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

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Yuri Bashmet conducts Brahms & Tchaikovsky

Yuri Bashmet conducts Brahms & Tchaikovsky


Brahms:

Symphony No. 3 in F major, Op. 90

'Live' Great Hall, Moscow Conservatory, Moscow, 7 February 2005

Tchaikovsky:

Symphony No. 6 in B minor, Op. 74 'Pathétique'

'Live' Great Hall, Moscow Conservatory, Moscow, 27 April 2004


Novaya Rossiya State Symphony Orchestra, Yuri Bashmet

Yuri Bashmet is one of the greatest viola players of our time, was born on 24 January 1953. He has appeared all over the world with the leading conductors and orchestras in this capacity and has a large discography. He is an ICA artist and is here featured as one of ICA's Live series as a conductor.

Bashmet began his conducting activity in 1985. In 1992, he re-organised The State Symphony Orchestra Novaya Rossiya (founded in 1990) featuring some of the most talented young musicians of Russia who are graduates and postgraduate students of the Moscow Conservatoire.

Bashmet became Chief Conductor in 2002. The orchestra performs in the Great Hall of the Moscow Conservatoire and has toured extensively abroad, also recording for EMI Classics and Sony Classics. The orchestra has been conducted by Vladimir Ashkenazy and Valeri Gergiev amongst others.

David Nice in his booklet notes commented, ‘So it was with some amazement that I heard these performances by an orchestra many of us will not have heard of outside Russia’ ……‘A certain lean and hungry approach that’s never for a moment ascetic, inform much of what we hear in these razor-sharp performances of core symphonic repertoire’. Of the Brahms interpretation, Nice noted,’Mravinsky- like are the implicit force of the opening and the absolute fidelity to dynamics and controlled power’. Of the Tchaikovsky, he went on to say, ‘Mravinsky’s interpretation never lost its freshmness and this one runs it close in in that respect’.

“Tchaikovsky's "Pathétique" is a powerfully emotional piece under any baton, but in this shattering interpretation Bashmet digs down to its darkest depths to reveal its true Slavic soul. And his young players, all graduates of the Moscow Conservatoire, bring a real freshness to Brahms's Symphony No 3, racing through the opening allegro and dancing through the third movement with sunny insouciance.” The Observer, 8th May 2011

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Brahms: Symphonies Nos. 1 & 3

Brahms: Symphonies Nos. 1 & 3


Brahms:

Symphony No. 1 in C minor, Op. 68

Symphony No. 3 in F major, Op. 90


Signum’s first disc of 2011 with the Philharmonia returns to the works of Brahms with his first and third symphonies, conducted by Christoph von Dohnanyi.

The dual hindrance of Brahms’s self-criticism and a public expectation of a work to follow or surpass the symphonies of Beethoven, resulted in an unusually long formative period for the first symphony – a gap of over 20 years from 1854 initial sketches to the works premiere in 1876. The result was worth the wait however, dubbed ‘Beethoven’s Tenth’ by the conductor Hans von Bülow following a performance.

By contrast, the third is the shortest of all four of his symphonies and was completed over the summer of 1883. A more lighthearted work, some claim that it is inspired and influenced by Brahms’ close relationship with the singer Hermine Spies at that period in his life.

This recording follows the 2008 release of Brahms second and fourth symphonies with the Philharmonia and Christoph von Dohnanyi.

“This specially priced set completes the live Brahms symphony cycle by the veteran conductor Christoph von Dohnányi. The Philharmonia is in excellent form for him, providing warm, solid virtuosity. Dohnányi gives us the classic central European view of Brahms, full-toned and never rushed, yet with inexorable forward movement.” Daily Mail, 29th April 2011 ****

“[Dohnanyi is] a classicist who appreciates Brahms's romantic soul...[his] account of the First Symphony again opens weightily, the bass pedal a real joist-shaker...But that's very far from the whole story: the slow movement is very lyrical with some effective dovetailing and plenty of light and shade, and the finale generates an impressive sense of joyous release” Gramophone Magazine, July 2011

“Christoph von Dohnanyi is a conductor who seems to work in black and white rather than in colour. True to form, these live performances are about subtle shading and unexaggerated, probing thoughtfulness, bringing out the Classical rather than the Romantic side of Brahms.” Classic FM Magazine, July 2011 ***

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Mahler: Symphony No. 3

Mahler: Symphony No. 3

Dmitri Mitropoulos's Last Concert


Brahms:

Symphony No. 3 in F major, Op. 90

Recorded in Salzburg on 10th August 1958

Concertgebouw Orkest

Debussy:

La Mer

Recorded in Salzburg on 21st August 1960

Berliner Philharmoniker

Mahler:

Symphony No. 3

Recorded in Köln on 31st October 1960

Lucretia West (alto)

Kölner Rundfunk-Sinfonieorchester


This is Mitropoulos’s last recording and was made in 1960. The bonus works are La Mer by Debussy, played by the Berlin Philharmonic and Brahms Symphony No.3 played by the Concertgebouw. Mitropoulos is the conductor.

