Brahms: Alto Rhapsody

Editorial Reviews
Amazon.com
Brahms's shorter choral music with orchestra remains more or less on the periphery of the basic repertoire for a few reasons. The music is difficult to program in isolation, and it's also a lot of work for relatively small return. Not that it's bad or dull--most of it is lovely, but never quite offers enough bang for your buck. This collection logically and satisfyingly offers first-rate performances of all of these warmly Romantic pieces, with Marilyn Horne, an especially distinctive soloist, in the Alto Rhapsody. A lovely disc, then, to explore at leisure. --David Hurwitz

Tracks:

Tragic Overture, Op.81
Alto-Rhapsody, Op.53 - Christa Ludwig
I: Un Poco Sostenuto - Allegro
II: Andante Sostenuto
III: Un Poco Allegretto E Grazioso
IV: Adagio - Allegro Non Troppo Ma Con Brio

Customer Reviews:

A great performance, but no granite, please.......2006-11-26

Because the terms 'monumental' and 'granitic' have been applied so often to Klemperer, they get repeated endlessly. In some ways his Brahms First may sound like that (I've used the same words), but on closer listening, the second motto in the first movement, for example, is rather languid and soft. Klemperer leads with great force, but I can't agree with reviewers who claim he is hammering home th first movement or driving the tempo. Klemperer has tremendous integrity, and he never sentimentlizes, but in his way he can be quite flexible (as in the supple opening of the slow movement).

In fact, the slow movement here is a touchstone for Klemperer's greatness; it moves along with such authority and inner life, such severe control merged with real emotion, that one despairs of ever conductors like him again. The Scherzo is a bit of a surprise--it's one of the fastest on disc at 4:42 min. and full of good humor. The finale is also fast at 16 min., and anyone expecting ponderousness (or granite) will find Klemperer to be surprisingly songful in the famous main theme. In any event, this is a great First that speaks for itself, but I thought I'd clear the air of a few cobwebs.

Very Strong Brahms From Klemperer.......2006-11-07

Right from the titanic opening, you are captivated by the music. Klemperer can be a very dry conductor, very objective and lacking mercurial qualities which are more readily found in the Brahms performances by Furtwangler. However there can't be any denying that from a purely objective standpoint, Klemperer's recording of the 1st symphony by Brahms is one of the truly greatest. Practically everything sounds right, tempos, weight of sound and the true dignity of the music is fully conveyed. The additional pieces are great too, the Tragic Overture and the Alto Rhapsody with Christa Ludwig and male choir.

This is not the greatest performance of this symphony but it is certainly in the top 5 of all time. Here's my rundown of that top 5.

1. Furtwangler 1951
2. Karajan 1964
3. Klemperer 1961 ( the one under review )
4. Karajan 1987
5. Abbado 1990

Superlative!!.......2006-04-28

I hadn't listened to this symphony in close to thirty years (shame on me) and purchased the Kemplerer box set (all the symphonies plus the overtures). As other reviewers mentioned this is one of, if not the best interpretations of these works. I was originally looking for a recording I first heard during the early '70s which was particularly striking. In the last movement of the 1st, that version brought the string accompaniment for the transition to the "9th" theme to the fore, giving it an especially shimmering quality. I forget which version it was and have never been able to find it again. Kempeler does not, unfortunately, conduct that section the same way. However, in all other respects, it is a wonderful recording and belongs in any collection. By the way, I would be interested in hearing from anyone who could identify the other recording I am looking for (is it karajan, Walter or Boehm or someone else)?

Solemn and ponderous.......2004-06-01

I don't understand why Klemperer's readings are described as "granitic" and "monumental". Slow and ponderous are better descriptions. I used to find Brahms 1 too solemn a work till I discovered Eugen Jochum's recording on EMI. Jochum with his flexible phrasing and tempi makes the music sing. I suggest all those who thing this is great to listen to Jochum. All one gets from Klemperer is a headache.

otherworldly !.......2004-05-21

arguably the finest recording of Brahms 1st, utterly sweeping and majestic yet with unbelievable foundation and architecture which Klemperer is noted for. now reissued under EMI's great recordings of the century series with the rest of Klemp's Brahms. a must have period!

Average customer rating:

The Very Best of Janet Baker is simply the very best!
Grace Incarnate
A Rare & Glorious Singer

The Very Best of Janet Baker

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Great Recordings Of The Century - Janet Baker Sings Mahler / Barbirolli, et al
Philips and Decca Recordings, 1961-1979 (Limited Edition)
Very Best of
The Very Best of Lucia Popp
The Very Best of Victoria de los Angeles

ASIN: B00005UUOW
Release Date: 2002-04-09

Tracks:

Christmas Oratorio: Bereite Dich, Zion
Messiah: He Was Despised
Elijah: O Rest In The Lord
Alto Rhapsody
Ich Bin Der Welt Abhanden Gekommen
L'Invitation Au Voyage
Pie Jesu (From The Requieum Op.9)
Sea Pictures Op.37: I. Sea Slumber-Song
Sea Pictures Op.37: II. In Haven
Sea Pictures Op.37: III. Sabbath Morning At Sea
Sea Pictures Op.37: IV. Where Corals Lie
Sea Pictures Op.37: V. The Swimmer
The Angel's Farewell - Ambrosian Singers

Tracks:

Linden Lea
A Boy Was Born, Op.3: Corpus Christi Carol
Pretty Ring Time
Prison
Soir
Clair De Lune
Ave Maria (Ellens Gesang III)
Gretchen Am Spinnrade
Wiegenlied (Schlafe, Schlafe)
Die Forelle
Auf Dem Wasser Zu Singen
An Die Musik
An Sylvia
Nacht Und Traume
Heidenroslein
Du Bist Die Ruh'
Auf Flugeln Des Gesanges
Liederkreis, Op.39: Mondnacht
Frauenliebe Und -Leben Op.42: Du Ring An Meinem Finger
Geistliches Wiegenlied
Befreit
Morgen!

