Impressive Brahmsians.

This disc follows close on the heels of these artists’ recording of the Symphonies Nos. 2 and 3 on BR Klassik (SACD) 900111. Both Symphonies were recorded in the splendid acoustic of the Herkulessaal and audience applause has been retained at the conclusion of each symphony. In May 2011 I experienced at first hand just how empathetic the relationship is between Jansons and the Bavarian RSO. I eagerly await the opportunity to attend one of their Munich concerts.

Brahms was aware that by writing symphonies he was encroaching on the territory ruled by Beethoven. In fact Brahms had written to Hermann Levi that he could feel the presence of Beethoven marching behind him. Many Brahms supporters, notably Eduard Hanslick, were happy to acknowledge the close relationship of the First Symphony to the music of Beethoven. Hans von Bülow went further, referring to the C minor symphony as “Beethoven’s tenth”. Brahms was 43 and at the height of his maturity when his Symphony No. 1 was completed in 1876 although the gestation period had been protracted, making sketches for the score, it seems, over twenty years earlier.

The grave and leaden thuds of the threatening drums that open the first movement Un poco sostenuto - Allegro are implacably convincing. Impressive too is the beautiful oboe playing of the rising motif at 2:16. Throughout this movement an assured Jansons successfully provides generous quantities of beauty, sadness and even menace. Compared to many rivals it took me a while to get used to his rather measured pace. One senses that he is rather holding back his forces. Although Rattle comes close with the BPO in truth no one I have heard on record has managed to provide an opening of such raw power. It approaches that of Klemperer and the Philharmonia. There is a burnished autumnal countryside feel to the E major Andante sostenuto. One could imagine walking at the edge of an eerily tranquil and shadowy forest whilst anticipating the ominous onset of severe weather. In the midst of such glorious playing I was struck how much the rising melody for solo violin at 6:05 reminded me of a section in Brahms’ Violin Concerto. Warm and magnificently lyrical melodies abound in the short Un poco allegretto e grazioso right from the swaying opening measures. Its manner is reminiscent of Mendelssohn. This is fresh music of the great outdoors and is evocative of cool early morning dew over a backdrop of wonderful Alpine scenery. Jansons conveys a sense of intense activity in the closing Adagio - Allegro non troppo ma con brio as if lying on a verdant grassy bank gazing up at the tones and shapes of a swiftly changing sky. I loved the inspiring and highly memorable chorale melody. The writing really evokes the finale to Beethoven's ‘Choral’ Symphony.

It was in 1884 and 1885 that Brahms worked on his Symphony No. 4 at the Austrian summer resort of Mürzzuschlag in the Styrian Alps. Hans von Bülow, who had conducted a rehearsal of the score enthused that the symphony was “stupendous, quite original, individual, and rock-like. Incomparable strength from start to finish.” It’s esteem has endured and remains for many Brahms’s most popular symphony. Walter Niemann found an intense degree of sadness in the fourth movement and wanted to describe the score as Brahms’s ‘Elegiac’ symphony.

A comforting mood of warm serenity and joy suffuses the swaying opening Allegro non troppo. In splendid performances such as this I am reminded of the verse, “perfectly cultivated earth. Honey of dawn, sun in bloom” from the poem Glimmer by Paul Éluard (1895-1952). Commencing with a striking horn-call in Jansons’s hands the E major Andante moderato feels like a dreamscape attaining beguiling heights of fantasy and grandeur. I love the good humour and vigour of the Scherzo as Jansons takes the music forward with majestic strides. In the dark key of E minor the final movement marked Allegro energico e passionato is a heroic drama constructed out of a theme and variations in the form of a chaconne often described as a passacaglia. Here Brahms introduces contrasts of the broadest imagination including chorale-style variations featuring horns and trombones. I especially enjoyed the lovely and moving passage for solo flute at 3:05-3:56 as well as the following woodwind interplay and the fierce and defiant hammer-blows.

Jansons and the Bavarian RSO provide highly accomplished performances even if they are unable to match the pervasive aura of heart-searching and the strong sense of excitement provided by Klemperer/Philharmonia and Rattle/BPO. The warm and well balanced sound quality from live concerts at the Herkulessaal, Munich is impressive.

