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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 & 3 & Academic Festival Overture

Otto Klemperer

Classical - Released June 2, 2023 | Warner Classics

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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 : Trios Nos. 1-3 for Piano, Violin & Cello

Geoffroy Couteau

Classical - Released November 29, 2019 | La Dolce Volta

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama - Choc de Classica
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Beethoven Brahms

Grigory Sokolov

Classical - Released May 8, 2020 | Deutsche Grammophon (DG)

Hi-Res Booklet
With the big yellow sticker above his piano, Grigory Sokolov’s last recital resembles Deutsche Grammophon’s album covers from the 1960s during the golden age of the LP and stereophony. It must be said that the Russian pianist today is similar to the iconic pianists that once made up the famous German label’s catalogue: Wilhelm Kempff, Sviatoslav Richter, Emil Gilels and Arturo Benedetti Michelangeli, or among those still playing today, Maurizio Pollini and Martha Argerich. Unpredictable, mystifying and often brilliant, Sokolov offers us here the echoes of three recitals given in 2019 in quite similar (and a little reverberant) acoustics, in Zaragoza, Wuppertal, and Rabbi in the province of Trento (Italian Tyrol). Three evenings, three countries and three great evenings where inspiration was in the air. An enemy of any commentary surrounding his programmes, shying away from the media and any opinions on his playing, the Russian pianist reserves his rare concerts for solo recitals in Europe, fearing travel and the stress of jet lag, which has not prevented him from memorizing an incredible amount of airline schedules off by heart. We should listen to this as one listens to a sage, from Beethoven’s Sonata No. 3 played with sovereign detachment and a clear and flowing conduct imbued with chaste poetry. Sokolov then excels in the precious miniatures, the Eminent Bagatelles Op. 119, in which Beethoven displays an admirable conciseness, concentrating both his energy and the strength of the language from the composer’s later period. Sokolov previously recorded Brahms in France in 1994 for the now-closed label Opus 111. Here he is at the top of his game with the compositions Klavierstücke Op. 118 and Op. 119, written by an older Brahms. Sokolov brings out the poignant and never-too-sad melancholy, sometimes breaking the impulses while knowing how to abandon himself and give these sublime pieces an improvised feel. The seven encores (Schubert, Rameau, Brahms, Schubert and Debussy) that close this splendid album are finely chiselled jewels generously offered to the three lucky, transfixed and attentive audiences. © François Hudry/Qobuz
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Beethoven: Symphony No. 3 - Brahms: Variations on a Theme by Haydn

Maxim Emelyanychev

Symphonic Music - Released October 19, 2018 | Aparté

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Brahms: Ballades - Schubert & Beethoven : Sonatas

Arturo Benedetti Michelangeli

Classical - Released January 1, 1999 | Deutsche Grammophon (DG)

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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, Schumann, Mendelssohn

Otto Klemperer

Classical - Released April 22, 2024 | Warner Classics

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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: Symphony No.1, Schicksalslied, Begrabnisgesang

John Eliot Gardiner

Symphonic Music - Released September 1, 2008 | SDG

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Many if not most listeners would say that period instruments and historically informed performance practice are fine in their place, but many if not most listeners would also say their place does not include repertoire from the latter years of the nineteenth century. For those listeners, this disc of John Eliot Gardiner leading the Orchestre Révolutionnaire et Romantique and the Monteverdi Choir in three works of Brahms -- the Begräbnisgesang, Schicksalslied, and C minor Symphony -- and one of Mendelssohn -- the Mitten wir im Leben sind -- will be totally unacceptable. For them, its odd colors, unusual balances, and quirky articulation will seem so utterly unlike the Brahms they know they will categorically reject these performances. That's their choice and their loss. For one thing, no one could doubt that Gardiner's musicians are wholly adept at their tasks. There's not a note wrong or a rhythm misplaced anywhere in these performances. For another, no one would argue that Gardiner and his musicians are not entirely dedicated to the music and to giving it the most powerful reading they can. The choral Begräbnisgesang, Schicksalslied, and Mitten wir im Leben sind are deeply moving and the C minor Symphony is profoundly affecting, especially in its heroic finale. True, the colors, articulation, and balances are strikingly different, with the colors more piquant, the articulation more detached, and the balances more diverse. But since most of these works and in particular the symphony are exceedingly well known and most of these changes are supported by scholarship and musicianship, it seems churlish to protest. Captured in rich, clean but atmospheric digital sound in live performances, this disc may be anathema to some, but it will be ambrosia to others. © TiVo
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Johannes Brahms : Symphony No. 3 - Haydn Variations

London Philharmonic Orchestra

Classical - Released January 25, 2007 | Naxos

Booklet
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Brahms: Concerto pour violon & Symphonie No. 3

Joseph Szigeti

Symphonic Music - Released May 5, 2014 | Les Indispensables de Diapason

Booklet Distinctions Diapason d'or
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Brahms: Piano Trios

Renaud Capuçon

Classical - Released March 15, 2004 | Warner Classics

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Brahms: String Quintets

Gérard Caussé

Classical - Released January 1, 1997 | Deutsche Grammophon (DG)

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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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Brahms: The String Quartets & String Quintet No. 2

Dudok Quartet Amsterdam

Quartets - Released October 22, 2021 | RUBICON

Hi-Res Booklet
The Dudok Quartet Amsterdam is forging a reputation as one of the most creative and versatile quartets of its generation. The Guardian commented on their "lithe, lively sound and alert sense of structure and detail". This recording, their first for Rubicon, of the Brahms Quartets and the second of the String Quintets for which they are joined by Finnish violist Lilli Maijala, will be eagerly awaited by their growing band of followers and chamber music fans generally. The quartet play with unwound gut strings and a set of bespoke classical bows. © Rubicon
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Johannes Brahms: Piano Trios Nos. 1 & 3, Sonatenzatz

Guarneri Trio Prague

Chamber Music - Released August 1, 2007 | Praga Digitals

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Brahms: 4 Symphonies; Haydn Variations

Wiener Philharmonic Orchestra

Classical - Released January 1, 2002 | Deutsche Grammophon (DG)