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Brahms: Symphonies Nos. 2 & 3

Brahms: Symphonies Nos. 2 & 3


Brahms:

Symphony No. 2 in D major, Op. 73

Live-recording, Munich, Herkulessaal 16./17.03.2006

Symphony No. 3 in F major, Op. 90

Live-recording, Vienna, Musikverein, 16.01.2010


The two middle symphonies by Johannes Brahms form a highly contrasting pair of works, which define the radius of Brahms’s musical language, equally marked by both poesy and the highest level of constructive stringency. 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. The qualities of one of the world’s best orchestras are captured in the highest fidelity by the audiophile SACD process.

The first Brahms releases with Mariss Jansons and the Symphonieorchester des Bayerischen Rundfunks.

Audiophile live recordings on SACD from the Vienna Konzertverein and the Munich Herkulessaal.

“[Jansons] sceptics should turn to this new version to hear how close an affinity he has with this difficult piece. What may appear to be refined restraint in the articulation of the first movement's F-A-F pays off in a superbly calibrated account of the finale...[which] has a huge rustic energy...These are big performances in every sense of the word.” Gramophone Magazine, June 2011

“This is a fine example of what you might call 'modern-traditional' Brahms. The orchestral sound is rich and deep-layered, the tempos, if nt quite leisurely, still allow plenty of time to luxuriate in Brahms's long melodies...Not only has Jansons a firm sense of how Brahms's long phrases rise and fall, both minutely and as grand spans, he has a keen ear for Brahmsian polyphony.” BBC Music Magazine, June 2011 ****

“there is...a genuine feeling of where the music is going, and why. For a live account, this is impressive; it may not be the greatet Brahms Third ever put on a record but it remains a fine one throughout, and the recording quality is first-rate.” International Record Review, July 2011

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Herbert von Karajan conducts Brahms & Dvorak

Herbert von Karajan conducts Brahms & Dvorak


Brahms:

Symphony No. 3 in F major, Op. 90

Dvorak:

Symphony No. 8 in G major, Op. 88


“Karajan's superb reading of the Dvorak is the winner here with every detail of this volatile score superbly realised.” BBC Music Magazine, March 2011 ***

“two of Karajan's most natural and elemental recordings...Karajan was more inclined to let the Vienna Philharmonic play - allowing it more freedom while still keeping a firm hand on the performance - than he was his own Berlin orchestra. The results have the kind of spontaneity and freshness that is sometimes missing from his Berin performances” International Record Review, May 2011

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Brahms: Variations

Brahms: Variations


Brahms:

Variations on a theme by Haydn for two pianos, Op. 56b 'St Anthony Variations'

Waltzes (16), Op. 39

Symphony No. 3 in F major, Op. 90

arranged by the composer for two pianos four hands

Variations on a theme by Schumann for four hands, Op. 23


Bracha Eden & Alexander Tamir (pianos)

A unique release of Brahms Music arranged and originally written by the composer for piano duet, played by the world famous Israel duo, Eden & Tamir.

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Lorin Maazel conducts Brahms, Ravel & Debussy

Lorin Maazel conducts Brahms, Ravel & Debussy


Brahms:

Symphony No. 3 in F major, Op. 90

Orchestra Sinfonica de Milano

Debussy:

Jeux - Poème dansé

Orchestra Sinfonica de Roma

Ravel:

Daphnis et Chloé - Suite No. 2

Orchestre National de France


These performances were recorded in the fifties; the Brahms in Milan in 1956, the Debussy in Rome in 1958 and the Ravel, performed by the Orchestre National de France in 1958.

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Edition Staatskapelle Dresden - Volume 29

Edition Staatskapelle Dresden - Volume 29


Brahms:

Symphony No. 3 in F major, Op. 90

Schubert:

Symphony No. 8 in B minor, D759 'Unfinished'


The evenings of October 22 and 23, 1992 in the Dresden Semperoper brought not only performances for the Dresden audience but were at the same time the start of an extensive tour from October 25 to November 12, during which the Staatskapelle under Sir Colin Davis performed twelve concerts in Japan.