It has been a ‘rite of passage’ for conductors to record a complete cycle of the Brahms symphonies and I have several splendid sets in my collection. My benchmark is the set of evergreen performances from Otto Klemperer and the Philharmonia. These are aristocratic, powerful and expressive. They were recorded with the great producer Walter Legge at his favoured venue: London’s Kingsway Hall in 1956/57 and can be heard on EMI Classics 5 62742 2 (c/w ‘Haydn’ Variations; Alto Rhapsody with Christa Ludwig, mezzo-; Academic Festival and Tragic Overtures). The digitally re-mastered sound is quite superb. With impeccable credentials Klemperer is a marvellous and experienced Brahmsian who made a studio recording of the Brahms First Symphony with the Staatskapelle Berlin as early as 1928. I often play the sterling performances of the Symphonies 1-3 conducted by Eugen Jochum with the London Philharmonic Orchestra from the Kingsway Hall, London in 1956 on EMI Classics 5 69515 2. Re-mastered at the Abbey Road studios, for its age, Jochum’s sound is excellent too. For an accompanying single version of the fourth symphony I would add Carlos Kleiber’s commanding 1980 Musikverein, Vienna reading with the Vienna Philharmonic digitally recorded on Deutsche Grammophon 457 706-2. Of the modern digital sets I greatly admire the 2008 accounts from the Berlin Philharmonic Orchestra under Sir Simon Rattle on EMI Classics 2672542. They were recorded live in the Philharmonie at single concert performances with some additional patching. In my review I described them as, “urgently spontaneous performances conveying a Romantic power of immense intensity.”

Jansons and his Bavarian Radio colleagues are impressive Brahmsians. Any serious collector should be happy to hold this set of Brahms’ symphonies.

-- Michael Cookson, MusicWeb International

Soloist and leader of the Camerata Bern, Antje Weithaas - "For any violinist, the Brahms Concerto is a special challenge and a precious gem, a piece one works on for decades. I studied it more intensely for the first time when I was 18-19; now I'm astounded to note how one's perception of such a work can change so radically. Amongst all violin concertos, Brahms, Beethoven and Mendelssohn play an essential role, and I would add Britten and Shostakovich. The Brahms Violin Concerto is part of our essential repertoire, and was composed at a time when the "customary" violin concerto no longer had any significance as virtuoso display for a soloist (incidentally, that's my own credo as a performer). This is a symphonic work, an aspect that relates it to the recording of Berg and Beethoven I made with Stavanger Symphony Orchestra a couple of years ago. Those two pieces from different stylistic periods are actually works for orchestra with obligato solo violin - and the same applies to the Brahms Concerto. The violin often plays passagework around the orchestra melody, as in the Beethoven Concerto, which is why I find the symphonic approach so important here as well...We tackled the challenge of performing and recording without a conductor. Of course, when I otherwise perform this concerto with a conductor, I intensely learn and think through the orchestra part in my head. It is a challenge I am aware of, and I thus probably would never have had dared to perform this concerto without a conductor. But since I've often performed the Beethoven Concerto with the Camerata Bern without a conductor, I started thinking that the Brahms Concerto just might work as well. Over teh past 7-9 years we have become so well-acquainted with one another on a musical and personal level that by now we manage to communicate with blindfolds on. I probably would not have dared to embark on this adventure with any other ensemble. The most important thing is that each musician should remain in a "chamber music" attitude while providing the necessary symphonic energy and assuming his/her share of responsibility.

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The Cleveland Orchestra is the “aristocrat among American orchestras” (The Telegraph) and its sovereign, 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. It is Welser-Möst’s nimble alternation between smoothness and a sound that’s as “sharp-edged as a skyscraper” (The Telegraph after the Brahms’ First at the orchestra’s London Proms concert). That keeps the ensemble and the audience figuratively on its toes. The Second Piano Concerto, completed in 1881, is the work of a composer who has become skilled in the manipulation of large forms. Brahms treats the soloist as an equal partner with the orchestra. 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 color. Welser-Möst and Bronfman brought pulsing energy to the concerto’s second movement, a Scherzo, 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 come unhinged momentarily. And yet Bronfman was also wholly present, taking time in relaxed passages to savor every second. Which of the two concertos Bronfman knocked further out the park is impossible to say. Both scores the pianist seized by their very hearts, drawing forth all the majesty, raw power and exquisite beauty that each contains.

