Classical music reviews

This year I went to a beautiful concert of this work of Brahms (with a nice piece of Elgar too, the Enigma Variations) in Rotterdam, by the Noord Nederlands Orkest with Stefan Vladar at piano.

I didn't know the music before that. What a surprise!
Especially Brahms 2nd pianoconcerto had a big impact on me, and my friend. Needless to say how lucky I felt that the following week I found this CD used at my local store! This version with Ashkenazy and the Vienna Philharmonic is truly amazing. I haven't listened to any other performances of this piece on CD but actually I don't feel the need to, since this one is so beautiful and extraordinary touching!

The concert and this performance on CD made me much more interested in classical music than I've been before.

I've copied it for some friends, who all love it. I don't feel guilty about that since the CD is out of catalogue. Like the other reviewers I do encourage Decca to reissue it, so much more people will be able to enjoy this lovely music.

Niels

I got this CD from the library and fell in love with it! When I went to buy it, I found it was out of print. I searched around for it used, and was so happy when I finally found it! This is a spectacular performance of a masterpiece! You won't be disappointed!

Let's hope this splendid CD is reissued soon by Decca/London as either an inexpensive CD or part of Decca's celebrated 2 CD releases of classic performances from its extensive recording vaults. This remains one of my favorite versions of Brahms' 2nd Piano Concerto, with magnificient playing from Ashkenazy and the Vienna Philharmonic under Bernard Haitink's baton. Ashkenazy's performance is substantially more exciting than Pollini's recent Deutsche Grammophon recording with Abbado conducting the Berlin Philharmonic; there's a splendid display of drama coupled with technical precision in Ashkenazy's performance. He also benefits from having our foremost interpreter of Brahms, Bernard Haitink, lead the Vienna Philharmonic in a vibrant performance which never overshadows Ashkenazy's playing. If you can find this CD, then you should definitely buy it along with Ashkenazy's equally mesmerizing account of Brahms' 1st Piano Concerto, with Haitink conducting the Concertgebouw Orchestra. Needless to say, the sound quality on both CDs is absolutely superb.

I agree that this is a wonderful CD; the 2 grand old men were in fine form when they recorded the Brahms. I also concur that the Richter-Haaser/Karajan performance of the Brahms is one of the best ever, but I'm almost certain it was in stereo. I don't have access to my LPs just now, but I can visualize the gold-embossed STEREO banner across the top of the jacket of the Angel red label release. Further, it was issued on one of EMI's cheap CD series within the last few years. Good listening!

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I was delighted to find both Brahms' 2nd and Mozart's 27th, two of my favorites, on the same CD by such a great pianist as Backhaus. I agree with the other reviewers that the Backhaus performance is even better technically than Gilels. When you are into the top 3% of anything, further "improvements" are typically difficult to come by and often just a matter of personal choice and opinion. In my opinion the best performance of Brahm's 2nd ever recorded was done back in the monaural days by Richter-Haaser and von Karajan, but these vinyl early high fidelity disks are now getting difficult to find in decent condition. Richter-Haaser's notes were more lilting in the light hearted places and fairly explosive in the more forceful passages than are those of either Backhaus or Gilels. And Richter-Haaser was in absolutely perfect synchrony with the orchestra, superbly directed by von Karajan.

Perhaps it is more a matter of the artist's interpretation of what the composer intended rather than simple mechanical adherence to the score. I feel that if you can't find a vinyl copy of the Richter-Haaser/Karajan recording, this is the best alternative, and hands down the best in stereo.

I'm afraid not even Gilels, not to mention Rubinstein, is quite on the same level with Backhaus.

It's not just the profound understanding of music as could be seen from his playing, even from the technical point of view, few pianists, present or past, have attained the sort of precision and clarity plus flexibility and lyricism as Backhaus did-- few except Busoni, Hofmann, Rachmaninoff, Moriz Rosenthal, Friedman, Simon Barere (the latter quite a category of his own) and a handful more. "Lyrical fantasy" is too much an over-simplication of his greatness.

I recommend readers to look for everything Backhaus played with all my heart. As to Gilels, he had handpicked a disciple more well-known in Russia than elsewhere: Sokolov. But I find another Russian pianist Merzhanov more interesting and more akin to him, the latter being the pupil of Feinberg though.

