Brahms: Symphony No. 3 in F major, Op. 90 - download (MP3 & FLAC)

This page lists all recordings of Symphony No. 3 in F major, Op. 90, by Johannes Brahms (1833-97) on download (MP3 & FLAC). Generally, more recent releases are listed first.

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Vladimir Jurowski conducts Brahms Symphonies Nos. 3 & 4

Vladimir Jurowski conducts Brahms Symphonies Nos. 3 & 4

Recorded live at Southbank Centre’s Royal Festival Hall, London, on 27 October 2010 (Symphony No. 3) and 28 May 2011 (Symphony No. 4)


Brahms:

Symphony No. 3 in F major, Op. 90

Symphony No. 4 in E minor, Op. 98


LPO Principal Conductor Vladimir Jurowski completes his survey of Brahms’s four symphonies.

His previous disc, of Symphonies Nos. 1 & 2 (February 2010), received great critical acclaim including BBC Music Magazine’s ‘Disc of the Month’ and the recommended version of Symphony No. 2 by BBC Radio 3’s ‘Building a Library’.

Symphonies Nos. 3 & 4 were recorded live in concert at Royal Festival Hall in 2010 and 2011, receiving press reviews including ‘a performance of colossal proportions’ (The Guardian, No. 4).

In the Third, sweeping string melodies and autumnal colours interwoven with his recurring musical motto of ‘free but joyful’ create one of the composer’s most personal works. In the Fourth, Brahms looked back to his idols Bach and Beethoven for inspiration, creating a masterpiece whose extraordinary passacaglia finale – based on a Bach cantata – seems to sum up the composer’s symphonic mastery.

“The London Philharmonic’s principal conductor marries the best of tradition with the best of modern practice” Financial Times, 25th January 2014

“The expressive power Jurowski brings to both symphonies derives in large measure from the plasticity of his articulation of the musical line. Such plasticity might seem mannered were it not for the strong sense of forward momentum which informs his conducting here.” Gramophone Magazine, March 2014

“this is an outstanding disc, strong in momentum, passionately detailed...Jurowski has the orchestra respond hypersensitively to Brahms’s syncopations and ever-shifting dynamics.” Sunday Times, 9th March 2014

“They are at once modern in their transparency and detailed nuance yet old-fashioned in their relaxed tempi, long, overarching phrasing and use of string portamento...Each approach opens our ears. These LPO performances are true bargains as well as fine performances.” The Observer, 26th January 2014 ***

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LPO - LPO0075

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Evgeny Svetlanov conducts Debussy & Brahms

Evgeny Svetlanov conducts Debussy & Brahms

Royal Festival Hall, London, 17 April 1975


Brahms:

Symphony No. 3 in F major, Op. 90

Chausson:

Le temps des lilas

Bonus

Janet Baker (mezzo-soprano)

Debussy:

La Mer


Evgeny Svetlanov (1928–2002) began his conducting careeer in 1953 at the Bolshoi Theatre, becoming chief conductor in 1962. In 1965 he was appointed chief conductor of the USSR State Symphony Orchestra, where he remained until his death. Valery Gergiev described the USSR State Symphony as an ‘orchestra with a voice’ under Svetlanov. From 1970 onwards, Svetlanov started to conduct in the West and with the advent of perestroika in the late 1980s, many musicians including Svetlanov took up positions in Europe. He was a regular guest conductor in the UK – with the LSO (becoming prinicipal guest in 1979), the Philharmonia and the BBCSO – as well as in the Netherlands, France and Japan.

Svetlanov’s repertoire was large (including his discography). In addition to the full range of Russian works, he was a masterly conductor of non-Russian composers of the late-Romantic era including Bruckner, Elgar and Mahler, as well as Debussy and Brahms as demonstrated here. He died in 2002 shortly after conducting the BBCSO in a memorable account of Rachmaninov’s cantata The Bells (available on ICAC5069).

The performances of the Brahms and Debussy are recorded in brilliant stereo and have never been issued before.

ICA Classics have already released three CDs of Svetlanov in Russian music, conducting works by Tchaikovsky, Stravinsky, Prokofiev, Rachmaninov and Shostakovich. We now hear him in Brahms and Debussy, two composers whose works he performed quite regularly during his career. He recorded the complete Brahms Symphonies in Russia with Melodiya. The Brahms is both powerful and mellifluous, superbly played by the LSO, while the Debussy has tension from the start, combining colour, sensitivity and transparency. David Nice states in his booklet notes ‘Svetlanov reminds us that “impressionism” is quite the wrong term for what develops as pure expressionism. As this recording demonstrates, no conductor ever made a more Dionysian orgy out of the final charge to the stampeding finish.’

The bonus consists of Janet Baker singing the final song from Chausson’s Poème de l’amour et de la mer; ‘La Mort de l’amour – Le Temps des lilas’. This comes from the same concert and has been previously issued. In a review of this performance, The Times wrote of Janet Baker’s ‘lovely tone throughout a wide range and an equally beautiful shapeliness and continuity of line’. Svetlanov was praised for achieving a refined orchestral blend and balance. The performance was said to have held ‘a large audience spellbound’.

