Brahms: Symphony No. 3 in F major, Op. 90

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Brahms: Symphonies Nos. 1-4 (Complete)

Brahms: Symphonies Nos. 1-4 (Complete)


RCA - 74321202832

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Serge Koussevitzky conducts Brahms

Serge Koussevitzky conducts Brahms


Brahms:

Symphonies Nos. 1-4 (Complete)


Warning: These performances were originally recorded on broadcast transcription discs which had limited fidelity, surface-noise, clicks, pops and other imperfections, some of which could not be eliminated in the digital transfer process.

Technical reconstruction (2002) by Maggs Payne

Previously unreleased live performances, 1944-46

Music & Arts - MACD1108

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Yevgeni Mravinsky (Vol. 1)

Yevgeni Mravinsky (Vol. 1)


Brahms:

Symphonies Nos. 1-4 (Complete)


Doremi Legendary Treasures - DHR7798-99

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Johannes Brahms Cycle

Johannes Brahms Cycle


Brahms:

Symphonies Nos. 1-4 (Complete)

Academic Festival Overture, Op. 80

Violin Concerto in D major, Op. 77

Julia Fischer (violin)

Variations on a theme by Haydn for orchestra, Op. 56a 'St Anthony Variations'

Piano Concerto No. 1 in D minor, Op. 15

Yefim Bronfman (piano)

Tragic Overture, Op. 81

Piano Concerto No. 2 in B flat major, Op. 83

Yefim Bronfman (piano)


The Cleveland Orchestra is the “aristocrat among American orchestras” (The Telegraph) and its conductor, Franz Welser-Möst, rules his subjects with a velvet glove. Indeed, velvet and silk keep showing up in descriptions of the Clevelanders’ sound under its principal conductor.

The First Symphony is Welser-Möst’s chance to let Brahms’ “mellow, silky sound” (The Guardian) unfurl about the stage of London’s Royal Albert Hall during one of the prestigious BBC Promenade Concerts. In the “frenetically applauded” (Die Presse) concert recorded at the splendid Golden Hall of Vienna’s Musikverein, Franz Welser-Möst leads his “devoted and exemplarily precise musicians” (Die Presse) in a rendition that polishes every detail to make the Brahms’ Second Symphony glow from within. In the evolution of Brahms’ symphonic oeuvre, his penultimate Third Symphony unites the brightness of the Second with the monumentality of the Fourth. Die Presse applauded the concert in which Franz Welser-Möst performed the Symphony as “structurally highlighted, vividly sketched details modelled with great subtlety”. Welser-Möst offers a “lean, propulsive performance” (The Plains Dealer) of the Fourth Symphony. The swift pace in his hands reflects the conductor’s quest for a distinctive, far-from-mainstream interpretation.

Brahms’ rousing Academic Festival Overture and Violin Concerto op. 77 bear witness to a composer at the height of his abilities, a mature master of large-scale masterpieces. The Violin Concerto demands extreme technical proficiency. As if to exemplify this, violinist Julia Fischer gears herself from the very start of this emotionally searing work to maintaining a restrained yet passionate tone.

Yefim Bronfman has the uncanny ability to play large without stridency, to handle the most delicate passages without losing presence, and to play everything in between with a ravishing sense of tonal colour. In the Second Piano Concerto Welser-Möst and Bronfman brought pulsing energy to the concerto’s second movement, setting up an oasis of calm for the third that segued immediately into the genial finale, whose last chords were nearly obliterated by roars of approval from the audience. Laced into his forceful performance of Piano Concerto No. 1 was a surprising element of fury, as if the pianist had become unhinged momentarily: and yet Bronfman was also wholly present, taking time in relaxed passages to savour every second.

Bonus: Franz Welser-Möst and Yefim Bronfman on Brahms’ Piano Concertos

Bonus: Franz Welser-Möst and Julia Fischer on Brahms’ Violin Concerto

Language Bonus: English

Subtitles Bonus: German

Region Code: Worldwide

Sound: dts 5.1, Dolby Digital 5.1, PCM Stereo

Picture 16:9

3 Discs DVD 9 NTSC

“When a Viennese critic writes of two of these Brahms performances 'glowing from within', something must be going right. As indeed it is in what is a lyrical and in the end surprisingly fiery account of the Second Symphony…Julia Fischer delivers a richly concentrated account of the Violin Concerto, finely accompanied, and Yefim Bronfman is a solidly reassuring presence in the two piano concertos.” Gramophone Magazine, January 2016

