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

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Bruno Walter - Live Recordings

Bruno Walter - Live Recordings


Brahms:

Symphonies Nos. 1-4 (Complete)

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

Violin Concerto in D major, Op. 77

Double Concerto for Violin & Cello in A minor, Op. 102

Academic Festival Overture, Op. 80

Schicksalslied, Op. 54


Myra Hess (piano), Erica Morini (violin), John Corigliano (violin) & Leonard Rose (cello)

Los Angeles PO, New York PO, RAI Milan Symphony Orchestra & NBC Symphony Orchestra

Recording made between 1940 and 1953, in New York, Los Angeles and Milan.

Andromeda - ANDRCD5096

(CD - 4 discs)

$25.50

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Brahms: Complete Symphonies

Brahms: Complete Symphonies

and other orchestral works


Brahms:

Symphonies Nos. 1-4 (Complete)

Academic Festival Overture, Op. 80

Hungarian Dance No. 17 in F sharp minor

Hungarian Dance No. 1 in G minor

Hungarian Dance No. 3 in F major

Hungarian Dance No. 10 in F major

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


Naxos Classical Archives - 980037-40

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Brahms: Symphonies, Overtures & Violin Concerto

Brahms: Symphonies, Overtures & Violin Concerto


Brahms:

Symphonies Nos. 1-4 (Complete)

Violin Concerto in D major, Op. 77

Thomas Zehetmair (violin)

Academic Festival Overture, Op. 80

Tragic Overture, Op. 81

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


“Zehetmair’s is a warm and thoroughly musical account: his timbre is sweet and both he and Dohnanyi, who accompanies sympathetically, offer a natural response to Brahmsian lyricism. The Cleveland Orchestra’s playing is beyond criticism and the sound balance is impressively natural.” Penguin Guide

Box Sets - up to 50% off

Warner Classics - 2564641592

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Brahms - Complete Symphonies

Brahms - Complete Symphonies


Brahms:

Tragic Overture, Op. 81

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

Academic Festival Overture, Op. 80

Symphonies Nos. 1-4 (Complete)


Resonance - CDRSB405

(Sorry, download not available in your country)

Brahms - Complete Symphonies

Brahms - Complete Symphonies


Brahms:

Serenade No. 1 in D major, Op. 11

Academic Festival Overture, Op. 80

Tragic Overture, Op. 81

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

Serenade No. 2 in A Major, Op. 16

Symphonies Nos. 1-4 (Complete)


Supraphon - up to 40% off

Supraphon - SU38682

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Brahms: Complete Symphonies

Brahms: Complete Symphonies


Brahms:

Symphonies Nos. 1-4 (Complete)

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

Tragic Overture, Op. 81

Academic Festival Overture, Op. 80


“These well-played performances provoke modified rapture. […] the orchestral execution is quintessentially Brahmsian, with the conductor cultivating a dark, mellifluous, echt-German sonority, in contrast to the usual chrome-plated American style.” International Record Review

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Warner Classics - 2564618922

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Furtwängler conducts Brahms

Furtwängler conducts Brahms


Brahms:

Symphonies Nos. 1-4 (Complete)

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

Edwin Fischer (piano)


Recorded 1942-1954

Archipel Records - ARPCD0190

(CD - 4 discs)

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Brahms - Complete Symphonies

Brahms - Complete Symphonies


Brahms:

Symphonies Nos. 1-4 (Complete)


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Chandos - CHAN9776

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Brahms: Symphonies Nos. 1-4 (Complete)

Brahms: Symphonies Nos. 1-4 (Complete)


DG - E4596352

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Brahms: Symphonies Nos. 1-4 (Complete)

Brahms: Symphonies Nos. 1-4 (Complete)


“Concertgebouw standards at the time of Haitink's survey (1970-80) left little to be desired. Perhaps the clarinets don't always overcome reservations about their tone and intonation with the sensitivity of their phrasing; but the horns invariably do, and more often than not Brahms's favourite instrument is a source of joy in these recordings, blazing gloriously at appropriate moments (especially in the Fourth Symphony), or opening up and sustaining huge vistas in the 'dawn' of the First's finale. As to the strings, Haitink's insistence on firmly defined (though never over-emphatic) rhythms from the bass lines up is altogether exceptional; there are countless examples, but most memorable of all is the cellos' and basses' ostinato that sees the Second Symphony's finale in the home straight. What an articulate, integrated Brahms sound this is, too; a case of conductor and engineers easily achieving their aims working in a familiar acoustic. The only movement you may initially find overly sober is the first of the Third Symphony, taken very broadly, though it's determined and imposing, and the launching of the coda is stupendously powerful. There's no better way of getting to know Brahms's orchestral works on a budget.” Gramophone Classical Music Guide, 2010

Philips Collectors Edition - 4420682

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