Amazon.com

While it is impossible to really squeeze The Very Best of Janet Baker onto just two CDs, this two and a half hour anthology is a fine portrait of the British mezzo-soprano. Central to CD 1 is Elgar's Sea Pictures, a definitive account with the London Symphony Orchestra conducted by Sir John Barbirolli. While other British music is represented by Vaughan Williams's "Linden Lea," Britten's "Corpus Christie Carol," and Warlock's "Pretty Ring Time," CD 2 balances the program with 10 Schubert songs accompanied at the piano by either Gerald Moore or Geoffrey Parsons, which range from "Ave Maria" to Shakespeare. The set lends equal weight to orchestral and more intimate song, as well as to works in English--a very moving reading of Handel's "He was despised" from Messiah--and European landmarks, including Mendelssohn's On Wings of Song and Brahms's Alto Rhapsody, the latter with a superlative London Philharmonic Orchestra under Sir Adrian Boult. In an age of technically dazzling but sometimes bland singers, this release is a reminder of emotionally intense musicianship that retains vocal clarity and commitment to the composer's intentions over superstar ego. The word great is often used all too easily, but it could not be more appropriate for this outstanding collection of a great singer. --Gary S. Dalkin

Customer Reviews:

The Very Best of Janet Baker is simply the very best!.......2005-02-09

This cd and this amazing musician are an absolute must have for any music lover or music snob alike! Her voice is amazing!

Grace Incarnate.......2002-09-02

If there is one singer who has ever truly been able to master the singer's art of interpretation, this is her. She is a gift to music, I truly believe this. A few words, or glowing adjectives could not accurately describe the singing of a woman who epitomizes art. And music. Grace and beauty.
Each track on this cd is a perfect union of poetry, melody and technicality. Dame Janet Baker fully immerses herself into each piece, and delivers highly commited, intelligent & emotional performances.

A Rare & Glorious Singer.......2002-06-10

This is a pretty good cross-section of Dame Janet's output from the prime of her career. There are few if any singers like her around today. There are many mezzos who can sing beautifully, with great articulation and finesse, but they lack the moral and musical integrity Dame Janet always brought to her singing. The voice is ardent, seeking, yearning, finding, exulting. Listen to the excerpt from "Dream of Gerontius" or the third of the "Sea Pictures" to see what I mean.
She does not sing to show off. She sings to enlighten, to illuminate, to reveal, to enter into. Her voice carries us off, near to Heaven.
Dame Janet has been neglected of late. This recording shows us why, in these perilous times, we need her more than ever.

EMI Great Recordings of Century - Brahms: Symphonies Nos. 1-4/Klemperer

Average customer rating:

no kidding
Not sure what all the fuss is about.
Five stars +
Karajan or Klemperer in Brahms?
My deserted island pick

EMI Great Recordings of Century - Brahms: Symphonies Nos. 1-4/Klemperer
Johannes Brahms , Philharmonia Orchestra , Christa Ludwig , Philharmonia Chorus , and Otto Klemperer
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Similar Items:

Beethoven: The Complete Symphonies and Piano Concertos
Furtwangler Conducts Brahms - Complete Symphonies, etc / North German RSO, Berlin PO
Great Recordings Of The Century - Schubert: Symphonies nos. 3, 5, & 6 / Beecham, Royal Philharmonic Orchestra
Wagner: Orchestral Music
Furtwangler Conducts Beethoven - Beethoven: symphonies no 3,4,5, & 9, Leonore

ASIN: B0001O3Y8A
Release Date: 2004-04-06

Tracks:

Thema: Chorale St. Antoni
Variation I (Poco Piu Animato)
Variation II (Piu Vivace)
Variation III (Con Moto)
Variation IV (Andante Con Moto)
Variation V (Vivace)
Variation VI (Vivace)
Variation VII ( Grazioso)
Variation VIII (Presto Non Troppo)
Finale (Andante)
I: Un Poco Sostenuto - Allegro
II: Andante Sostenuto
III: Un Poco Allegretto E Grazioso
IV: Adagio - Piu Andante - Allegro Non Troppo Ma Con Brio

Tracks:

I: Allegro Non Troppo
II: Adagio Non Troppo
III: Allegretto Grazioso (Quasi Andantino) - Presto Ma Non Assai
IV: Allegro Con Spirito
I: Allegro Con Brio - Un Poco Sostenuto
II: Andante
III: Poco Allegretto
IV: Allegro - Un Poco Sostenuto

Tracks:

Academic Festival Overture Op. 80
Tragic Overture Op. 81
Alto Rhapsody Op. 53
I: Allegro Non Troppo
II: Andante Moderato
III: Allegro Giocoso - Poco Meno Presto
IV: Allegro Energico E Passionato - Piu Allegro

Customer Reviews:

no kidding.......2007-07-06

this IS the best brahms set in the market. honesly, as much as i love klemperer, i was pretty surprised by the amount of tension he managed to retain throughout this studio recording - something the greatest conductors often couldn't do.
To me, and i do not seem to be alone in this regard, the gem of the set is the fourth symphony. It is here that Klemperer simply out does Celibidache, Toscanini, and Furtwangler. The passacaglia is imbued with a sense of inevitability - i was completely taken aback by the impact of the climax. The relationship between the variations was so perfectly thought out that after this recording every other passacaglia seems inconsequential. Furtwangler might have imbued each passage with more fire, but even his profound insight is cursory compared to what Klemperer manages to convey.
Klemperer's supreme sense of architecture and drama also churns out an inimitable Academic Overture, which is also simply the most stunning and satisfying account I have ever heard. While in the beginning the orchestra might not seem completely synchronized, such misgivings are done away with by the time the last theme, the climax, is performed.
the rest are also similarly great, although owing the Furtwangler, Klemperer's first symphony doesn't top the rest of the competition like the other symphonies do.
there are a few records out there that i would call definitive - but this brahms set is the closest ever.

