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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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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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Marian Anderson Performing Songs by Brahms & Mahler & Strauss

Marian Anderson

Classical - Released August 6, 2021 | RCA Red Seal

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Vêpres, op.37

Latvijas Radio koris

Choral Music (Choirs) - Released October 29, 2012 | Ondine

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone: Recording of the Month
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Lieder (Beethoven, Brahms, Schubert, Schumann...)

Fritz Wunderlich

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

Booklet Distinctions Diapason d'or
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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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Aumann: Oratorium de Passione Domini nostri Jesu Christi

Ars Antiqua Austria

Classical - Released March 15, 2024 | Accent

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Shostakovich: Symphony No. 14, Op. 135

MusicAeterna

Classical - Released March 25, 2010 | Alpha Classics

Booklet
Shostakovich wrote his Fourteenth Symphony, one of his most relentlessly dark-hued works, in 1969 at a point when he felt he had essentially wasted his life and was "a dull and mediocre" composer. The symphony, scored for soprano, bass, strings, and percussion, is a devastating reflection of his bleak and hopeless state of mind. The texts he uses for its 11 movements dwell largely on either the dreaded finality of death or the misery of life, which is little better than death. Shostakovich seems indifferent to making the work symphonic in any conventional sense, and fully embraces the formal eccentricity that its grim texts dictate. Its effect is that of an orchestral song cycle, with some movements lasting as long as 10 minutes and others (the abrupt finale) as short as a minute. The performance is the second release on the Alpha label featuring Greek conductor Teodor Currentzis leading Musica Aeterna, the chamber orchestra of the Opera of Novosibirsk, Siberia, the first being an astonishing, revelatory 2008 performance of Purcell's Dido and Aeneas. This recording demonstrates that the earlier disc was no fluke, that these are performers with a distinctive point of view, and the passion and finesse to effectively put it across. The symphony here frequently sounds like chamber music and has an intimacy that makes its depictions of grief, depression, and bitter irony especially poignant and personal. The soloists, soprano Julia Korpacheva and Petr Migunov are fully expressive, but their performances are understated rather than grandly dramatic, as is appropriate, making the moments when they do cut loose -- Korpacheva in the sixth movement and Migunov in the eighth -- all the more effective. Their voices are full and pure but not especially large, and they make a good fit with Currentzis' understated and supple reading. This dark symphony is not the kind of piece that tends to inspire warm affection, but its emotional and musical honesty make it a work that can draw listeners back again and again, and this is a performance that bears close and repeated attention. Alpha's sound is clean, present, and atmospheric.© TiVo
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Thomas Quasthoff in Verbier

Thomas Quasthoff

Classical - Released October 28, 2022 | Verbier Festival Gold

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Deutsche Barockkantaten

Andreas Scholl

Classical - Released August 31, 1998 | harmonia mundi

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Haendel & Mozart: Le Messie

Hans Peter Graf

Chamber Music - Released January 1, 1993 | naïve classique

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Glanert: 4 Präludien und Ernste Gesänge & Weites Land - Brahms: Clarinet Sonata No. 1

Michael Nagy

Vocal Music (Secular and Sacred) - Released January 13, 2017 | Ondine

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik
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Johannes Brahms: O Tod, wie bitter bist du (Vier ernste Gesänge)

Christian Elsner

Classical - Released November 18, 2022 | Rondeau Production

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