First at all. I've always thought that Gilels is a superb musician altough something cold to my taste.

His readings of Rachmaninov lack that humanism that should be in your mind your soul and your fingers when you play that romantic composer.

I make this previous statement because when I decided to acquire this record in those Lp's days , in 1980., I did it because the two only references that I knew still didn't fill my requests.
So it happened the incredible. What happened in that recording evening? I don't know but Gilels was enraptured and possesed by Dionsyan inspiration and The Amadeus quartet in their best.

The result was an amazing performing, from the first bar to the last one. Every note is played with a comittment like the same Casals would have been present in the recording studio. What kind of playing! Personally I think this is the definitive version of this quartet op. 25.

Don't think I've tried. I tried with Serkin-Bush, I've bought Edwin Fisher and I found in New York Badura Skoda Janigro Fournier and all those recordings were well made but without enthusiasm and even an atom of sparkling light.

Many people don't seem understand that Brahms' shyness and all those comentaries about his craft , would make him the first on the line in Beethoven's heritage in his time.

For me, (and this is a personal consideration), Brahms suffered a personal crisis knowing the huge responsability upon his shoulders when he presented his first Symphony. And the fact that seems prove this statement is that the first symphony is Op.48.

This long speech allows me conclude that in the chamber music's mood he seemed to feel less presure and he , in certain way he felt with a major liberty to compose. Remeber also that the chamber music was a more intimate music and not for all the great audiences.

In this sense, even to understand the musical language of Johannes Brahms, please go and listen first all his chamber music. You'll find such kind of hidden treasures such the clarinet's quintets and his two strings quintets, for example, and then go for meeting the symphonic Brahms.

And if you had some doubt about the quality and great musicality of this genere in Brahm's music, go and explore how much of his music was played by Casals in Prades. Doesn'it tell you anything?
Back to the quartet op. 25, you'll find a young Brahms, in the peak of his craft.

And consider this recordings among the best performers of this important sign Deutsche Grampohone.

The sound in CD is fabolous.

Don't miss that version for any reason. It's essential for you to have it in your personal collection.

And then you 'll forget the others versions you had before.

Believe me.

This recording of the Piano Quartet Opus 25 is one of the best. Full of vigor, passion, and power. The piano and strings are matched in their conception of a big tone even in the quiet passages. You can hear many different interpretations of this work, but I don't know of any that are actually better. This is one of my favorites, but I admit to being a Gilels fan and biased towards anything he ever did.

The Opus 10 Ballades are youthful works that fans of Brahms always love and young pianists love to learn. Well, this recording of these pieces will give them a great model to shoot for.

The recording sounds great and is definitely worth owning.

This performance of Johannes Brahms' (1833-1897) Klavierquartett Nr. 1 is among my favourite. With equal proficiency, Mr Emil Gilels (1916-1985) and the Amadeus Quartet express both the power and delicacy of this complex piece. From a technical perspective, I don't know what separates this from other recordings. When I listen to this, though, I am enthralled by the range of emotions. The notes by Mr Peter Coss� explain the importance of Deutsche Grammophon's signing of the Russian pianist during the Cold War. "In those days, in the late '60s and early '70s, a contract between an artist from the Soviet Union and a Western label was a sensational event in cultural diplomacy" Perhaps it is this cultural significance which inspired the performers. If you are interested in "one of the most significant pianists of the 20th century", in chambre music by one of the most significant composers of the 19th century, or in romantic music played extremely well, this CD will interest you.

Sometimes I am a little bit overwhelmed by the thickness of Brahms's music. Four movements is, for me, sometimes a little like eating four courses of an all-fruitcake meal. This is a great recording to get for those who like their musical meals a little less heavy. You can appreciate the brilliance of Brahms's complex layering without being weighted down by two violins, two cellos, and two violas all going in different directions at once. Each time you listen it is if there is something new to hear. I've never heard (and enjoyed hearing) so much detail before.