Not sure what all the fuss is about........2006-09-15

For me this set of Brahms is ho-hum. It is average, but nothing special. I feel the same way about Herbert von Kajaran's interpretation of Brahms. Brahms is without a doubt my favorite composer and I have heard many versions of his symphonies. For my tastes, the London Philharmonic's sound has always been too thin for Brahms. The only time I liked the London Philharmonic performing Brahms was Antal Dorati's set on Mercury Living Presence.
I prefer the rich and warm sound of the Berlin Philharmonic. The set of symphonies that Claudio Abbado released on DG in the 1990's has taken top honors for me. Most of the previous traversals with the Berliners (i.e. von Karajan) have taken the tempos too slow for my tastes.
As far as I'm concerned you can do much better elsewhere: Abbado, Szell, and Dorati - heck even Bruno Walter's set with the Columbia Symphony Orchestra is better than this presentation.

Five stars +.......2005-11-14

Klemperer is one of my favourites, probably because I got to know Mahler through him. For me this is the best Brahms symphonies cycle yet. The tempos are well judged as always and the Philharmonia at top form as always under Klemperer. I feel that the 4th is the gem of this cycle unsurpassed in every aspect. Along with the German Requiem again with Klempeper and the Philharmonia I find these CDs the best Brahms orchestral music on the market.

Karajan or Klemperer in Brahms?.......2005-09-29

Otto Klempeerer owes his late career in London and on EMI records to von Karajan. Since its founding in 1949, the Philharmonia Orch. was closely allied with Karajan, who built it up as his own career took off after the war. But when Furtwangler died in 1954 and his arch-rvial Karajan took over the Berlin Phil., the impressario of the Philharmonia, Walter Legge, knew that he neeeded a new stellar conductor or his orchestra would fail. He chose Klemperer, then almost forgotten and already past 65 when he made his initial appearances in London in 1951.

Legge's gamble paid off. Klemperer became the darling of London critics and audiences, and his performance style--measured, serious, with impeccable integrity--became the standard in Mozart, Beethoven, Wagner, and Brahms. He cared little for beauty of osund, smooth phrasing, or stylistic refinement. Words like "granitic" and "primordial" were used regularly.

Is he the antithesis of Karajan, who valued everything that Klemperer disdained? Listening to these Brahms symphony recordings in improved sound, I think the Klemperer vs. Karajan debate isn't all that valid. These four symphonies aren't granitic or primordial, nor are they particularly slow. In fact, the first movement of the Second moves lightly, as does the finale of the Fourth. If anything, Karajan's presentation is more massive and imposing in every symphony. The main difference begins with Klemperer's steady pace, which he tends to hold without allowing the phrase to be molded as flexibly as Karajan.

Karajan made two complete Brahms cycles for DG, the latter in digital sound. He was undoubtedly a great Brahms conductor, but so was Klemperer. Here the Philharmonia sounds sharp and alert and not very big in number, while Karajan's Berlin forces sound sumptuous and huge.

These two giants had no peer in Brahms from the death of Toscanini to the present day, excepting occasional recordings by Giulini, Bernstein, and perhaps in today's market, Harnoncourt. Some would also rank bruno Walter's two Brahms cycles at this exalted level, but for me only the mono one with the NY Phil., now available on a Sony import, qualifies, and besides the inadequate sonics, the orchestra does not play as beautifully as what we hear in this set. It's great to have Klemperer's classic set, which is totally free of eccentricity, back in such good sound. Five stars without a doubt.

My deserted island pick.......2005-06-20

If I had to go to that deserted island, I would be in doubt of which of these 3 CDs to take with me. I have perhaps 500 classical CDs, but this box stands out. I am not going to write very much, however: Brahms is my favourite composer. Brahms was Klemperer's favourite composer. His conducting is perfect all the way. These are so-called slow interpretations, i.e. compared to Toscanini and Walter, but not slow compared to, say Abbado; I think these tempos are perfectly suited to bring out the richness of the texture. The result I will describe as civilized, human, warm, even hot, dramatic, strictly to the point, even sharp, although there are sharper interpretations out there, but they don't got the same lyrical intensity as Klemperer's.

Johannes Brahms: Ein Deutsches Requiem, Op. 45/Alt-Rhapsodie, Op. 53

Average customer rating:

A German Requiem of terror and tenderness
A Last Memento of a Brilliant Conductor
Overall a very satisfying recording
One of Walter's Finest
Great singing!!!!!!

Johannes Brahms: Ein Deutsches Requiem, Op. 45/Alt-Rhapsodie, Op. 53

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Brahms: Symphony No. 1; Haydn Variations; Academic Festival Overture
Brahms: Symphonies Nos. 2 & 3
Brahms: Symphony No. 4; Tragic Overture; Schicksalslied
Mahler: Symphonies No. 1 & No. 2; Lieder eines fahrenden Gesellen
Dvorák: Symphonies Nos. 8 & 9

ASIN: B000002A7X
Release Date: 1995-05-16

Tracks:

Ein deutsche Requiem op.45: I. 'Selig sind, die da Leid tragen'
Ein deutsche Requiem op.45: II. 'Denn alles Fleisch, es ist wie Gras'
Ein deutsche Requiem op.45: III. 'Herr, lehre doch mich'
Ein deutsche Requiem op.45: IV. 'Wie lieblich sind deine Wohnungen'
Ein deutsche Requiem op.45: V. 'Ihr habt nun Traurigkeit'
Ein deutsche Requiem op.45: VI. 'Denn wir haben hie keine bleibende Statt'
Ein deutsche Requiem op.45: VII. 'Selig sind die Toten'
Alt-Rhapsodie op.53: Alto Rhapsody

Customer Reviews:

A German Requiem of terror and tenderness.......2006-03-16

Bruno Walter went for drama rather than reverence in this 1954 recording of the German Requiem with the NY Phil. As others have noted, he takes vigorous tempos--the overall timing of 62 min. compares with 69 min. for Klemperer and Shaw, 75 min. for Karajan's EMI account from the Seventies. George London is fervent and at times terrifying in his solo singing, rendering the suffering and hope of a sinner in the face of death. At the other extreme, Walter's characteristic tenderness also comes through in the hushed choral singing of the first two movements. One can't expect a dated mono recording to capture the full sound of orchestra and chorus realistically, but this is such a hair-raising experience that it hardly matters.

