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Brahms Analogue: Cello Sonatas 1&2, Four Serious Songs

Leonard Elschenbroich

Chamber Music - Released November 25, 2022 | PM Classics Ltd.

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The Brahms Analogue title of this release by cellist Leonard Elschenbroich and pianist Alexei Grynyuk does not refer to some abstract concept but is literal; the album was recorded onto analog tape at Abbey Road Studios and then digitally processed. It even bears the old ADD SPARS code. Audio buffs like to claim that old analog LPs had a warmer sound than their modern digital counterparts, and here, listeners can judge for themselves; even on modest sound equipment, the sound is indeed different from the pristine norm of contemporary product. Less publicized has been the fact that the interpretations of Elschenbroich and Grynyuk are distinctive, quite apart from the analog recording. Performances of Brahms, if competently executed, probably differ less than those of works by other composers, but these two players introduce an unusual amount of rhythmic freedom into the composer's two cello sonatas. On one hand, this demands an unusual degree of coordination between cellist and pianist, and Elschenbroich and Grynyuk, a significant developing partnership, show the fruits of long collaboration and lots of detail work on these particular pieces. On the other, listeners may feel that with small details prioritized in this way, the cello sonatas lose a degree of control over the long line. Again, listeners' reactions may reasonably differ. Most, however, will value the final transcriptions for cello and piano of the Vier ernste Gesänge, Op. 121, shorter works where rhythmic freedom is not a problem; these are memorable performances. This is assuredly not the usual Brahms, and listeners are invited to check them out for themselves.© James Manheim /TiVo
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Brahms: Vier Ernste Gesänge, Op. 121

Marie-Claude Chappuis

Classical - Released May 26, 2023 | Prospero Classical

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Brahms: Vier ernste Gesänge

Christoph Eschenbach

Art Songs, Mélodies & Lieder - Released May 13, 2016 | harmonia mundi

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Kathleen Ferrier Plays Brahms, Mahler & Gluck

Kathleen Ferrier

Mélodies - Released May 5, 2014 | Praga Digitals

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Brahms: 4 Serious Songs, Op. 121 & Other Lieder

André Previn

Classical - Released May 10, 2019 | Warner Classics

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Schubert: Schwanengesang D. 957 / Brahms: Vier ernste Gesänge, Op. 121

Thomas Quasthoff

Classical - Released January 1, 2001 | Deutsche Grammophon (DG)

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Sonatas, Op. 120, Four Serious Songs, Op. 121

Kasparas Uinskas

Chamber Music - Released March 25, 2022 | Avanticlassic

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Brahms: Vier ernste Gesänge; Lieder

Dietrich Fischer-Dieskau

Classical - Released January 1, 2000 | Deutsche Grammophon (DG)

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Encounter

Igor Levit

Classical - Released September 11, 2020 | Sony Classical

Hi-Res Booklet Distinctions Diapason d'or / Arte
The latest album ‘Encounter’ by the German-Russian pianist is a particularly astonishing one, blending the diverse works of great composers such as Bach, Brahms and Morton Feldman. While the 2020 health crisis, due to the covid19 virus, has caused great anxiety among the general population it has also ignited the imagination of artists and musicians alike. Locked down in his apartment like so many us, the pianist Igor Levitt broadcasted a daily, live performance on his social media, even going as far as playing a 20 hour piece, Vexations by Erik Satie. ‘Encounter’, the product of Levitt’s self-isolation during lockdown, brings together an intelligent and pleasing array of composers. From Bach arranged by Busoni at the Palais de Mari, or the latest work from Morton Feldman for solo piano, to Brahms arranged by Reger, these are intimate connections between composers, as much as they are moments of solidarity at a time or great loneliness and isolation. Levitt’s poignant introspection and devotion to humanity shines throughout his album. © François Hudry/Qobuz
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Schütz: Schwanengesang, Op. 13

La Capella Ducale

Classical - Released October 28, 2023 | CPO

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Brahms & Bruckner: Motets

Anton Bruckner

Classical - Released October 30, 2015 | Signum Records

Hi-Res Booklet Distinctions 5 de Diapason
Maybe the combination of Brahms and Bruckner with the British choir Tenebrae sounds a little strange: the choir has specialized in Renaissance music and generally in music built on that sound ideal. Maybe the combination of the abstract, devout, and technically demanding Bruckner with the friendly and humanist Brahms sounds a little strange, too. But it all works out very nicely. In the 19th century, when choral music was a bigger part of everyday musical life than it is now, this would have been a program any good municipal choir would have loved to present. And Tenebrae bulks up its style a bit. They hit Bruckner's punishing high notes with the requisite perfect chill, and you can sample one of the large motets at the beginning, such as Ecce sacerdos (track three), for the full range of this choir's remarkable technical control under director Nigel Short. In Brahms pieces like the familiar "How lovely are thy dwellings" from the German Requiem, Op. 45 (track 11), the choir might even be called unusually weighty. Signum hits the ball out of the park sonically with engineering work at London's Temple Church, and the end result is a satisfying and unusual choral disc. A substantial donation from each copy of this album sold goes to Macmillan Cancer Support.© TiVo
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Brahms: La belle Maguelone