Although the artists on the recording are of the highest caliber on this recording and their technique is marvelous, occasional intonation inaccuracies are noticeable. I will go out on a limb and attribute this to the "cleaner" style that L'Archibudelli performs with (more "open" sound, less vibrato). Thus, the minor intonation corrections that are obscured as part of a more "traditional" performers' ubiquitous vibrato sound somewhat awkward. I find this distracting in Brahms.

These works offer the listener a great chance to get to know some of the earlier compositions of the great Johannes Brahms. Both sextets are played in a fine manner, and the delicate yet emotional performances of L'Archibudelli truly expose the splendor of the pieces, and of the musicians themselves. The group produces stunning accounts of the sextets, both in terms of sound, and freshness of interpretation. I highly recommend this recording to anyone who is looking for an introduction to these classic sextets of Brahms, yet desires an original and fluid interpretation.

I was surprised at first to see L'Archibudelli had recorded repertoire as late as the Brahms Sextets, but I fell in love with the recording as soon as I heard it. L'Archibudelli gives new life and energy to these chamber pieces: a lighter touch and livelier tempos than the usual rendition of later romantic works. The sextets are simply gorgeous compositions-- some of Brahms's best chamber works. Brahms is able to achieve an orchestral-sized spectrum of textures from the six instruments. I enjoy these especially since they offer a more intimate setting to experience the rich harmonic developments of the late romantics without being overwhelmed by gigantic masses of symphonic sound. The beautiful music married with the perfect sound of L'Archibudelli makes this disk a jewel.

My mother bought this CD for me because I play the French Horn. Listening to a legendary horn player like Dennis Brain is a wonderful experience. I rate this product so highly because of the fine quality of the songs on the CD. I highly recommend this product for any brass player.

This album and Brain's other recordings are a must for any French Horn player. His performance on this album is stunning.

This CD is - Thank God! - a re-release of a BBC Records Recording from 1974 Titled simply, "Dennis Brain (1921-1957)". When I was a horn student in Highschool back in the 80's, my parents brought it back for me from Europe. I have been looking for this recording on CD ever since then because I completely wore the record out. It is absolutely the best horn playing you will EVER hear. I used to play the record at least ten times a day - it inspired me to practice four hours a day and to despair that I would never play half as well as this genius. It brought tears to my eyes to hear it again and to remember what it was like to fall in love with Horn music and to spend so many happy hours rejoicing in the sound this man made with this wonderful instrument. The music is completely miraculous. What a tremendous loss he was, God rest his soul.

This might be my favorite holiday album. It's one of the first I pull out in November and doesn't get put away until February.

A perfect way to celebrate the Christmas spirit any time of year with some truly "old" favorites, performed with spirit and heart by the Baltimore Consort. Period selections imbued here with the consort's singular sound and creative improvisations include "Ding Dong Merrily on High", "The Old Year Now Away is Fled", "The Cherry Tree Carol", "Tomorrow Shall Be My Dancing Day", "Es ist ein Ros", "In Dulci Jubilo", and many more that may charm you for the first time. The Baltimore Consort is: Mary Anne Ballard, viols and rebec; Mark Cudek, cittern, guitar, viols and bandora; Custer LaRue, soprano soloist; Larry Lipkis, viol, recorder and gemshorn; Ronn McFarlane, lutes; and Chris Norman, wooden flutes and pennywhistle; with Webb Wiggins on organ.

'Twas the day after Thanksgiving, and all through the house, Christmas spirit was stirring and starting to rouse feelings of joy and expectation in the hearts of the people who were there. Beautiful music and Custer LaRue's singing filled the air.

Wonderful songs, written by people long dead, caused pictures to form and stories to dance through each listening head. Stories of a virgin bearing a child, stories of the little Savior's entrance into this world...meek and mild.

Each song is sung with such haunting beauty and care. The Consort's playing could not be more wonderfully fair. Each song is a masterpiece--"The Cherry Tree Carol," "In dulci jubilo," and "Quem pastores laudavere." Each song's focus is on the true meaning of Christmas--no appearance made by St. Nick--but with singing like this, in your head they are sure to stick.

More beautifully than snowflakes this music drifts down. In sheer loveliness, "Christmas Is My Name" deserves the crown. Oh but each tune is strong--like "Ding Dong Merrily" and "The Wren Song." Most come in at under three minutes each, none is overlong. Each is stunning...how can the listener go wrong? How they twinkle...they are most merry. One even makes mention of Cherries.