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belvedere - BVD08005

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Johannes Brahms Cycle

Johannes Brahms Cycle


Brahms:

Symphonies Nos. 1-4 (Complete)

Violin Concerto in D major, Op. 77

Julia Fischer (violin)

Variations on a theme by Haydn for orchestra, Op. 56a 'St Anthony Variations'

Piano Concerto No. 1 in D minor, Op. 15

Yefim Bronfman (piano)

Tragic Overture, Op. 81

Piano Concerto No. 2 in B flat major, Op. 83

Yefim Bronfman (piano)


The Cleveland Orchestra is the “aristocrat among American orchestras” (The Telegraph) and its conductor, Franz Welser-Möst, rules his subjects with a velvet glove. Indeed, velvet and silk keep showing up in descriptions of the Clevelanders’ sound under its principal conductor.

The First Symphony is Welser-Möst’s chance to let Brahms’ “mellow, silky sound” (The Guardian) unfurl about the stage of London’s Royal Albert Hall during one of the prestigious BBC Promenade Concerts. In the “frenetically applauded” (Die Presse) concert recorded at the splendid Golden Hall of Vienna’s Musikverein, Franz Welser-Möst leads his “devoted and exemplarily precise musicians” (Die Presse) in a rendition that polishes every detail to make the Brahms’ Second Symphony glow from within. In the evolution of Brahms’ symphonic oeuvre, his penultimate Third Symphony unites the brightness of the Second with the monumentality of the Fourth. Die Presse applauded the concert in which Franz Welser-Möst performed the Symphony as “structurally highlighted, vividly sketched details modelled with great subtlety”. Welser-Möst offers a “lean, propulsive performance” (The Plains Dealer) of the Fourth Symphony. The swift pace in his hands reflects the conductor’s quest for a distinctive, far-from-mainstream interpretation.

Brahms’ rousing Academic Festival Overture and Violin Concerto op. 77 bear witness to a composer at the height of his abilities, a mature master of large-scale masterpieces. The Violin Concerto demands extreme technical proficiency. As if to exemplify this, violinist Julia Fischer gears herself from the very start of this emotionally searing work to maintaining a restrained yet passionate tone.

Yefim Bronfman has the uncanny ability to play large without stridency, to handle the most delicate passages without losing presence, and to play everything in between with a ravishing sense of tonal colour. In the Second Piano Concerto Welser-Möst and Bronfman brought pulsing energy to the concerto’s second movement, setting up an oasis of calm for the third that segued immediately into the genial finale, whose last chords were nearly obliterated by roars of approval from the audience. Laced into his forceful performance of Piano Concerto No. 1 was a surprising element of fury, as if the pianist had become unhinged momentarily: and yet Bronfman was also wholly present, taking time in relaxed passages to savour every second.

Bonus: Franz Welser-Möst and Yefim Bronfman on Brahms’ Piano Concertos

Bonus: Franz Welser-Möst and Julia Fischer on Brahms’ Violin Concerto

Language Bonus: English

Subtitles Bonus: German

Region Code: Worldwide

Sound Formats: DTS-HD Master Audio 5.1, LPCM Stereo

Picture Format: 1080i High Definition

3 Discs BD 50

“When a Viennese critic writes of two of these Brahms performances 'glowing from within', something must be going right. As indeed it is in what is a lyrical and in the end surprisingly fiery account of the Second Symphony…Julia Fischer delivers a richly concentrated account of the Violin Concerto, finely accompanied, and Yefim Bronfman is a solidly reassuring presence in the two piano concertos.” Gramophone Magazine, January 2016

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belvedere - BVD08009

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Mariss Jansons conducts Brahms Symphonies

Mariss Jansons conducts Brahms Symphonies


Brahms:

Symphonies Nos. 1-4 (Complete)


This three CD Box Set presents the complete cycle of Brahms’ symphonies, as performed by the Symphonieorchester des Bayerischen Rundfunks under the direction of Mariss Jansons. It puts the finishing touch on the complete performance of Johannes Brahms’ symphonic works, compositions oriented around the creativity of his great role model, yet in many ways also forward-looking and innovative.

The beauty of Brahmsian symphonic creativity comes to full fruition in these live recordings from the Musikverein in Vienna and the Herkulessaal in Munich under the direction of Mariss Jansons.