“His Brahms Third Symphony is idiomatic in a traditional German way, while his Debussy La Mer has a thrilling boldness that does not preclude many subtleties. Best of all is Janet Baker singing Chausson’s Poème de l’amour et de la mer.” Financial Times, 22nd February 2014 ****

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ica classics Legacy - ICAC5123

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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


Jukka-Pekka Saraste and the WDR Symphony Orchestra of Köln here perform Johannes Brahms’s Symphonies Nos. 1 and 3. Brahms started composing the First in 1854 and continued to make additions and radical changes to the work before its première in 1876, some 22 years later. The Third is Brahms’s shortest symphony and was composed some six years after his Second.

“Saraste’s WDR Sinfonieorchester Köln is on magnificent form in performances that feel bold, urgent and highly charged...this is an excellent release that I will reach for often.” MusicWeb International, 27th May 2013

Profil Medien - PH13028

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Sir Adrian Boult conducts Brahms & Elgar

Sir Adrian Boult conducts Brahms & Elgar


Brahms:

Symphony No. 3 in F major, Op. 90

Royal Albert Hall, London, 6 August 1977

Elgar:

Symphony No. 1 in A flat major, Op. 55

Royal Albert Hall, London, 28 July 1976


One of the great British conductors of the 20th century, Sir Adrian Boult studied under the legendary Arthur Nikisch in Berlin, which makes his Brahms interpretations so special.

Similarly his friendship with Sir Edward Elgar ensured that all his interpretations of the composer’s works were without question authoritative, achieving an iconic status.

The Proms recording of Brahms’s Symphony No.3 from 1977 is in superb stereo and represents Boult’s ‘golden years’. He recorded two cycles of Brahms symphonies in 1954 and in the 1970s but all in the studio, whereas this ICA recording catches him ‘live’ producing a sense of drama and passion. Martin Cotton comments in his booklet notes, ‘Perhaps most surprising is the final Allegro where there is an organic shape to the movement which doesn’t compare with the rather more staid LSO (studio) recording of seven years earlier.’ In his notes, Martin Cotton emphatically states that the 1976 ‘live’ recording in wonderful stereo of Elgar’s Symphony No.1 from the Proms, ‘is completely astonishing’. Boult, one of the last living conductors to have known Elgar, had effectively been blessed by him: ‘I feel that my reputation in the future is safe in your hands’ – and here he gives what is arguably his greatest performance of the work. Cotton attended the 1976 concert and describes it as ‘one of the greatest musical experiences of my life’.

Boult’s recent recording of Brahms’s Symphony No.1 coupled with Elgar’s Enigma Variations (ICAC5019) was acclaimed in International Record Review: ‘This is a very powerful reading, from the quite fast introduction of the first movement to the triumphal close. Much the same can be said of the Elgar “Enigma” Variations from the Royal Albert Hall Centenary Concert in 1971, again with the BBCSO. Boult keeps “Nimrod” flowing, but in the finale his speeds are more flexible – starting steadily, then pushing on. It all works extremely well.’

This CD represents stunning value at over 81 minutes long.

“the sense of joyous homecoming in the closing pages is truly overwhelming in its cumulative impact and rightly accorded a thunderous ovation. There's much that is cherishable, too, in the performance of Brahms's Third...Again, Boult's contribution evinces a sureness of purpose, unassuming honesty and lofty wisdom that stem from a lifetime's experience...generous coupling that shows the veteran Boult at his inimitable best. Absolutely not to be missed.” Gramophone Magazine, August 2012

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Re-issue of the Month - August 2012

ica classics Legacy - ICAC5063

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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

ica classics Live - ICAC5023

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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.

“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 ****

“[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

“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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BR Klassik - 900111

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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

Decca - Originals - 4782661

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Brahms: Symphony No. 3

Brahms: Symphony No. 3


Brahms:

Symphony No. 3 in F major, Op. 90

Nänie von Friedrich Schiller, für Chor und Orchester, Op. 82

Ich schwing mein Horn ins Jammertal, Op. 41 No. 1

Es tönt ein voller Harfenklang, Op. 17 No. 1

Nachtwache I 'Leise Töne der Brust', Op. 104 No. 1

Einförmig ist der Liebe Gram, Op. 113 No. 13

Gesang der Parzen (Song of the Fates), Op. 89


Recording locations: Recorded live at the Salle Pleyel, Paris and Royal Festival Hall, London.

Soli Deo Gloria is proud to release the third instalment in the successful Brahms Symphony series which sees John Eliot Gardiner and his Orchestre Révolutionnaire et Romantique explore the music of Johannes Brahms.

