tchaikovsky, Johann Strauss II, Johann Sebastian Bach, Johannes Brahms
Classical - Released October 19, 2019 | Armasi
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Brunch Classical Music
Wolfgang Amadeus Mozart, Ludwig Van Beethoven, Classical Music: 50 of the Best, Claude Debussy, Edvard Grieg, Johannes Brahms, Johann Sebastian Bach,
Classical - Released March 10, 2020 | Armasi
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Antonín Dvořák: Symphonie du nouveau monde
Philippe Fournier
Classical - Released October 7, 2000 | iMD-ORCHESTRE-CONFLUENCES
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Take 3
Patricia Kopatchinskaja
Classical - Released January 26, 2024 | Alpha Classics
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Take 3 is the third release in a deliberate series by violinist Patricia Kopatchinskaja, clarinetist Reto Bieri, and pianist Polina Leschenko (Take 2 appeared almost a decade before the 2024 release of this album). All have had innovative programs, and anticipation for this release helped propel it onto classical best-seller charts in early 2024. Listeners will not be disappointed. The booklet notes contain some rather murky reflections from the players about the repertory included, but the basic idea is that most of the music reflects influences from roots traditions, jazz above all. Only one of the composers, Paul Schoenfield, is American, and his Trio for violin, clarinet, and piano draws not on jazz but on Eastern European Hasidic music. The works by Europeans show various ways of tentatively embracing jazz. Interspersed among the selections are movements from Poulenc's rarely heard L'invitation au château, which works well enough inasmuch as the work was written as incidental music from a play. Poulenc evokes the waltz and other European dance forms, but his Clarinet Sonata, written for jazz clarinetist Benny Goodman, has a stronger jazz flavor. So, too, does Bartók's trio Contrasts, also written for Goodman. This is the most distinctive performance on the album, as the players give it a rhythmically free treatment that is certainly jazzy but that diverges somewhat from the notated music. The three players have a remarkable rapport throughout, whether playing klezmer (in Serban Nichifor's closing Klezmer Dance) or in the divergent idioms of the other composers. The album both breaks new ground and is a lot of fun, and it is very nicely recorded at a Radio RSF studio in Zurich.© James Manheim /TiVo
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Brahms: Symphonies Nos 1-4, Piano Quartet No. 1 (Orch. Schoenberg)
Luzerner Sinfonieorchester
Classical - Released April 7, 2023 | Warner Classics
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This is the debut recording with the Luzerner Sinfonieorchester by conductor Michael Sanderling, who recently ascended to the orchestra's podium as of 2023 when the album appeared. A set of Brahms symphonies, a crowded marketplace slot in the extreme, might seem a bold move in these circumstances, but nobody can accuse Sanderling of merely retreading others' steps. His Brahms is broad, slow, and detailed, seemingly opening the works into an expanded view. One attraction here, and one that could well bring buyers to the set on its own, is the rare Arnold Schoenberg orchestration of Brahms' Piano Quartet No. 1 in G minor, Op. 25, that concludes the album. Although all the melodic material in the work is Brahms', the work is quite characteristic of Schoenberg in its rich, brash orchestration. Schoenberg, in explaining why he made this version of a Brahms chamber work, said, "It is always very badly played, because the better the pianist, the louder he plays, and you hear nothing from the strings. I wanted once to hear everything, and this I achieved." That statement might serve as well as a general characterization of Sanderling's symphony treatments here. All of his tempos are well on the slow side. The Symphony No. 4 in E minor, Op. 98, clocks in at well over 46 minutes, perhaps six minutes slower than average for the work. The rest are similarly measured, with exposition repeats adding to the overall heft. Sanderling fills the spaces with orchestral detail. Sample the opening movement of the Symphony No. 1 in C minor, Op. 68, where the slow introduction is atomized into small gestures that do, in his reading, have their parts to play in the music that follows. However, the big tunes, in this symphony's finale and elsewhere, lose some of their impact; the long line is not quite long enough to sustain them. Sanderling is probably at his best in the Symphony No. 3 in F major, Op. 90, with its compact thematic blocks in which he finds unsuspected layers. This new Brahms, also benefiting from the spacious acoustic of the new Orchesterhaus Luzerner Sinfonieorchester, certainly commands attention.© James Manheim /TiVo
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Honegger: Symphonies Nos 1-5, Pacific 231, Mouvement symphonique No. 3
Serge Baudo, Czech Philharmonic
Classical - Released January 1, 1991 | Supraphon a.s.