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BR Klassik - 900140

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Brahms: Symphonies Nos. 1-4, Overtures & Haydn Variations

Brahms: Symphonies Nos. 1-4, Overtures & Haydn Variations


Brahms:

Symphonies Nos. 1-4 (Complete)

Academic Festival Overture, Op. 80

Tragic Overture, Op. 81

Variations on a theme by Haydn for orchestra, Op. 56a 'St Anthony Variations'


Lorin Maazel had a long history of recording with Decca and many of these recordings are being reissued on Eloquence. Thrilling sound and vigour mark his performances of Maazel’s 1970s Brahms cycle from Cleveland and Gramophone made a note of the superb quality of the sound engineering. The set is issued internationally on CD for the first time.

“The finale [of the Third Symphony] is beautifully shaped and flighted … this is an excellent version of the Third” Gramophone Magazine

Australian Eloquence - ELQ4808952

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Brahms: The Symphonies

Brahms: The Symphonies

Jewel-case version


Brahms:

Symphonies Nos. 1-4 (Complete)

Tragic Overture, Op. 81

Intermezzo in E major, Op. 116 No. 4

Intermezzo in E flat major, Op. 117 No. 1

Variations on a theme by Haydn for orchestra, Op. 56a 'St Anthony Variations'

Liebeslieder-Walzer, Op. 52: excerpts

Nagen am Herzen fühl ich Gift in mir, Op. 65, No. 9

Academic Festival Overture, Op. 80

Hungarian Dance No. 1 in G minor

Hungarian Dance No. 3 in F major

Hungarian Dance No. 10 in F major

Symphony No. 1 in C minor, Op. 68 - Andante


Following the 2011 landmark Beethoven cycle, Riccardo Chailly returns with a recording of the complete Brahms symphonies and orchestral works including the overtures and Haydn Variations.

Rarities include world premiere recordings of two piano intermezzi orchestrated by Paul Klengel (brother of the Gewandhaus’ long-standing principal cellist Julius Klengel); the 9 Liebeslieder waltzes; the original first performance version of the Andante of Symphony No. 1 and the even rarer revised opening of the Fourth Symphony.

Chailly has radically rethought his approach to these works, re-examining the scores and returning to the recorded interpretations of a generation of conductors alive during Brahms’ lifetime, principally Felix Weingartner and one of his Gewandhaus predecessors Bruno Walter.

Read Presto's complete review of this disc here.

“There’s not a whiff of Germanic stodginess, but nor do you feel the music is being unnaturally pushed. Chailly’s tempi, faster than 20th century tradition and always consistent within themselves, bring out the “classical” in Brahms, and the Leipzigers’ performances – wonderfully lithe as well as meltingly lyrical – are a tonic.” Financial Times, 26th October 2013 *****

“dynamic and dramatic readings, faithful to Brahms's intentions. Powerfully conceived, they are rhythmically alert, without an ounce of undue sentiment and never for an instant losing sight of the scores' rock-solid architecture. The Gewandhaus players reward him with magnificent playing, alert and sumptuously rich in sound.” BBC Music Magazine, December 2013 *****

“Chailly achieves a refreshing clarity and vividness...Sometimes, I feel, clarity is achieved at the cost of lightening the bass too much. All in all, though, these are richly stimulating performances.” Sunday Times, 17th November 2013

“the overriding impression I got from these performances was of Chailly wanting to blow away the cobwebs, to set aside tradition and to come up with something that sounded different.” Presto Classical, 14th October 2013

GGramophone Awards 2014

Record of the Year

GGramophone Magazine

Disc of the Month - October 2013

BBC Music Magazine Awards 2014

Orchestral Finalist

Decca - 4787471

(CD - 3 discs)

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Brahms: Symphonies Nos. 1-4 (Complete)

Brahms: Symphonies Nos. 1-4 (Complete)


David Zinman celebrated his 75th birthday on July 9, 2011. He will leave the Tonhalle Orchestra in 2014 after nearly 20 years. He has been Chief Conductor and Artistic Director of the Tonhalle Orchestra Zurich since 1995.

Under his aegis as Artistic Director, the Orchestra has developed into an outstanding ensemble, celebrated highly successful tours in Europe, the United States and Asia, and recorded numerous CDs.

New York born David Zinman is one of the internationally most recognized conductors of his generation. He frequently conducts the renowned American orchestras in Boston, Cleveland, Los Angeles, Philadelphia, San Francisco and New York; in Europe, he regularly guest conducts the Berlin Philharmonic, the Concertgebouw Orchestra Amsterdam, the London Philharmonia Orchestra, the Munich Philharmonic and the Bavarian Radio Symphony Orchestra.