The filler is an Alto Rhapsody in stereo from 1961, which Walter saves from its usual lugubrious fate. In fact, this is some of his most impassioned conducting in old age, and although neither Mildred Miller nor the Occidental College choir behind her are first-rate, Miller sings with intensity, in keeping iwth Walter's conception. Five stars to both performances.

A Last Memento of a Brilliant Conductor.......2004-12-11

Bruno Walter was not only one of the very finest conductors of both symphony and opera in the 20th Century, he was an unassuming poet whose every thought and gesture was about the composers' intentions. On the podium he was revered by orchestras and singers and choruses and always demanded (and got) as close to perfection as the moment allowed.

This recording of the Brahms Ein Deutsches Requiem is holy and the contributions by the chorus and the soloists are understated in the way that Walter achieved his most profound effect.

It is in the accompanying "Alto Rhapsody" for Mezzo Soprano, men's chorus, and orchestra that the essence of this great man can be most securely felt. In the early 1960s, knowing that Bruno Walter would not live much longer, John McClure of Columbia Records assembled the 'Columbia Symphony Orchestra' - musicians drawn form the finest of the studio musicians in Los Angeles - and set up a recording site in the American Legion Hall next to the Hollywood Bowl where he facilitated such recordings as this Alto Rhapsody, Brahms 'Schicksalslied', Wagner, Mahler, and others. Bruno Walter himself auditioned choruses for these recordings and elected to engage the Occidental College Concert Choir as trained by Howard Swan to sing the choral elements. For the Mezzo he chose the underrated Mildred Miller. The result is as perfect a concept of the Alto Rhapsody ever recorded. Originally this work was released with Brahms' "Schicksalslied" and Mahler's "Lieder eines fahrenden Gesellen". Would that that old CD be available still.

The experience of making music with the mighty but gentle Bruno Walter is an unforgettable experience for performers and audiences. Warm memories of being in the chorus for the Alto Rhapsody will always be among the most treasured in my musical experiences. This is a recording for the ages. Grady Harp, December 2004

Overall a very satisfying recording.......2003-02-19

Singing in a performance of the Requiem left me irritated with the slow tempos of the Klemperer recording, which was the one I owned until I bought this one. Walter's tempos lend themselves better to Brahms' rhythmic genius. The recording is not without drawbacks, however: the tone quality of the singers is a little too dark for my taste, particularly the basses. Another gripe is that Denn Alles Fleisch is articulated almost stacatto, which detracts from the passion of the movement. Finally, the soprano solo is a little too fast, the only movement where the quicker tempo doesn't quite work.
Other than these negatives, the recording is musically satisfying, with a generally good balance between orchestra and choir. I recommend it over the Klemperer and Shaw recordings for those who are sensitive to dragging tempos.

One of Walter's Finest.......2002-03-15

I bought this disc out of a sense of frustration with modern performances that left me wondering as I listened, "Is it almost over yet?". Even John Eliot Gardiner's celebrated 'excavation' of the piece didn't remove that feeling. At least this version was short! (about 60 min.) I'm really happy I made the switch. The sound is mono, so it may be disappointing to some listeners, but the quality of the performance is so warm, passionate and well thought out and felt, so utterly cohesive, that I don't think anyone could be disappointed with the performance. The "Alto Rhapsody" was recorded later in stereo, (with a higher volume level) and is wonderful all around.

Great singing!!!!!!.......2002-01-06

No one sings like the Westminster Choir under John Finely Willamson any more. The dark, rich sound they produce is not heard any more. George London is one of the best bass-baritones ever. This recording is the best!!!!!!!!

Average customer rating:

A jewel in my collection
Great Brahms Cycle From An Unexpected Place
The best Brahms for the best price!

Brahms: Symphonies Nos. 1-4

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
Similar Items:

Bruckner: Symphony No. 6
The Nine Symphonies
Mahler: Symphony No. 6; Piano Quartet [Hybrid SACD]
Saint-Saëns: Symphony No. 3; Poulenc: Organ Concerto; Barber: Toccata Festiva
Beethoven: The Complete Symphonies and Piano Concertos

ASIN: B00005TNML
Release Date: 2002-05-07

Tracks:

Symphony No.1 In C Minor, Op.68: I. Un Poco Sostenuto - Allegro
Symphony No.1 In C Minor, Op.68: II. Andante Sostenuto
Symphony No.1 In C Minor, Op.68: III. Un Poco Allegretto E Grazioso
Symphony No.1 In C Minor, Op.68: IV. Adagio - Piu Andante - Allegro Non Troppo, Ma Con Brio
Academic Festival Overture, Op.80

Tracks:

Symphony No.2 In D Major, Op.73: I. Allegro Non Troppo
Symphony No.2 In D Major, Op.73: II. Adagio Non Troppo
Symphony No.2 In D Major, Op.73: III. Allegretto Grazioso (Quasi Andantino) - Presto Ma Non Troppo
Symphony No.2 In D Major, Op.73: IV. Allegro Con Spirito
Variations On A Theme By Haydn, Op.56a: Chorale (St. Antoni)
Variations On A Theme By Haydn, Op.56a: I. Poco Piu Animato
Variations On A Theme By Haydn, Op.56a: II. Piu Vivace
Variations On A Theme By Haydn, Op.56a: III. Con Moto
Variations On A Theme By Haydn, Op.56a: IV. Andante Con Moto
Variations On A Theme By Haydn, Op.56a: V. Vivace
Variations On A Theme By Haydn, Op.56a: VI. Vivace
Variations On A Theme By Haydn, Op.56a: VII. Grazioso
Variations On A Theme By Haydn, Op.56a: VIII. Presto Non Troppo
Variations On A Theme By Haydn, Op.56a: Finale

Tracks:

Symphonie No.3 In F Major, Op.90: I. Allegro Non Troppo
Symphonie No.3 In F Major, Op.90: II. Andante Moderato
Symphonie No.3 In F Major, Op.90: III. Allegro Giocoso
Symphonie No.3 In F Major, Op.90: IV. Allegro Energico E Passionato
Alto Rhapsody, Op.53 - Dunja Vejzovic

Tracks:

Symphony No.4 In E Minor, Op.98: I. Allegro Non Troppo
Symphony No.4 In E Minor, Op.98: II. Andante Moderato
Symphony No.4 In E Minor, Op.98: III. Allegro Giocoso
Symphony No.4 In E Minor, Op.98: IV. Allegro Energico E Passionato
Tragic Overture, Op.81

Customer Reviews:

A jewel in my collection.......2005-11-15

Brahms was the torchbearer of the First Viennese School, holding down tradition's fort in the face of the Liszt/Wagner music of the future. Despite his preference for Classical forms and structure, his temperament was unquestionably Romantic. Brahms resolved these seemingly opposite forces in his music, but realizing Brahms' vision in performance can be elusive. Among the symphony cycles, rarely has Brahms sounded so fully Classical and fully Romantic simultaneously than in this set.

