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Brahms: The Symphonies

Johannes Brahms

Classical - Released April 21, 2017 | BSO Classics

Hi-Res Distinctions Gramophone Editor's Choice
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Brahms: Symphonies Nos 1-4, Piano Quartet No. 1 (Orch. Schoenberg)

Luzerner Sinfonieorchester

Classical - Released April 7, 2023 | Warner Classics

Hi-Res Booklet
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: 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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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 : 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

Hi-Res Booklet Distinctions Diapason d'or
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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: Symphony No. 3 & Serenade No. 2

Iván Fischer

Classical - Released June 11, 2021 | Channel Classics

Hi-Res Booklet
On June 11th 2021, Iván Fischer and the Budapest Festival Orchestra complete their Brahms Symphony Cycle on Channel Classics Records. This new album features Brahms: Symphony No. 3 and Serenade No. 2.A minor miracle! The recording commenced one day prior to Hungary closing its borders on September 1st, 2020. Engineer/Producer Jared Sacks had just arrived from The Netherlands. Despite the lockdown, the venue remained accessible, and the recording could be completed.---“A life’s story in ten bars – there is no more magnificent opening of a symphony than the first 34 seconds of Brahms’ Third. We hear a resolute harmony, a proud major chord followed by a twisted one on the same foundation – good and evil, heroic and mean – but it is a mere introduction to the real birth, a victorious emanation of energy, full of life and light. Each bar of this outburst takes us to a new experience: to happiness in F major, sadness in F minor, wandering into the distantly related D flat major, with a confusing dead end of the diminished 7th as if we would almost lose our way. But then a magic solution takes us on a lyrical journey reaching first to fulfillment and finally to a peaceful decline. This is how we should live.”- Iván Fischer---Brahms dedicated himself to music that was pure and abstract, which ‘portrayed’ nothing: no stories, no travel epics, no visual impressions. But nonetheless the Third does possess a personal undercurrent. The main thread of all four movements is the little motief F-A-F. With these three notes Brahms, the eternal bachelor, expressed his personal motto ‘Frei aber froh!’ - free but happy! It was a reaction to the musical signature F-A-E (‘Frei aber einsam’ - free but lonely) of his good friend the violinist Joseph Joachim. And despite all his aversion to the new rage of the symphonic poem, he delighted in the letter from Clara Schumann after she heard the symphony: ‘The opening movement depicts a delicious dawn ... the second movement an idyll, prayer in a small chapel in the woods, the flow of a brook, the rummaging of little beetles...’- From: Liner Notes by Clemens Romijn
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Brahms : Symphonies Nos. 1, 2 & 4 (Remastered)

George Szell

Classical - Released August 3, 2018 | Sony Classical

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Mendelssohn: Symphonie No. 2 "Lobgesang"

Symphonieorchester Des Bayerischen Rundfunks

Classical - Released March 10, 2014 | harmonia mundi

Hi-Res Booklet
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Brahms: Symphony No.1 In C Minor, Op.68

Boston Symphony Orchestra

Classical - Released May 27, 1979 | Deutsche Grammophon (DG)

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J. Brahms: Symphonies Nos. 1, 2, 3 & 4

Günter Wand

Classical - Released March 1, 1991 | RCA Red Seal

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Johannes Brahms: Piano Sonatas Nos. 1 & 2, Variations on a Hungarian Song & Klavierstücke

Sviatoslav Richter

Classical - Released June 1, 2013 | Praga Digitals

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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: The Symphonies

Christoph Eschenbach

Symphonic Music - Released September 24, 2021 | Berlin Classics

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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 : Symphonies 1-3 & Ouvertures

Eugen Jochum

Classical - Released August 29, 1996 | Warner Classics

Distinctions The Qobuz Ideal Discography