The Staatskapelle seems once more to have tapped the pulse of the Japanese audience with their interpretations and so affirmed their reputation.

“The Schubert is beautiful: warm intensity of tone, long phrases that feel elegant and acutely sensitive, at the the same time, pathos, grandeur, romantic atmosphere, and underneath all that a feeling of steady, unpressured momentum carrying the music to its conclusion.” BBC Music Magazine, July 2011 **/***

“Davis occasionally bends the line for rhetorical effect...demonstrably smitten by the sheer lustre of Brahms's writing...As to Davis's Schubert Unfinished, breadth and depth of feeling prevail, the transition from repeated exposition to development section in the first movement as darkly mysterious as on any other version” Gramophone Magazine, July 2011

“These recordings date from 1992, the aftermath of German reunification and a time in which emotions in Dresden were running high...Certainly Colin Davis, who was then building a strong bond with the orchestra, has drawn from it performances that are exceptionally intense in nature...These are fine, thoughtful performances of timeless masterpieces that seemed to find in those years at Dresden a particular time and a particular place.” International Record Review, May 2011

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

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


American Symphony Orchestra - ASO070

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Sir John Barbirolli conducts Schubert, Mendelssohn & Brahms

Sir John Barbirolli conducts Schubert, Mendelssohn & Brahms


Brahms:

Symphony No. 3 in F major, Op. 90

Recorded 21 & 22 May 1952 Free Trade Hall, Manchester. First CD Release

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

Recorded 17 & 18 September 1959 Free Trade Hall, Manchester

André Navarra (cello) & Alfredo Campoli (violin)

Mendelssohn:

Scherzo from Octet, Op. 20

Recorded 31 May 1949 No.1 Studio, Abbey Road, London. First CD Release

Schubert:

Symphony No. 9 in C major, D944 'The Great'

Recorded 21 & 22 December 1953 Free Trade Hall, Manchester

Die Zauberharfe (The Magic Harp), D 644 - Overture

Recorded 28 April 1948 Houldsworth Hall, Manchester & 31 May 1949 No.1 Studio, Abbey Road, London. First CD Release


Barbirolli had a particular affinity for the music of Brahms and Schubert and he conducted their works to critical acclaim. As a young cellist, he gained knowledge and practical experience of their instrumental and chamber works, and as an orchestral musician he became familiar with their orchestral works, whilst still in his teenage years. He included Brahms’s E Minor Cello Sonata op. 38 at an Aeolian Hall recital in November 1917 and played in a trio arrangement of Schubert’s Serenade during his army service. Barbirolli included the Fourth Symphony by Brahms in his first four concerts with the New York Philharmonic in Carnegie Hall in November 1936.

During his seven years with the orchestra, he conducted all the major works of Brahms as well as Schubert’s Second and Fourth Symphonies and Five German Dances. In July 1940, at his debut at the Hollywood Bowl in Los Angeles, he conducted Brahms’s Fourth Symphony before an audience of 12,000 and, shortly afterwards, conducted in Chicago at the Ravinia Park Festival where his concerts included Schubert’s Fourth and Ninth Symphonies and Brahms’s Fourth Symphony. Audiences throughout Britain and abroad heard Barbirolli conduct magnificent performances of the works of Brahms and Schubert.

He conducted all the Brahms symphonies in the 1945-46 season in Manchester. Schubert’s Second, Fourth, Fifth and Eighth Symphonies all found their way into his Viennese Night programmes. Barbirolli also conducted several performances of the Brahms Alto Rhapsody (two with Kathleen Ferrier, who also sang the Four Serious Songs) and, in 1955, two performances of the German Requiem. In the late 1960’s, he recorded a Brahms cycle for EMI with the Vienna Philharmonic Orchestra. In his last decade, when he conducted many of the world’s great orchestras, Barbirolli’s outstanding performances of Brahms and Schubert thrilled audiences throughout the world, nowhere more so than in Berlin and Boston where his interpretations (of Brahms’s Second Symphony, in particular) also greatly impressed the orchestral players. This set brings together Barbirolli's HMV recordings of Schubert's Symphony No.9 (1953), the Rosamunde Overture (1948/49), the Symphony No.3 by Brahms (1952) and Mendelssohn's Scherzo (1949). Also included is the famous Pye recording of the Brahms Double Concerto (1959) with André Navarra and Alfredo Campoli as soloists.

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