The critical element in Eschenbach's readings is that they are somewhat slower than most, with tempi similar to those of Furtwangler's. This approach allows the thick orchestration to breathe, making it easier to appreciate Brahms' unrivaled mastery of musical architecture. Furthermore, it highlights his imagination while remaining within the confines of the traditional symphonic forms. For the slow movements, it fully showcases Brahms' lyricism that a faster tempo would have glossed over.

I did find the first movement of the Fourth to be a little slow, but it was still within the realm of reasonable interpretation. I'm sure it will grow on me as I listen more.

The inclusion of four add-ons is a nice bonus--most Brahms sets include only the Academic Festival and Tragic Overtures. No revelations here, but they are well performed.

Overall, an unbeatable value.

Great Brahms Cycle From An Unexpected Place.......2003-08-29

It's not all the time that it happens, but every once in a while, a symphonic cycle box set made by an orchestra that is not universally seen as a world-class outfit makes an impact. Such is the case here with this cycle of Brahms' four symphonies and various other works performed here by the Houston Symphony Orchestra under the leadership of Christoph Eschenbach, who served as Music Director from 1989 to 2001.

This Brahms cycle was made during the early 90s, and shows both Eschenbach and the Houston Symphony in top form. Eschenbach observes the first-movement exposition repeats of the first three symphonies, thus making their running times longer (the opening of No. 1 is almost nineteen minutes; that of No. 2 nearly twenty-two; and that of No. 3 over thirteen and a half), but the quality is never sacrificed. Dunja Vejzovic and the male voices of the Houston Symphony Chorus are excellent on the recording of Brahms' early choral work Alto Rhapsody; and the orchestra does good work on the Haydn Variations, the Academic Festival Overture, and the highly charged Tragic Overture.

Given all of this, it is bewildering that it has only been in recent times that the Houston Symphony has achieved the respect it has long deserved. After all, many big names had stood on the podium before Eschenbach: Beecham, Stokowski, Barbirolli, and Previn. But Eschenbach seemed to break through the orchestra board's long-time ultra-conservative musical mentality, and thus he elevated the Houston Symphony to world-class status. The proof can be found in this superbly recorded and superbly priced Brahms set, which is well worth seeking out.

The best Brahms for the best price!.......2002-09-23

When I saw this inexpensive 4cd box set, I knew that I had to get it, especially after hearing Eschenbach's recording of Bruckner's 6th w/Houston SO (the best ever btw). Some conductors (eg. Karajan) try to take you into different worlds in the different symphonies. However Eschenbach takes you to different places withnin the same world, giving the listener a more organic-whole musical listening experience. The rhythms are sharp, the readings are dark (Brahms was a hard-core loner) and intense. The opening of the first sym. reminds me of Klemperer, so deep and powerful. The stings are flawless and full of support. When one looks at set prices like Abbado's...the eschenbach set is one of the best Brahms bargain sets of all time. The filler pieces are equally strong, as are the singers in the alto rhap. A must have for all Brahmsians!!

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Perfect Music From an Angelic Voice
TRIBUTE TO A GREAT ARTIST

Marian Anderson

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Spirituals
Marian Anderson Rare and Unpublished Recordings, 1936 - 1952
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ASIN: B000003ES6
Release Date: 1990-10-25

Tracks:

St. Matthew Passion: Erbarme dich
Messiah: He Shall Feed His Flock
Ave Maria
Liebesbotschaft
Wohin?
Death And The Maiden, D. 531
Stille Tranen (2 Gedichte, Op. 35: No. 10)
Der Nussbaum (Myrthen, Op. 25: No.3)
Alto Rhapsody, Op. 53 (After 'Harzreise im Winter')
Immer leiser wird mein Schlummer, Op. 105, No. 2
Morgen, Op. 27, No. 4
In The Silence Of The Secret Night, Op. 4, No. 3
Un Ballo In Maschera: Re dell'abisso affrettati
Go Down, Moses
Crucifixion
My Lord, What A Morning

Customer Reviews:

Perfect Music From an Angelic Voice.......2000-05-07

I can't add much to the superb review by lesismore26 (I give it five Stars! ) but I do have one disagreement. I LIKED the Ulrica aria. Yes, the voice is past its prime, but the artistry is very much there. In fact, the piece makes it clear that while her voice sounds perfect for her repertoire, it could have handled opera quite beautifully too. It's true that the pure, ethereal quality of her tone is DEFINITELY well suited to Baroque and Classical oratorio, and true that there simply aren't that many roles for contraltos. But it is also true that these reasons had NOTHING to do with why this particular contralto was not singing in opera houses. Another voice as dazzling as hers would have had composers creating roles tailored for them.

I wouldn't trade her spirituals and lieder, but I would have liked to hear her sing Erda, or Clytemnestra, maybe even Dalila (if you can imagine this Angelic persona in THAT role!)