Stéphane Degout

Classical - Released October 6, 2023 | B Records

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Schumann: Liederkreis & Dichterliebe etc

Ian Bostridge

Classical - Released December 24, 1997 | Warner Classics

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Schumann: Liederkreis Op. 24 & Kernerlieder, Op. 35

Leif Ove Andsnes

Classical - Released April 19, 2019 | harmonia mundi

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Justinus Kerner, a poet and a practicing physician fascinated with occultism, somnambulism and magnetism, inspired young Schumann who, at just seventeen, set to music the singular poet’s verses. He would eventually come back to it in 1840 with a strange cycle, “a masterpiece of dereliction” (according to Brigitte François-Sappey) he wrote as an exorcism for his mental illness: through a suite of twelve poems (Zwölf Gedichte Op. 35, better known as “Kerner Lieder”), Schumann projects his own destiny, questioning himself, trying to understand why sadness overwhelms his soul even though he’s in-love and newlywed.This pain produced a series of masterpieces that are still admired for their musical and philosophical reach. Liederkreis Op. 24 also dates back to 1840, a surprisingly prolific year for Schumann who composed like a mad man; his first cycle of lieder based on poems by Heinrich Heine about love and its inevitable consequences: expectations, hope, disillusionment and farewells.The result of many years of collaboration between Matthias Goerne and Leif Ove Andsnes, this album, recorded in Berlin in 2018, will undoubtedly be a landmark in Schumannian interpretation. The German baritone’s voice has grown deeper with age, giving a unique intensity rich with doubt and desolation, an impression reinforced by the strength and intensity of the Norwegian pianist’s performance. © François Hudry/Qobuz
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Lieder (Beethoven, Brahms, Schubert, Schumann...)

Fritz Wunderlich

Lieder (German) - Released September 14, 2018 | SWR Classic

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SCHUMANN, R.: Lieder - Opp. 25, 42, 51, 64, 98a (Auger, Olbertz)

Arleen Auger

Classical - Released January 1, 1979 | Eterna

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Brahms: Symphony No. 4

Orchestre Révolutionnaire et Romantique

Classical - Released September 23, 2010 | SDG

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Several conductors associated with period-style performances of Baroque and Classical music have turned their batons to Romantic works, trying out what is known of authentic 19th century practices on repertoire that has otherwise been burdened by 20th century interpretations. In this 2010 release by John Eliot Gardiner and the Orchestre Revolutionnaire et Romantique, attention is focused on the Symphony No. 4 in E minor by Johannes Brahms, notwithstanding the first nine tracks, which offer shorter works by Beethoven, Gabrieli, Schütz, Bach, and Brahms as a warm-up. These tracks serve as an excellent sampler of what Gardiner, the Monteverdi Choir, and the orchestra of original instruments usually record, with an emphasis on early music and particularly choral works. All the same, approach the performance of the symphony with the foreknowledge that Gardiner likes his tempos quite brisk, a string tone with minimal vibrato and a characteristic timbral sheen, and a lean and transparent ensemble sound -- all features that are apparent in the opening selections -- and then decide if this is too jarring a transformation for this work. Many who grew up with conventional readings of Brahms will miss the rich, burnished tone that was fostered for decades by many eminent conductors. Gardiner's version is really spare in textures and even busy-sounding, as if the musicians are in a hurry to zip through the work. As a result, many things are glossed over, especially Brahms' brilliant interplay of rhythms. There is precious little of the glowing sonorities that have become associated with Brahms' final symphony, and Gardiner's clipped accents and fast tempos seem almost too brusque for this famous autumnal work. Listeners who feel that a streamlined approach to the Brahms symphonies is long overdue will rejoice, but for others, Gardiner's choices will be controversial, perhaps even more than his daring innovations in performing Beethoven. © TiVo
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Brahms: Songs & Duets

Rachel Harnisch

Classical - Released October 2, 2020 | Pan Classics

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Johannes Brahms wrote well over 300 lieder, including his arrangements of German folk songs, partsongs and choral lieder. Considering how long he carried a song around in his head before writing and publishing the final version, this is an astonishing amount. This set presents a selection from Brahms’ huge lied repertoire, which not only gives an impression of his importance to music history up to the present day and what a perfect lied composer he was, but also reveals what a cheerful, young-at-heart and humorous person he must have been. The selection of songs and duets is arranged chronologically (1853-1896) and includes all phases of his life in which the lied played a central role, thus allowing the development of the German-language song in the time after Beethoven, Schubert and Schumann to be clearly traced. The pianist Jan Schultsz plays on a wonderful original J.B. Streicher fortepiano from 1871, a model on which Brahms also preferred to play. The singers are Rachel Harnisch, Marina Viotti and Yannick Debus - young singers who have already celebrated successes in concert and in major opera houses. © Pan Classics
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Marian Anderson Performing Songs by Brahms & Mahler & Strauss

Marian Anderson

Classical - Released August 6, 2021 | RCA Red Seal

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