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Le Ruban Dénoué - Valses
Frank Braley
Classical - Released December 1, 2023 | Sony Classical
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Diapason d'or
Composer Reynaldo Hahn is known mostly for his songs, and his music in the less common two-piano genre is all but forgotten. This release by pianists Frank Braley and Éric Le Sage may change that. The main attraction here, the waltz set Le Ruban Dénoué, contains marvelously evocative music; a "ruban dénoué" is an untied ribbon, and this work is indeed a gift for the listener who may not have heard it. The work consists of 12 waltzes, capped with a song rendered here by the ethereal Sandrine Piau; the waltzes have titles that seem to carry an unlikely degree of specificity ("Indolent Decrees of Chance," "The Lost Ring"), but listen and hear how the complexity of Hahn's textures brings them alive. Braley and Le Sage do not miss a detail. These pieces appeared in 1915 when Hahn was serving as a clerk at the front in World War I, and they feel like an uncannily detailed look back into a past that was instantly disappearing. The program is filled out with interesting two-piano works by Chabrier and Hahn; especially charming is Hahn's three-movement Pour bercer un convalescent ("Rocking a Convalescent"), limpid despite the use of two pianos. A delightful release that may leave listeners wondering where this music has been all their lives.© James Manheim /TiVo
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Lekeu: Complete Piano Works
Jacopo Salvatori
Classical - Released November 27, 2023 | Piano Classics
Booklet
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Brahms : Symphonies Nos. 1-4
Eugen Jochum
Classical - Released January 1, 1996 | Deutsche Grammophon (DG)
Distinctions
The Qobuz Ideal Discography
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Brahms: Violin Sonatas Nos. 2 & 3 / Schumann: 3 Romances / F-A-E Sonata
Alexander Melnikov
Duets - Released September 17, 2015 | harmonia mundi
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5 de Diapason -
Choc de Classica
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Brahms: Double Concerto / Beethoven: 2 Romances
Henryk Szeryng
Classical - Released January 31, 1971 | Decca Music Group Ltd.
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Brahms: Violin Concerto; Double Concerto
Vadim Repin
Classical - Released January 1, 2008 | Deutsche Grammophon (DG)
Following on the heels of his highly successful recording of the Beethoven Violin Concerto, Russian violinist Vadim Repin continues his survey of the core repertoire with this album featuring the Brahms Violin Concerto and Double Concerto. Accompanied by the Gewandhaus Orchestra under Riccardo Chailly, Repin' performance of Brahms is every bit as sensitive, vivacious, and well-thought-out as his Beethoven. Brahms despised hearing his music performed metronomically rigid, always preferring for tempo to be more of a fluid concept. Repin and Chailly are quite attuned to this preference, and the two produce music that is like a dynamic, flowing dialogue. This never comes across as excessive use of rubato or over-Romanticizing; Repin is very controlled in his use of pacing from the sensuous middle movement to the capricious finale. His tone is clear, powerful across the entire range of his instrument, and warm while still penetrating easily above the orchestra. Unlike the vast majority of recordings of this work that use the first-movement cadenza by Joseph Joachim, Repin chooses Heifetz's cadenza; while some may find this an overly showy, ostentatious interjection, it is still interesting to hear something other than what is expected. Repin is joined by cellist Truls Mørk for the Double Concerto, Brahms' final orchestra composition. The two soloists do a splendid job of blending tone, articulation, balance, and intonation throughout the dialogue-filled concerto. Deutsche Grammophon's digital sound is clean while still voluminous and present. The liner notes spend a bit too much time lauding the recording itself instead of describing the music at hand.© TiVo