TRIBUTE TO A GREAT ARTIST.......1999-12-22

Marian Anderson is remembered in too many instances for the wrong reasons: the first Afro-American artist to be engaged by the Metropolitan Opera in a leading role; the artist who sang the monumental concert at the Lincoln Memorial in 1939 after being denied the use of Constitution Hall by the Daughters of the American Revolution --- an action that sparked mass indignation and worldwide attention to the fact that the racial prejudice was alive and well in the United States; the artist who became a symbol of grace and dignity during the civil rights movement. While all of these things are true, they eclipse the simple fact that Marian Anderson's singularly individual and distinctive, and true contralto voice was one of the jewels of the musical century, and that her pursuasive powers as an interpreter of the lieder of Schubert, Schumann, Brahms, and Sibelius were the stuff of which legends are made. What is also overlooked is that the fabled voice was a long way past its prime at the time of that Metropolitan Opera debut in early 1955. The role was that of the witch Ulrica in Verdi's "Un Ballo in Maschera"--- not a leading role, but a very important and pivotal one nonetheless ---- but by that time the voice had become dry, unsteady, frequently out-of-tune, and very "old" sounding. Anderson was already around 58 years old, and while her "debut" was historic from a social standpoint ----- it opened the doors for such future legends a Leontyne Price, Martina Arroyo, Shirley Verrett, Grace Bumbry ------ it was certainly not a great vocal milestone. It was simply too late for any sort of a career at the Metropolitan Opera, and though it was the blatant racial prejudices of the times that prevented Marian Anderson from singing on the opera stage during the years of her vocal prime, it would appear, as evidenced by her work on records (even by those made in her greatest years -- the 1930's and 1940's), that her temperment and vocal demeanor was far more suited to the concert and recital platforms, and it was in this milieu that Marian Anderson lavishly demonstrated her true genius. To begin with, the excerpts on this recording from Verdi's "Un Ballo in Maschera" didn't need to be included for the reasons cited above: they were recorded immediately after the Met debut in 1955 and the voice is in the condition one would have expected. The rest of the contents were recorded during the artist's vocal prime much earlier. Virtually all of the Schubert selectionsare beautifully done, especially the "Ave Maria", which became Anderson's trademark. The "Liebesbotshaft" (from "Schwanengesang) and "Wohin" (from "Die Schone Mullerin") show the voice at its most fluid, as do all of the items by Schumann. The Brahms "Alto Rhapsody", another Anderson speciality, haunting in its desolation and feelings of isolation, helped in no small part by Anderson's deep purple contralto tones. Selections by Richard Strauss (a beautifully realized rendition of "Morgen") and Rachmaninoff round off the lieder portion of the recording. Bach's "Erbarme dich" (with orchestral accompanyment) is one of the most beautiful ever recorded, and Handel's "He Shall Feed His Flock" illustrates vividly just how how much this music needs a true contralto voice. In this age of pushed-up and pulled-down mezzo-sopranos, it is a revelation to hear what this type of voice accomplish in all of this music. If you want to become acquainted with one of the greatest vocal phenomenons of this century, this superb RCA Victor mid-priced recording is an excellent place to start.

Brahms: Alto Rhapsody; Nänie; Gesang der Parzen; Schicksalslied

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Serious music
Exquisite, unique choral works
Beautifully Done!

Brahms: Alto Rhapsody; Nänie; Gesang der Parzen; Schicksalslied

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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Brahms - Ein Deutsches Requiem (A German Requiem) / Auger, Stilwell, Atlanta SO, Robert Shaw
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Brahms - Liebeslieder-Walzer Op. 52 & Op. 65 / E. Mathis, Fassbaender, Schreier, Fischer-Dieskau, K. Engel, Sawallisch

ASIN: B000003CV2
Release Date: 1990-10-25

Tracks:

Alto Rhapsody, Op. 53
Gesang Der Parzen, Op. 89 (Song Of The Fates)
Nanie, Op. 82 (Song Of Lamentation)
Schicksalslied, Op. 54 (Song Of Destiny)

Amazon.com

Brahms's shorter choral music with orchestra remains more or less on the periphery of the basic repertoire for a few reasons. The music is difficult to program in isolation, and it's also a lot of work for relatively small return. Not that it's bad or dull--most of it is lovely, but never quite offers enough bang for your buck. This collection logically and satisfyingly offers first-rate performances of all of these warmly Romantic pieces, with Marilyn Horne, an especially distinctive soloist, in the Alto Rhapsody. A lovely disc, then, to explore at leisure. --David Hurwitz

Customer Reviews:

Serious music.......2007-06-27

This is Brahms at his most contemplative, complex and introspective. Complete attention is required. If you are looking for lollypops & lullabies you will be disappointed. This music takes you to the lofty heights of parnassus. No one said the climb would be easy & you need to have made the necessary intellectual preparation.
Robert Shaw & the Atlanta Symphony have, once again, shown themselves to be a first class unit. There is no banal, excessive displays of emotion, no hysteria - just beautiful music tatefully recorded.

Exquisite, unique choral works.......2005-07-28

Brahms is overwhelmingly the most-performed composer in the 45-year history of the American Choral Directors Association conventions, according to a very informative ACDA monograph by Sandefur Schmidt -- confirming what one might naturally suspect. This reflects not only the especially large contribution Brahms made to choral literature (both sacred and secular, large- and small-scale), but also a universal love for that romantic era of music which Brahms exemplified better than anyone, in absolutely first-rate compositions. Okay, maybe some people don't care for it. For the rest, you can't go wrong with these, the secular pieces for chorus & orchestra -- a sub-genre with almost no lasting competition from Brahms' contemporaries or followers. Uniquely gorgeous works, in excellent performances.

Beautifully Done!.......1999-08-27

A very rare recording that is seldom seen or heard. Most of the works on the album are rarely recorded, making this cd an unusual and exciting find. The four works on the disc show Brahms at his best. The playing of the orchestra, the singing of the choir and the direction of Robert shaw are all flawless and beautifully done. Get this cd as soon as posible!