Brahms’s German Requiem is a work of great intensity that speaks to people of all faiths and to believers and non-believers alike. In this concert recorded at the magnificent Baroque basilica of Saint Florian in Austria, The Cleveland Orchestra and its Music Director Franz Welser-Möst pare down all traces of bombast and, together with the Wiener Singverein and the soloists Hanna-Elisabeth Müller and Simon Keenlyside, they create a meditation on life and death, hailed by the press as “an event of the first order”. A German Requiem, to Words of the Holy Scriptures, Op. 45 is Brahms’ longest work, comprising seven movements which together last 65 to 80 minutes. The large-scale work is scored for chorus, orchestra, and soprano and baritone soloists.

In the year of Leonard Bernstein’s centenary, Sony Classical is pleased to present the perfect introduction to this legendary American musician. Many of the conductor-composer’s most celebrated interpretations and works are sampled on two CDs, every track chosen to display a facet of his unparalleled dynamism and versatility.

There is music by Mozart, Beethoven, Mendelssohn, Brahms, Mahler, Shostakovich and Copland on the first disc, with great soloists like clarinettist Benny Goodman and mezzo Frederica von Stade, violinists Joshua Bell and Zino Francescatti, pianists Glenn Gould and Philippe Entremont, not to mention Bernstein himself playing and conducting Gershwin’s Rhapsody in Blue. Writing about these benchmark 1960s and 1970s New York interpretations, The Guardian’s reviewer declared: “There’s a raw ebullience to the performances that is typical of Bernstein at his best … They are all historic performances.”

Bernstein the composer is represented by a generously filled second disc. “Few composers capture their time and become the iconic voice of their age,” wrote conductor John Mauceri, in a tribute to his late mentor, one of a handful of figures in the 20th century who truly changed the face of music. In addition to highlights from concert works such as the Age of Anxiety, Serenade and Mass, there are selections from Bernstein’s ballets and musicals, including excerpts from the original Broadway cast recording of West Side Story from 1957 as well as his later New York Philharmonic recording of the “Symphonic Dances”.

Bernstein’s friend and colleague, composer Ned Rorem, summed up Leonard Bernstein’s achievement admirably when he said in 1987: “If he were not a composer he would not be the world’s best conductor. Alone among conductors he knows that the essence of music is not what it sounds like, but what the sounds are intended to communicate. Since he too is a composer, he knows that the magic lies not in the communication of sound, but in the sound of communication."

Brahm's viola sonatas, composed in the last few years of his life, have become cornerstones of that instrument's repertoire. They are what we regard as "the" genuine romantic viola sonata reflecting the late Brahms' substantial and richly emotional musical world. The Two Songs with viola and piano pay tribute to the friendship between the composer and the celebrated violinist, Joseph Joachim. Besides viola player Péter Bársony this recording features the fabulous pianist Péter Frankl and the opera-singer, popular with the audiences of the most reputed concert halls, Ildikó Komlósi. Péter Bársony is a professor at Franz Liszt Academy of Music and Kunstuniversitat Graz. He regularly gives concerts all over the globe, both as a soloist and in chamber music partnerships.

This new release features the complete symphonic recordings of OehmsClassics with Bertrand de Billy and the ORF Vienna Radio Symphony Orchestra from 2003-2010 when Bertrand de Billy was Chief Conductor in Vienna. Bertrand de Billy was born in Paris where he studied music. Starting as a member of an orchestra, he soon took on conducting. 1993-95 he was first Kapellmeister and Deputy Music Director at the Anhaltisches Theatre in Dessau, 1996-98 he held the same position at the Vienna Volksoper. 1999-2004 he was Music Director at the Gran Teatre del Liceu in Barcelona and 2002-2010 he was Music Director of the Radio Symphony Orchestra in Vienna. Bertrand de Billy is principal guest of the Orchestre de Chambre de Lausanne (2013-2016). Since 2014/2015 he is also principal guest conductor of the Dresdner Philharmonie.

The Cleveland Orchestra is the "aristocrat among American orchestras" (The Telegraph) and the ensemble's music director, Franz Welser-Möst, leads them with verve and precision. This three DVD set from Belvedere features a 'cycle' of all the major orchestral works by Johannes Brahms. Included are the complete symphonies and piano concertos, the violin concerto, the Tragic Overture, the Academic Festival Overture and the Haydn Variations. Soloists include violinist Julia Fischer and pianist Yefim Bronfman.