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Brahms: String Quintets
Gérard Caussé
Classical - Released January 1, 1997 | Deutsche Grammophon (DG)
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Early Recordings
Martha Argerich
Classical - Released May 13, 2016 | Deutsche Grammophon (DG)
Booklet
Distinctions
5 de Diapason -
Gramophone Editor's Choice -
Choc de Classica
Most of these recordings were made in 1960, when the pianist Martha Argerich was just 18; there is a fearsomely proficient Prokofiev Piano Sonata No. 7 in B flat major, Op. 83, from seven years later, after Argerich had won the Chopin Piano Competition and was on her way to stardom. The recordings are taken from radio broadcasts that are quite good sonically by 1960 standards, and they give abundant evidence of why those in the know spotted the young Argentine and began to give her bigger opportunities. Sample the opening movement of the Beethoven Piano Sonata No. 7 in D minor, Op. 10, No. 3 (CD 1, track 4). Argerich imparts a kind of restless push to this slow introduction that fits it very well. In general she takes fast tempos, but exerts iron control over the music, and in the outer movements of the late Piano Sonata in D major, K. 576, of Mozart, this is very effective indeed. The second disc of the CD set is devoted to show pieces by Prokofiev and Ravel, and the duality of intellectual music done with flair and bravura and virtuoso works done with a probing attention to structure has sustained Argerich throughout her career. Highly recommended for Argerich fans, and really for anybody.© TiVo
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Brahms: 4 Symphonies; Haydn Variations
Wiener Philharmonic Orchestra
Classical - Released January 1, 2002 | Deutsche Grammophon (DG)
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Brahms: Symphony No. 3; Alto Rhapsody
Riccardo Muti
Classical - Released January 1, 1989 | Decca Music Group Ltd.
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Brahms: Double Concerto In A Minor, Op. 102; Tragic Overture, Op. 81
Anne-Sophie Mutter
Classical - Released January 1, 1983 | Deutsche Grammophon (DG)
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Brahms: The Symphonies
Royal Concertgebouw Orchestra
Classical - Released January 1, 1994 | Decca Music Group Ltd.
Distinctions
The Qobuz Ideal Discography
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Mozart : les 5 Concertos pour violon - Symphonie concertante...
Arthur Grumiaux
Classical - Released January 1, 1975 | Decca Music Group Ltd.
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Brahms: Symphonies Nos.2 & 3
Berliner Philharmoniker
Classical - Released January 1, 1964 | Deutsche Grammophon (DG)
Reissued in 2008 as volume four of Deutsche Grammophon's Karajan Master Recordings series, this pairing of Brahms' Second and Third symphonies from the Austrian conductor's early-'60s cycle of the four symphonies with the Berliner Philharmoniker is as beautiful a pair of performances of these often recorded works as has ever been released. The singing tone of the themes, the tensile strength of the lines, the brilliant sheen of the colors, the lush lucidity of the textures, the sculpted warmth of the sonorities, the subtle power of the rhythms, and the elegant inevitability of the structures: these qualities have never before or since been equaled, much less surpassed, in any other recorded performance. Even later Karajan accounts with either the Berliner or the Wiener Philharmonikers didn't surpass them for sheer beauty. Inevitably, the textures grew more lush than lucid, the sonorities turned from sculpted to smooth, and the structures seemed less aesthetically inevitable than egotistically unstoppable. But in these recordings from 1963 and 1964, Karajan and the Berlin musicians assuredly created performances that stand as among the finest of their kind. Digitally remastered, Deutsche Grammophon's stereo sound is still a model of translucence.© TiVo
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