Brahms: Alt-Rhapsody; Wagner: Wesendonck-Lieder; Mahler: Der Abschied

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A lovely voice in search of a conductor
For the Brahms Alone ...
Promises kept and more

Brahms: Alt-Rhapsody; Wagner: Wesendonck-Lieder; Mahler: Der Abschied

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B0002VYIWS
Release Date: 2004-10-05

Tracks:

Alto Rhapsody Op. 53 For Contralto, Male Chorus And Orchestra
Der Engel
Stehe Still
Im Treibhaus
Schmerzen
Traume
Das Lied Von Der Erde: Der Abschied

Amazon.com

This stunning release by mezzo (or contralto) Stephanie Blythe shows her dark, focused tone, intelligent and musical approach to the texts, and winning involvement. Schoenberg's re-orchestration of the final song from Mahler's Das Lied von der Erde is very different from the original; though sparse (only 13 instruments), it has great color, with wind instruments importantly highlighted and piano used surprisingly and effectively. Blythe and conductor John Nelson present the narrator's resignation strongly; there is agitation before true inevitability is accepted. A re-working by Hans-Werner Henze of Wagner's Wesendonck Lieder also emphasizes the wind instruments, and its refined transparency is well-suited to Blythe's mostly very lyrical, but occasionally outgoing and strong reading of the poems. Brahms's Alto Rhapsody gets a correctly intense and morbid reading, and Blythe's full sound is perfect for the occasion. The vocal group A Sei Voci and Ensemble National de Paris contribute handsomely. Highly recommended. --Robert Levine

Customer Reviews:

A lovely voice in search of a conductor.......2007-07-21

In recent years Stephanie Blythe has risen rapidly in the oepra world (she was featured in a recent Met broadcast of Puccini's Suor Angelica as the curelly imperious Pincipessa), and one can hear why. She has a plush, rich tone reminiscent of Jessye Norman, firmly produced without a wobble. If that were all this challenging recital needed, I would be very enthusiastic. But in two ways it falters badly. The worst is John Nelson's choppy, flat conducting, which is perfunctory half the time and ordinary the rest. The other is Ms. Blythe's way with the text. She must feel comfortable in german to select a program of brahms, Wagner, and Mahler, but her pronunciaiton sounds as if she learned the language syllabically, and the great exts of the Alto Rhapsody (Goethe) and the Abschied from Das Lied von der Erde (translated from the Chinese of Li Po) float by neturally, with hardly a glimpse of their demotional depths.

The classical music press greeted this CD quite favorably, like the Amazon reviewer here, but unless sheer vocalism is all you care about, I can't see how a recital in search of a conductor can be considered great. The classic recordings of all three works by Janet Baker and Christa Ludwig have nothing to fear.

For the Brahms Alone ..........2007-05-23

Stephanie Blythe's voice is exquisite, and if you have never heard her, I can't imagine a better place to start than with Brahms' Alto Rhapsody. Gorgeous tone, such sensitivity ... if this were the only piece on the CD, it would worth the price and more. But we also have an intelligent rendering of the Wesendonck Lieder and enough of Das Lied von der Erde to have us baying for a recording of the whole. What a stunning recording -- may there be may many, many more from this wonderful person!

Promises kept and more.......2004-10-26

Stephanie Blythe further secures her position as the most exciting contralto singing today. In her previous recital album she proved that the hurdles of Bach and Handel were mere stepping-stones. Here she blossoms with extravagantly rich tone and intelligent musicianship in the Romantic repertoire of Brahms ('Alto Rhapsody'), Wagner ('Wesendonck Lieder') and Mahler (the final song 'Der Abscheid' from 'Das Lied von der Erde'). And not only does she prove that these deeply involving works lie perfectly in her control and range, she also imbues them with a rich warmth of timbre that is as fine as any recorded.

Collaborating with her again is John Nelson and Ensemble Orchestre de Paris (and the Ensemble A Sei Voci in the Brahms) and whether or not it was a joint decision between these two capable artists to use the Hans Werner Henze setting of the Wagner lieder and the Schoenberg orchestral reduction for the Mahler, the result is a freshness to the sonic approach that adds yet another dimension to this treasure of a CD. The transparency of orchestral colors coupled with the depth of Blythe's voice and interpretation are impeccable. This is a recording of tremendous importance - and beauty.

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Vintage performances
One of the great bargains of DG's catalog
Bohm is a master in this Repetoire!!
Classic Brahms symphonies; formidable musicianship
Karl Bohm's Underrated Great Brahms Symphony Cycle

4 Symphonies / Variations
Johannes Brahms , Christa Ludwig , and Karl Bohm
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Symphonies 1-9

ASIN: B000069KIZ
Release Date: 2002-10-08

Customer Reviews:

Vintage performances.......2006-09-25

Late analog recordings ARE supposed to be rich and warm! This is an excellent example!

One of the great bargains of DG's catalog.......2005-10-11

Karl Bohm's recording of Brahms Four Symphonies with the Vienna Philharmonic (recorded 1975-76) is one of the great bargains of the DG catalog. These are recorded in beautiful analog stereo sound in the Musikvereinsalle, one of the world's great concert halls, and Bohm was in great shape when these were put on tape.
The Vienna Philharmonic could of course play these works in their sleep, having recorded and performed them numerous times under other great conductors since Brahms (1833-1897) was living. Karl Bohm (1894-1981) had ample experience conducting Brahms, having recorded Symphonies 1 and 2 with the Vienna Philharmonic in 1940, and again with Symphonies 1 and 2 with the Berlin Philharmonic for DG, about 1960. There is a famous Bohm/Dresden State Orchestra recording of Brahms Symphony 4 from the late 1930s, reissued in the US on Dutton (but may be deleted now), and a Vox LP (mono) of Brahms 3 by Bohm/Vienna from about 1952.

Bohm's tempos here are slower than some, especially the Allegros, but his sense of forward motion and phrasing do not make them seem overly long or tedious, as is the case with Bernstein's 1983 recordings, with the same orchestra (DG).
Symphony 1 is big and bold, and Bohm is not afraid to slow down for big moments, although he does not jerk tempos around for effect, as do some conductors. Symphony 2 seems more autumnal than some recordings, but is perfect in flow and pacing. Symphonies 3 and 4 sound beautiful, and are again on the moderate to slow side. These are all beautiful recordings, and I have the highest admiration for them.

DG waited a long time to release Karl Bohm's Brahms Symphonies, as they already had cycles by Karajan/Berlin (1978 and 1987-88, 2 different cycles), Bernstein/Vienna (1983) and Abbado/Berlin (early 1990s) in their catalog. But they have done a great job with this presentation, and the dismates: Haydn Variations, Tragic Overture, and Alto Rhapsody with Christa Ludwig, are all first rate and very beautiful.