The Tonhalle Orchestra Zurich has recorded for SONY/RCA/ARTE NOVA: Beethoven (complete symphonies, complete concertos), Schumann (complete symphonies), Richard Strauss (complete orchestra works) and Gustav Mahler (complete symphonies on SACD). A project with the complete symphonies by Franz Schubert started in 2011.

The recording of all the Beethoven symphonies was awarded (among others) the German Record Critics’ Prize in 1999 and GRAMMOPHONE “Editor’s Choice” & “Record of the Year 2000”. Sales worldwide of their recording of all Beethoven symphonies with the Tonhalle Orchestra (complete cycle and separate CDs): more than 1,000,000 units.

The Beethoven cycle has been famous because of the unusual and fresh interpretation combining the advantages of period instruments interpretations with the sound qualities of a big modern orchestra. All qualities of the renowned Beethoven cycle can be expected also regarding to the Brahms interpretations.

All Sony Classical recordings have received special praise because of their superb sound quality. (Chris Hazell/Recording Producer & Simon Eadon/Sound Engineer & Editing).

The cycle of the complete Brahms Symphonies (Symphonies 1 – 4) was recorded in April 2010 in the Tonhalle Zurich, a concert hall, that has been inaugurated by Johannes Brahms himself and that is famous because of its superb acoustical qualities.

In recent years, the Tonhalle Orchestra has developed into one of Europe’s leading ensembles. Ground-breaking CD recordings of the orchestral works of Richard Strauss and the symphonies of Robert Schumann, for example – and most notably of all the Beethoven symphonies, overtures and solo concertos – paved the way for the orchestra’s rise to prominence.

Wherever the Tonhalle Orchestra performs it is enthusiastically received by audiences and critics alike.

Ever since 1999, when the Tonhalle Orchestra Zurich won the German Record Critics’ Prize for its seminal recording of all the Beethoven symphonies, it has been at the centre of worldwide attention. Since then, well over one million CDs have been sold.

RCA - 88697961242

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$19.00

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Brahms: Symphonies Nos. 1-4 (Complete)

Brahms: Symphonies Nos. 1-4 (Complete)


New York born David Zinman is one of the most internationally recognized conductors of his generation & is the chief conductor & artistic director of the Tonhalle Orchestra Zurich. This cycle of the complete Brahms Symphonies (Symphonies 1-4) was recorded during April 2010 in Tonhalle, Zurich, which is famous because of its superb accoustic qualities. The symphonies will be released as a ltd edition 3CD deluxe hard cover book with a 40 page booklet including extensive liner notes & illustrations of rare material.

“there is an unusually cogent feel to this cycle...they represent a kind of mainstream Brahms, utterly devoid of mannerism and interpretational quirks, with a fine central European orchestra playing at the top of its game...RCA/Sony’s lavish presentation is a luxury item encasing deluxe performances.” Sunday Times, 25th September 2011

“All the clarity and technical finesse that made their Mahler performances so refreshing are evident in these performances; there's no doubt the orchestra really has risen up the international pecking order under Zinman's direction.” The Guardian, 29th September 2011

“Zinman’s Brahms, again with the Zurich Tonhalle Orchestra but this time recorded live, makes fewer nods to period style than his Beethoven. It’s a warm, genial Brahms, as one might expect of a septuagenarian who describes the symphonies as “a perfect blending of spontaneity and intellect”.” Financial Times, 1st October 2011 ***

“These are splendid performances, passionately felt and never losing sight of the architecture. The orchestra under David Zinman is on top form. I like his choice of tempos - alert and dynamic throughout the fast movements, never too slumberous in the slow.” BBC Music Magazine, December 2011 ****

“the orchestra's playing for Zinman...impressively renews the time-honoured Austro-German tradition of Karajan and Klemperer...No non-vibrato, period-instrument revisionism here! Instead there's a firm-toned, glowing power which, in the passages like the great horn-tune in the First Symphony's finale, is seriously enthralling...As close to a definitive set of these masterworks as you'll find - and in fabulous modern recorded sound.” Classic FM Magazine, December 2011 *****

“conductor and orchestra rise to greatness in the Fourth Symphony. Elsewhere, they provide the kind of trenchant, well-grounded Brahms performances which have been common currency in Middle Europe since the composer's own time...Zinman is meticulous in his observation of Brahms's dynamic markings. This makes for some interesting articulation but it can also dislocate the line and disrupt the pulse...[in the Fourth] Zinman takes a less pedantic view of the markings.” Gramophone Magazine, December 2011

RCA - 88697933492

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