(...)

I highly recommend this disc.

Simply that! If you like Brahms where the woodwinds are playing at a pitch different from the strings, then *this is for you*. For myself, I found at least half of the piece to be excruciatingly unlistenable. For example, take the first few minutes of the slow movement. Much of the clarinet solo is audibly sharp.

I am a pianist and harpsichordist with considerable experience in tuning my own instruments, so I do know when things are in tune. I am rather flummoxed why no-one would notice the obvious problem with this performance. Perhaps most listeners are used to accepting orchestras which play out of tune.

Still, even if we neglect insignificant details like that, I can't agree that Walter's interpretation has much to recommend it. Unlike his fleet-footed Third, much of his Fourth is turgid and heavy, giving an impression of wading through treacle. It simply refuses to go anywhere. The tempos as such are not that slow, the problem is that Walter's rhythm and accentuation are vague and feeble.

So what to do? Well, Walter is good enough if you don't know this symphony at all and want a rough idea of it. But the following conductors either get better orchestral playing, or more convincing interpretation, or both:

Karl Bohm (VPO), John Barbirolli (Halle or VPO), Adrian Boult (LPO), Rudolf Kempe (Munich), Otto Klemperer (Philharmonia), Istvan Kertesz, Rafael Kubelik, Antal Dorati...

And they are all better recorded. The difference is that Walter happened to be with The Great Recording Company CBS, who evidently spent all the money on promotion when they should have spent it on hiring a half decent orchestra.

I think the Amazon reviewer is right to describe Walter's late Brahms as kind and genial, but in the Fourth of all symphonies you don't want to hear the music on Prozac. Walter's relaxed tempos, close to Klemperer and Furtwangler's, require intensity to come across, and he doesn't provide that. There's no sense of struggle, and after a while it becomes like a stroll thorugh well-remembered pastoral landscapes. I admire Walter's lyrical approach much of the time--here he needed to return to his old, brash self when he conducted Brahms with the NY Phil. in the early Fifties. Both orchestra nad recorded sound are thin as well.

Bruno Walter (1876-1962) was an expert, authoritative Brahms conductor. Brahms finished his first symphony the year Walter was born, and the premieres of Brahms' Symphonies 2,3 and 4 were during Walter's youth. Bruno Walter was 21 the year Brahms died, so their lives overlapped, although I don't have any evidence that the two met in person. (Walter knew Gustav Mahler personally and studied conducting with him, and I heard Walter say in a Columbia interview from the mid 1950s that he had never met Anton Bruckner in person.)

Walter's recording of Brahms Symphony 4 has been in the catalog ever since it's release in 1960, first on Columbia LP and later Odyssey LP, then on cassette and CD (1985) and the Bruno Walter Edition CD (1995): this issue. I am familiar with the first generation CD of these recordings (the 1985 version) and they are very fine. There is a little hiss, but the orchestra sounds so good: brilliant, with great highs. Walter's conducting is affectionate and loving: it's as if a kindly grandfather or uncle is telling a story as Brahms Symphony unfolds. Tempos are never too fast; I prefer a little quicker pace in III, but this is pleasant, and Walter brings out many details, especially in the woodwinds and violas that some conductors gloss over. Columbia's recording is very good, despite the early stereo date.

The Tragic Overture and Schicksalslied are both performed very well, and it shows that Walter really cared about this music. Again, tempos lean to the moderate side, and Walter uses a delicate rubato to serve Brahms' music.

These recordings may not knock your socks off on first listen: there are subtle things details to be heard, and Walter is totally in service of Brahms. I have heard Walter interviewed, both on CD (accompanying Sony's Bruno Walter Edition of Mahler Symphony 9) and DVD (VAI's "Bruno Walter: the Maestro; the Man") and his kindness and humanity were great. I know Walter hated all that was artificial and superfluous, and this recordings of Brahms 4 bears witness to his beliefs.

