Johannes Brahms

There are many who believe that, if Beethoven wrote the Old Testament of the symphonic literature, then Brahms was the author of the New. Brahms certainly had a rich and complex relationship with tradition and novelty. ‘You don’t know what it’s like, having that giant at my heels,’ he ruefully remarked to one who was waiting, as was much of musical Europe at the time, for a First Symphony from a man whom Schumann had already proclaimed as Beethoven’s heir.

In fact the giant referred to by Brahms may indeed have been Schumann and not Beethoven, for the First Symphony contains an embedded thematic narrative that links both composers through Schumann’s wife Clara, and the complex relationship between the three was never to be satisfactorily resolved. Brahms conceived a somewhat desperate passion later in life for one of the Schumann children, and it may be said of him more truly than most creative artists that he subsumed many of his most private and turbulent feelings within his own work.

Turbulence is certainly a keynote of these marvellous, dramatic recordings. Antal Doráti may be better known to us now as a Haydn and Stravinsky specialist, or at least pioneer, but the rhythmic spring he insisted upon is at least as germane to symphonies that have often laboured under heavier weights. Indeed his light-footed tempi and incisive articulation are among the reasons why this set, unusually, fits on two CDs.

The Eskar Trio have established themselves as one of Denmark’s leading chamber music ensembles and Cpo are proud to present their interpretation of Johann Brahms’s Piano Trios.

In addition to the three well-known trios is the Piano Trio in A major, a work whose authorship continues to be a matter of controversy. The anonymous score from a Bonn manuscript collection of the nineteenth century was discovered in 1924 (now extant), and it is thought to be a sole survivor from collection of piano trios the self-critical composer withheld from publication.

Still predominantly used as a bass instrument in the 18th century, the Violoncello underwent a liberating process which led to its use in a variety of functions, including the melodic lead. However, there are few musically significant examples of 19th-century chamber music in which the violoncello and piano (or fortepiano) are paid equal attention. We believe that the works selected for this title bring out the best of both instruments.

Brahms Op.120 sonatas were originally intended for the clarinet, but he also arranged them for viola. Presented here in a stunning recording, Rachel Roberts has established herself internationally as a soloist and chamber musician and Lars Vogt needs no introduction.

These Philips recordings of the Brahms Symphonies performed by the Gewandhaus Orchestra under Kurt Masur, are thought to be some of the best recordings of these works ever made. These remastered quadro recordings are available at a bargain price.

Brahms's trios are brought to life by Australia's premiere piano trio with the passion and emotional intensity so needed for these incredible works, performed with their usual technical assurance and understanding of the music.

Internationally acclaimed singer and ARIA-winner Teddy Tahu Rhodes sings the great songs of Schubert and Brahms accompanied by the Tasmanian and Melbourne Symphony Orchestras. Includes rare recordings, live from Huntington Festival and in the studio with the Australian String Quartet.

The first Brahms piano concerto is a touchstone for every pianist but until now no-one has dared to record the work on historical instruments. Hardy Rittner is joined by the l’arte del mondo orchestra under Werner Ehrardt and the result of taking the risk of a live performance is a great recording.