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Brahms : Symphonie No. 1 & Variations sur un thème de Haydn (Diapason n°585)

Orchestre De La NDR De Hambourg

Symphonic Music - Released September 28, 2009 | Les Indispensables de Diapason

Booklet Distinctions Diapason d'or
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Johannes Brahms : The Symphonies

Gewandhausorchester Leipzig

Classical - Released October 2, 2003 | Decca Music Group Ltd.

Hi-Res Booklet Distinctions Gramophone Record of the Year - Gramophone: Recording of the Month - Choc de Classica
For most listeners' purposes, Riccardo Chailly's set of Johannes Brahms' four symphonies will seem standard-issue, with respectable and uncontroversial interpretations from an esteemed conductor, and rich and resonant performances by the Leipzig Gewandhaus Orchestra. Even in the choice of filler pieces, the set includes the three orchestral works that are usually packaged with the symphonies: the Tragic Overture, the Haydn Variations, and the Academic Festival Overture. However, this set offers welcome suprises and extra value for the purchase. Two orchestral arrangements of the Interludes, Opp. 116 and 117 for piano, are included, along with instrumental versions of a handful of Liebeslieder Waltzes and three of the orchestrated Hungarian Dances, which may be incentives to listeners who are looking for a little more. Also included are Brahms' original version of the Andante of the First Symphony and the alternate opening of the Fourth. But no one should invest in a set solely on the basis of these extras, however unusual they may be. Since first recording the cycle with the Royal Concertgebouw Orchestra, where he offered a rather heavy-handed modern take on the symphonies, Chailly has gone back to an older, more historically informed style of playing Brahms that was familiar to conductors of the early 20th century. The music is lighter and more transparent, so in some ways, his recordings are sometimes reminiscent of classic performances by Bruno Walter, George Szell, and other revered conductors. For traditionalists, this is a fine set to own, especially if a fresh digital recording is needed.© TiVo
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Brahms: The Symphonies

Johannes Brahms

Classical - Released April 21, 2017 | BSO Classics

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Brahms: Symphonies Nos. 1 & 3 & Academic Festival Overture

Otto Klemperer

Classical - Released June 2, 2023 | Warner Classics

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Brahms: The Symphonies

Robin Ticciati

Classical - Released March 23, 2018 | Linn Records

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Brahms: Complete Symphonies

Danish National Chamber Orchestra

Classical - Released August 26, 2022 | Naxos

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Brahms was 43 years old when, after a long period of maturation, his First Symphony was published. Felix Weingartner commented on it "taking hold like the claw of a lion" and its urgency marked a new phase in Brahms’ musical development. The Second Symphony is traditionally seen as the pastoral element in the cycle, while the Third, with its melodic beauty, has the courage to end quietly, an act of astonishing serenity. The compelling Passacaglia finale of the Fourth Symphony represents a fitting summation to one of the greatest symphonic cycles in the classical canon. © Naxos
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Brahms: Symphonies Nos. 1-4

Mariss Jansons

Classical - Released August 28, 2015 | BR-Klassik

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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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Brahms : The Four Symphonies

Herbert von Karajan

Symphonies - Released March 1, 1965 | Deutsche Grammophon (DG)

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Brahms: Symphonies

Staatskapelle Berlin

Classical - Released July 13, 2018 | Deutsche Grammophon (DG)

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The Staatskapelle Berlin is one of the European orchestras whose primary mission has been opera. The group has increasingly played symphonic repertory as well, but perhaps there's a dramatic orientation toward their work. Whatever the explanation, the orchestra was the perfect vehicle for Daniel Barenboim's latest thinking on the Brahms symphonies. His readings are broad and detailed, with the four symphonies differentiated almost as if they were operas. The Symphony No. 2 in D major, Op. 73, fully emerges here as the Pastoral Symphony answer to the explicitly Beethovenian Symphony No. 1 in C minor, Op. 68; sample especially the finale, a massive, intoxicated dithyramb. So it is all the way through; the passacaglia finale of the Symphony No. 4 in E minor, Op. 98, is no incipient neo-Baroqueness but a sweeping piece of pure impulse (which makes sense, given that Beethoven thought of Baroque forms this way). This is arch-Romantic Brahms, untouched by contemporary minimal thinking, and it seems to have decades of tradition behind it even if Barenboim's association with this orchestra is fairly recent. It is also a triumph of the conductor's art, worked out vividly in even the smallest details. These live performances, recorded at the Pierre Boulez Saal in Berlin, have immediacy and power, and it may be that what Barenboim has accomplished here was not really suited to studio work.© TiVo
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Brahms: Violin Concerto; Bartók: Violin Concerto No.1

Janine Jansen

Classical - Released November 6, 2015 | Decca Music Group Ltd.