Sometimes I wish my eyes did decieve me when I read critical opinions. These three Brahms symphonies are the definition of solid, midle-European interpretations, good of their sort but nowhere near great. Yet Mr. Hurwitz hears the London Phil. playing on the eadge of their seats, and other reviewers use words like electrifying and take no prisoners. Huh? I cherish Brhams symphony cycles from Bruno Walter, Karajan, Bernstein, Furtwangler, Mravinsky, and Toscanini, all of whom elicit powerful readings where the orchestral playing really is electrifying. Jochum is intermittently vital.

Tempos tend to be average throughout; there's no sense of exaggeration, and Jochum is modest enough to let Brahms speak for himself. But listen to the opening Adagio seciton of the First's finale--there's no tension at all. One bar follows another, rather grandly voiced but with no attempt to evoke Brahms's mystery and sense of anticipation. The Second Sym., being a less dramatic work, doesn't suffer as much from Jochum's lack of rhythmic vitality--it flows well, and with a vigorous finale and lilting Scherzo, I'd rank it the best performance here.

The Third is the most energetic of Jochum's readings, but it's hard to keep together, and his sonorous, broad style doesn't catch fire. Certainly his Third is good, even if the first three movements proceed at basically the same pace--a little variety would have helped. Jochum's brisk finale is welcome, but he brings no sense of mystery or great joy.

Jochum does inspire loyalty, and as with Ormandy, I'm happy to let his fans enjoy what they enjoy. On objctive grounds, however, this is just middling good Brahms.

EMI originally issued this recording of Brahms 1st symphony with Jochum and the London Philharmonic in another CD that has been out of print for many years. It took me a long time to find this wonderful recording.

Even though it is not a digital recording, the sound is great and the detail is amazing.

I admit, it is the 4th movement of the 1st symphony of which I was in search. What I was looking for in other recordings, and did not find, is the delicate and unmatched orchestral balance that is shown here. For instance, this is the only recording I am aware of in which brass section does not drown out the bassoons, in fact the contra bassoon can be clearly distinguished from the rest. In many other recordings this is not the case, and the brass is almost always overbright and overshadowing.

The recording further features one of the best flute solos that I have ever heard.

Listening to this recording is simply a joy!

Great set. I just picked this up from Amazon, and I must say I am quite pleased. Jochum's direction is, quite simply, electrifying. I would say the 3rd is definitive, and the 1st and 2nd are up there with the other great interpretations. The 4th (on this disc's pair in the catalogue) is very good, but not quite to the same level as these 3. I have never heard anyone take the third that quickly and fearsomely, and the same can be said for the coda in the finales of Symphony No.1 and Symphony No.2. Just a brilliant trilogy, with the fourth paired with Ein Deutsches Requiem on another EMI two-fer. I would recommend this set to anyone who likes lushness, density and beautiful string sonorities first and foremost with their Brahms. Add to those qualities impeccable interpretation from an old master from a different time, and you've got a winner. I would highly recommend both two-fers to complete the cycle.

Over the years I have owned really enjoyable versions of the Brahms concerto with Oistrakh/Klemperer, Heifetz/Reiner, Mullova/Ozawa, Kremer/Bernstein, Hah/Mariner, Shaham/Abbado, and Perlman/Giulini. I adore Vengerov and recognize his immense stature, but for me this recording is spoiled by Barenboim, at best a mediocre conductor and no friend of Brahms (except as a pianist) with his willful ideas about pulling the melodic line around. I would buy any of the above performances before this one, despite the fact that Vengerov is so marvelous.

Vengerov plays this instrument as if it was an extension of his body. He owns all what you may demand: interpretative warmth, leonine fierceness, prodigious and enviable technique, sense of the tune, absolute accuracy and supreme elegance without frenetic raptures like others known players that we know.
The impressive maturity has nothing to do with his physical age, he has filled the huge empty left by violinist of the stature of Szigetti, Neveu, Thibaud, Stern, Szerying, Gitlis, Busch, Vegh, Milstein and Hubberman.

We expect from him to listen his Bach Partitas and Sonatas, both Prokoviev and Shostakovich violin Concertos in the near future with superb conductors as Barenboim, Welser Most, Temirkanov and the raising Venezuelan baton: Gustavo Dudamel, recently invited by the BBC.