The choral pieces on this release demonstrate beautifully the extent to which choral thinking permeates Brahms’ orchestral writing. Gardiner states that ‘just as there is choral thinking evident in his symphonies, surely there are also signs of orchestral thinking embedded within his choral writing.’ Both Nänie and Gesang der Parzen show fascinating links with Brahms’ last two symphonies Parzen sharing with the Third not just an adjacent opus number but an immensely powerful orchestral opening, with passing references to ‘early music’ styles next to passages of the most advanced harmony.

Einförmig ist der Liebe Gram, an irresistible little piece written for women’s voices, sees Brahms take the final song from Schubert’s Winterreise and turn it into a haunting six-part canon. Another example of Brahms forging links with a revered predecessor.

Written nearly six years after Brahms completed his Second Symphony, his third symphony was described by Hans Richter on its premiere as Brahms’ ‘Erioica’. A friend of Brahms and music critic at the time, Eduard Hanslick, wrote: “Many music lovers will prefer the titanic force of the First Symphony; others, the untroubled charm of the Second, but the Third strikes me as being artistically the most nearly perfect”

“…urgent, magnificently angry… This is Gardiner at his penetrating, combative best, making contact with the music's heartbeat in a way that sounds both radical and natural…” BBC Music Magazine, November 2009 *****

“Taking up more than half the disc, the choral items are its obvious glory… Gardiner sets his face against anything that could be construed as false consolation. In his element in Song of the Fates, he gives the sublime Nänie an unusually taut, sharp-edged feel.” Gramophone Magazine, November 2009

“A must-have disc for Brahmsians” Sunday Times

“This period instrument interpretation for Brahms 3 will be a surprise to many. Once you’ve adjusted though, the enjoyment to be gained from this superbly performed disc (…) is enormous” CD Review

“It’s hard to under-emphasise the lift Gardiner’s historically informed performance has given to Brahms’s Third Symphony” Classic FM Magazine

“Throughout, there’s the satisfying phrasing that Gardiner excels in, with melodic lines and their accompaniments shifting and undulating to a satisfying degree...Riveting, enlightening and enjoyable in equal measure.” Charlotte Gardner, bbc.co.uk, 9th September 2009

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SDG Brahms Symphonies - SDG704

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Brahms - Symphonies Nos. 2 & 3

Brahms - Symphonies Nos. 2 & 3


Brahms:

Symphony No. 2 in D major, Op. 73

Symphony No. 3 in F major, Op. 90


Recorded live at Heinz Hall, Pittsburgh

“Marek Janowski's Brahms is refreshingly balanced and free of eccentricities.” BBC Music Magazine, March 2008 ***

“This is music (Symphony No. 3) that refuses to bow to convention and play to the gallery – even to the extent of having all four movements end quietly! It’s notoriously difficult to bring off this work convincingly, yet by negotiating the music’s dramatic contours with complete naturalness, Janowski and his fabulous Pittsburghers create the impression of profound ease and inevitability.” Classic FM Magazine, May 2008 *****

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Pentatone - PTC5186308

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Brahms: Symphony No. 3

Brahms: Symphony No. 3


Brahms:

Symphony No. 3 in F major, Op. 90

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


“Brand-new budget-price recordings which can rub shoulders with the best are rarer than one imagines but this fine new Brahms disc probably comes into that category. Finding a recommendable Brahms Third is more difficult than one might suppose. Since Felix Weingartner made his very fine LPO recording in 1938, the number of great, or even successful, Thirds can probably be listed on the fingers of two hands.
Marin Alsop's reading is certainly fine: dark of hue, lyrical and long drawn, though never, even for a moment, comatose. Rhythm is good, articulation keen, phrasing exquisite, the reading's crepuscular colours glowingly realised by the LPO. The reading has a quality of melancholy, a wistfulness crossed with a sense of incipient tragedy, which is almost Elgarian (Elgar's fascination with the piece is well attested).
Readings such as Furtwängler's and Sanderling's, which are more inclined to tower and course, may not have allowed themselves to be overtopped by the St Antoni Variations, yet there is something rather wonderful about the transition we have here from dark to light. It is a long time since we had a performance of the Variations as well grounded and as keenly profiled as this. Winds are splendidly to the fore: skirling flutes, songful oboes, grumbling descants on the horns 'in deep B'. It is, above all, a reading of great character: the horn-led sixth variation a burgherly jaunt, the seventh variation a handsome galliard, the finale a Meistersinger- like revel.”
Gramophone Classical Music Guide, 2010

“Marin Alsop's reading is certainly fine: dark of hue, lyrical and long drawn, though never, even for a moment, comatose. Rhythm is good, articulation keen, phrasing exquisite, the reading's crepuscular colours glowingly realised by the LPO. The reading has a quality of melancholy, a wistfulness crossed with a sense of incipient tragedy, which is almost Elgarian” Gramophone Magazine

GGramophone Magazine

Editor's Choice - March 2007

Naxos - 20% off

Naxos - 8557430

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Normally: $9.00

Special: $7.20

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