Hi-Res Booklet Distinctions Diapason d'or - Gramophone Editor's Choice
And why not pair the Brahms Violin Concerto with Bartók? While the assembly is probably a first in the history of discography, it is true that Brahms and Bartók are of Hungarian descent - well, Brahms comes from Gypsy-Viennese origins rather than purely Hungarian traditions, but the heart is most certainly there - so too is that ever-present tendancy for ample melodic phrasing, so aptly captured by the violin where a piano simply falls short. Moreover, only thirty short years separate the two works: one for 1878, another in 1908... The Bartók Concerto comes with a story: the composer had offered it up as gift of a somewhat unrequited love to a young Stefi Geyer, who kept the score to her death, without ever playing it. Meanwhile, Bartók wrote another concerto thirty years later, at one time thought to be the one and only of its kind and genre. The "first" concerto was created in 1958 under the leadership of Paul Sacher. For this recording with Antonio Pappano, Dutch violinist Janine Jansen is completely at ease in the great concerto repertoire. Jansen plays a 1727 Stradivarius and brings great passion, emotion and skill to the world chamber music. The Brahms Concerto was recorded live in Rome in February 2015, the Bartók in London in August 2014. © SM / Qobuz
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Brahms: Complete Symphonies

Pittsburgh Symphony Orchestra

Classical - Released December 11, 2020 | PentaTone

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© Pentatone
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Brahms : The Symphonies (Live)

Sir Simon Rattle

Symphonic Music - Released August 12, 2009 | Warner Classics International

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Brahms: Symphonies 1-4 & Variations on a Theme by Haydn, Op. 56a

Bruno Walter

Classical - Released November 1, 2019 | Sony Classical

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Brahms: Symphonies Nos. 1, 2, 3 & 4, And Other Works

Iván Fischer

Classical - Released June 11, 2021 | Channel Classics

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Blue Hour (Weber, Brahms, Mendelssohn)

Andreas Ottensamer

Classical - Released March 8, 2019 | Deutsche Grammophon (DG)

Hi-Res Distinctions Choc de Classica - 5 Sterne Fono Forum Klassik
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Brahms: Symphony No. 1 & Tragic Overture

Gewandhausorchester Leipzig

Symphonies - Released September 25, 2020 | PentaTone

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Herbert Blomstedt, the honorary head of the Leipzig Gewandhaus Orchestra to which he was musical director for six years, is still active at the ripe old age of 93. Recorded in 2019, this new interpretation of Brahms’ Symphonie no.1 was conceived by Blomstedt, a devout Christian, spontaneously in wake of current times. “Rarely - he writes on the title page of the first chapter to this new integral - have we had more need for such light than today, when the entire world risks losing its soul”. In fact, the great American conductor of Swedish origin has moulded this interpretation into a humanist perspective that brings Brahms closer to Schubert. The work is gentle and calm with a lyricism akin to a lied. The Gewandhaus Orchestra plays like an immense chamber ensemble, giving this work an atypical tone in which its more rebellious moments seem to be smoothed out.   From this perspective, Brahms sounds somewhat Beethovian, particularly in how the Andante sostenuto is treated as it takes on the form of great love song calling for the unity of all men with an expressionism that is not far off the Adagio of Beethoven’s Ninth Symphony. This recording is a great moment of live music captured exquisitely by the excellent technical team at Pentatone. The tragic opening, one of the high points of Brahms’ symphonic oeuvre curiously takes on an allure of nobility and classicism as if to quell the tensions that Herbert Blomstedt dreads so much in this world. © François Hudry/Qobuz
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Brahms : 21 Hungarian Dances

Wiener Philharmonic Orchestra

Classical - Released June 13, 1982 | Deutsche Grammophon (DG)

Distinctions The Qobuz Ideal Discography
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Johannes Brahms: Piano Concerto No. 2 & Symphony No. 3

Sviatoslav Richter

Classical - Released November 1, 2013 | Praga Digitals

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Brahms: Piano Quintet, Piano Quartets Nos. 1-3

Quatuor Hermès

Classical - Released November 16, 2018 | La Dolce Volta

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