This CD contains a remarkable Brahms performance. It is too far from Ginette Nevue reading in the late forties but nevertheless it keeps the majestic, supreme eloquence and gypsy ferocitiy demanded by Brahms in the last movement.
The Sonata No. 3 is superbly conceived and recorded.
Welcome to the Holy Pantheon, master.!

Maxim Vengerov is not only a firebrand violinist, he is also a poet and a musician of great intelligence. This collaboration with Daniel Barenboim and the Chicago Symphony Orchestra recorded during a live performance in 1997 has all the majesty and symphonic sweep that this sole concerto for violin by Brahms demands. Vengerov's phrasing is elegant, his tone is lustrous, and his dexterity with his instrument is superb. But with Brahms' music it takes more then a soloist 'accompanied' by an orchestra to approach the arching architectural perfection of this most symphonic of concertos. And it is here that Vengerov and Barenboim appear to be of singular vision. Of course it helps to have the luxury of the Chicago Symphony Orchestra as the fabric upon which the concerto is played. The effect is stunning.

As a major addition to this fine recording Vengerov and Barenboim join spirits in an exceptional performance of Brahms' Sonata in D minor. This kind of programming is creative and reassuring: the message here is not about individuals but about the composer. Highly recommended. Grady Harp, August 05

These analog performances predate Pollini's digital remakes by twenty years--the Brahms First under Bohm is from 1979, the Second under Abbado from 1976. I would go into detaialed comparison with the later verions, both under Abbado but with the Berlin Phil. instead of Vienna, except that there really isn't any comparison. DG's analog sound here is close on the piano, distant for the orchestra, but both sound veiled, and orchestral detail is murky. The remakes are in distinctly better sound and have the added impact of a live concert.

As to the performances themselves, Pollini improved on both works in the 19990's. Bohm offers a solid, unimaginative accompaniment in the First Concerto that seems to have affected Pollini--he shows hardly any of his usual dash and bravura. The slow movement is especially inert; the finale doesn't catch fire, either. By comparison, Abbado offers really splendid, vigorous accompaniment in the 1997 remake, and Pollini rises to the occasion there, giving one of the best Brahms Firsts on record.

As to the Second Concerto, which I like much better, Pollini's first version offers a wonderful opening movement with Abbado diecting the lushest orchestral tones imaginable and Pollini doing the same with his rounded, broad phrasing. Pollini's way with Brahms is always unhurried, deep, secure in tone. The muffled sonics detract from the overall impact, however. The Scerhzo is much less explosive than one sometimes hears (e.g., Richter in his classic RCA account with Leinsdorf) but all the better for that; Pollini is in comand without having to hector or bang. But then the last two movements sink into indifference. It's hard to get the second half of this concerto to make an impression equalling the first half. Pollini and Abbado don't seem to try very hard. A strange falling-off, but it doesn't matter, really, since their 1995 remake is so powerful, belonging in the first rank (where I'd also put Richter, Gilels with Reiner, Fleisher with Szell, nd one of my favorites, Barenboim with Barbirolli).

All in all, only a bargain if you absolutely have to save money, or if you relish the glorious collaboration of Pollini and the Vienna Phil. in the Second Cncerto.

Wiener Philarmoniker , or Vienna Philarmonic, is a truly wonderful orchestra. The crispy brass section, the sunny woodwinds, the noble string sonority ... a class in itself. Even with average conducting, one has to praise the level and sound the orchestra usually achieves in this repertoire. These Brahms pieces are part of its core, basic repertoire. In the piano concerto Pollini shows a truly great command of the keyboard together with a certain "objectivity" in his touch coupled with power and sensitivity when needed. The orchestra, I like most under Abbado. Bohm makes WP sound with majesty but sometimes underpowered. Balances under Bohm are focused on strings rather than winds, but I think that is a part of a "pre-historically informed practices" age. Strongly recommended unless you have a particular favourite of yours.

Poliziani and Bohm show that you don't have to smooth out the very dramatic and, to this listener at least, fascinating moods swings of the music in order to maintain it's continuity and coherence.

The other performances are good too, but in the Haydn Variations I prefer the Szell-Cleveland Orchestra rendition available in Sony's Essential Classics series.