One apt description for this release would be "think of Bruno Walter with a better orchestra." Since Bohm was Walter's assistant at the Munich opera in the early 1920s - the beginning of his career - this is an appropriate description.

Bohm is a master in this Repetoire!!.......2004-04-01

There is truly something special about the relationship between this conductor and this orchestra...Bohm has always had a special way with this music. Never does he allow technique overshadow the beauty and opulence of this composer's writing. The opening of Symphony No. 4 is breatheless in it's beauty and this sets the mood for the entire interpretation. The Vienna Phil has always sounded great but here it is UNBELIEVEABLE!! Take note of the wonderful way with the shaping of phrases. Never pushy or hard-driven, we have here Brahm's done in a way that is entirely devoid of sentimentality or glossy technique.

No. 1 was done by Bohm years ealier in Berlin and this 70s performance is very fine but with a more mellow cast. The octaves in the opening strings are incredible. The Vienna horns shine magnificently through this interpretation of the C minor unlike any other.

As for symphony No. 2 and 3 they are given incredibly warm and stylish readings. Bohm does not plow over the music with a heavy hand(Szell is too detached)...this is Brahms that is Alive and Majestic. The recorded sound is Excellent!

Classic Brahms symphonies; formidable musicianship.......2003-07-31

Over the years, I have variously been told I would outgrow Brahms, or at least see his music move to the margins of my active repertoire of current musical interests. Fortunately, this has not yet happened to be the case. Instead, I have become ever more fascinated by the music, in which Schoenberg could discern the seeds of his New Music, and for which the dreaded conservative critic of Vienna, Hanslick, was wont to do battle against the tilting windmills of modernity in that turn- of-the-century epoch, especially those dragons of Wagnerism! To understand how such different cliques could have made such disparate, yet passionate use of Brahms as a key exhibit in their culture wars, one only has to listen .... again and again and again. Notoriously self-critical, Johannes made considerable efforts to present and publish only his best efforts in all genres of music. He only wrote four symphonies, but what distances other symphonists have traversed in nine, or more; it seems Brahms could compress into just four. The point of all this is that Brahms is a complicated composer who manages to draw upon much that is old, even traditional; while at the same time he strikes open into new horizons, new vistas, and above all new musics. Mozart is said to have bragged in his letters that his music had something for everyone: popular appeal for the common folk of his day, as well as formal schemes with complications and depths that probably only the highly trained musical cognoscenti would hear. Perhaps something equivalent must be also argued for Brahms' music. Thus, a conductor who succeeds in Brahms is by definition capable of discerning the old and the new, while preserving in passionate reserve the distinctiveness of Brahms's musical speech. The reissue of this set of performances of the Brahms symphonies merits our attention, because Karl Bohm was renowned in his own lifetime for being a prince of Mozartians. Given the evidence in this recorded set, he clearly was also among the most noble, and most notable, of Brahms conductors. Another part of the golden, glowing quality in these performances can only have come from the vaults of that other treasury, the Vienna Philharmonic. Brass, woodwinds, strings .... no one has quite the velvety depths of sound, as well as the mountainous granites of height and power, like the Vienna band. Karl Bohm was alleged to be quite demanding, to get what he wanted out of an orchestra; yet these recordings provide irrefutable proof that both he and the orchestra could be united in musical warmth and intimacy with the challenging demands of Brahms four symphonies. Even a somewhat stiff, foursquare, formally reserved quality that sometimes arises momentarily in these performance, every so slightly apparent in moments of transition in the keys, as the musical narrative shifts and transforms within the musical structure, would itself be quite true to what we know of Brahms as a human being. You find yourself musing that surely Karl Bohm had some of those same, authentically gruff and rough-hewn qualities himself, not too glowing nor too proud or polished to be capable of reminding us in his musical manner that Brahms played piano in the waterfront establishments of Hamburg. Now those musical patrons were neither typically noble-born, nor replete with necessities much beyond those of working-class survival. These recordings are classics, and have merited praise since their first release. Mention must also be made of alto Christa Ludwig's Alto Rhapsody, along with the burnished Viennese sounds of the male chorus that accompanies her. Sorrow, regret, and transcendently spiritualized resignation go hand in hand in her performance of this odd work. Brahms said himself that he believe it to be one of the best things he had ever prayed. Hearing all, surely we agree. Get this set now. With the marketing kids running the show, it can just as easily disappear from the catalogue as it so quickly arrived. Highly, highly recommended.

Karl Bohm's Underrated Great Brahms Symphony Cycle.......2003-03-29

The 1970's and the early 1980's were a time when several conductors recorded distinguished versions of Brahms' symphony cycle; most notable of these are those from Karajan, Haitink, Bernstein, and especially Sanderling. Although the finest remains Sanderling's exceptionally warm, brilliant recordings with the Dresden Staatskapelle, a close second has to be Karl Bohm's distinguished recordings with the Vienna Philharmonic. This splendid cycle includes the best version I have yet heard of Brahms' 1st Symphony (though a close second may be Kurt Masur's Teldec recording with the New York Philharmonic). Bohm's account of the 4th Symphony is among the darkest, most brooding I have heard, only eclipsed by Carlos Kleiber's definitive account with the Vienna Philharmonic that was digitally recorded only a few years later. I disagree with a previous reviewer who contends that Bohm's tempi tend to be slow, especially in the 2nd Symphony. After listening to several distinguished accounts from the likes of Bernstein, Harnoncourt and Masur, I find that Bohm's tempi are among the swiftest, only surpassed in speed by Masur. Unfortunately the 2nd Symphony is the only "failure" in this set; yet it is a failure only when you compare it against distinguished recordings made by Haitink, Harnoncourt, Masur, and especially Bernstein. The sound quality is exceptionally warm and rich for late analogue recordings. And of course, at this price, Bohm's Brahms Symphony cycle must certainly should be regarded a steal. Fans of Karl Bohm and the Vienna Philharmonic won't be disappointed with this impressive CD set.