Brahms: Symphony No. 4; Tragic Overture; Schicksalslied

Editorial Reviews
Amazon.com
The Columbia Symphony may not have been a first-class orchestra, but Bruno Walter trained to do the right things, and it responded with first-class accounts of these symphonies. While there are instances of less-than-stellar ensemble work, there is also some very fine first-desk playing, and the performances as a whole are marked by a natural feeling of movement, phrasing, and expression. Walter's approach to the music is kindly, caring, wonderfully whole--sunny but not overly brilliant, warm but not overly heated, sincere but not overly impassioned, and above all gemtlich. Anyone who thinks that means the conductor was slow, shapeless, or indulgent should listen. There is thrust here, and plenty of momentum. The recordings, made between 1959 and 1961, are closely miked and somewhat bass-heavy, but have benefitted immensely from Sony's state-of-the-art remastering. Considering the vintage, the sound is wonderfully alive and direct. --Ted Libbey

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 - Poco meno presto - Tempo I
Symphony No.4 In E Minor, Op.98: IV. Allegro energico e passionato - Piu Allegro
Tragic Overture, Op.81: Allegro ma non troppo
Song Of Destiny, Op.54: Ihr wandelt droben im Licht. Langsam und sehnsuchtsvoll - Allegro - Adagio

Amazon.com

The Columbia Symphony may not have been a first-class orchestra, but Bruno Walter trained to do the right things, and it responded with first-class accounts of these symphonies. While there are instances of less-than-stellar ensemble work, there is also some very fine first-desk playing, and the performances as a whole are marked by a natural feeling of movement, phrasing, and expression. Walter's approach to the music is kindly, caring, wonderfully whole--sunny but not overly brilliant, warm but not overly heated, sincere but not overly impassioned, and above all gemtlich. Anyone who thinks that means the conductor was slow, shapeless, or indulgent should listen. There is thrust here, and plenty of momentum. The recordings, made between 1959 and 1961, are closely miked and somewhat bass-heavy, but have benefitted immensely from Sony's state-of-the-art remastering. Considering the vintage, the sound is wonderfully alive and direct. --Ted Libbey

Customer Reviews:

Walter: Brahms 4th Tragic Overture, Schicksalslied .......2007-05-14

Brahms is my favorite composer. Brahms was concerned that he followed Beethoven, so much so that he waited until late in life to publish his symphonies. I do not understand why. The Fourth is a masterpiece.

The performances of these pieces by Bruno Walter and the Columbia Symphony are also masterful.

The technology for the initial recording is dated, but the remastering was done with great care. The result is a really fine recording.

Favourite performances revisited.......2007-04-03

Around 1970, one of my favourite LP-sets was the collection of Brahms symphonies conducted by Bruno Walter. Since then, of course I switched to cd's, obtained several other performances of these symphonies, and for a long time didn't listen to these old ones. Quite recently, I started comparing a number of different performances of the 4th symphony, and decided to include the old Brahms LP. In spite of the poor sound quality of my old LP, the Bruno Walter version came out as the most warm, glowing, sympathetic one. This led me to buy the cd-remastering, in which also the sound quality is quite good. So I am very happy that I rediscovered this old treasure.

desert-island-disc !.......2006-10-22

This record proves that, Bruno Walter understand so succesful the music of Brahms. I don't think so about, it is so kind performance. No, it is may be melancholic than all of other performances, but it is so powerful in the meantime. May be it's not so energic like Bernstein, but Walter gives the all precious meanings of the all notes!

Symphony No. 4 is the most deepest of all symphonies of Brahms. There are no moments of happiness, but may be the moments of tiny smiling just after the tears... The first movement is a type of Ballade. It is romantic, but heroic, too. The second mov. is the idllyic music of the work. The third mov. was called in the first perf. as "The most majestic Scherzo, since Beethoven", and it was repeated as an encore in that concert. But the last mov. is an exmaple of Apotheosis of Variation. The theme was took from a choral of J. S. Bach and than there are 31 variatons, some of these are depressive, sometimes cloudy, sometimes hopeful, but in the very end, it is really drammatic. It finishs not in sunny major, but in darkful minor, as like tells about the tragic reality of the life...

The Tragic Overture, originally started to life as an Overture to Faust of Goethe. But than, it was finished as an concert overture and it was first performed by Wiener Philharmoniker, conducted by Hans Richter. It is really one of the most pessimist works of Brahms. It starts with two powerful blows and the vigorous main theme, but than, the roamantic and peaceful second theme comes, but not for a long time. Just after a few bars, the questions of Faust comes back again...

The Song of Destiny is may be the most beautiful and famous choral work with Ein Deutsches Requiem. But it is not religious. It was inspired from a romantic German poet, Friedrich Hölderlin, and it is more personal work. But in very opening passages of the orchestra, it is so noble, so hopeful, you cannot hide your tears when you listen that opening. Especially with that sensitive reading of Bruno Walter. It is so impressive, spine-chilling...

Highly recommended for any Brahms and music lovers.

Autumnal, kind, and genial aren't right for the Brahms Fourth.......2006-03-16

I think the Amazon reviewer is right to describe Walter's late Brahms as kind and genial, but in the Fourth of all symphonies you don't want to hear the music on Prozac. Walter's relaxed tempos, close to Klemperer and Furtwangler's, require intensity to come across, and he doesn't provide that. There's no sense of struggle, and after a while it becomes like a stroll thorugh well-remembered pastoral landscapes. I admire Walter's lyrical approach much of the time--here he needed to return to his old, brash self when he conducted Brahms with the NY Phil. in the early Fifties. Both orchestra nad recorded sound are thin as well.

Walter was an authoritative Brahms conductor.......2005-09-03

Bruno Walter (1876-1962) was an expert, authoritative Brahms conductor. Brahms finished his first symphony the year Walter was born, and the premieres of Brahms' Symphonies 2,3 and 4 were during Walter's youth. Bruno Walter was 21 the year Brahms died, so their lives overlapped, although I don't have any evidence that the two met in person. (Walter knew Gustav Mahler personally and studied conducting with him, and I heard Walter say in a Columbia interview from the mid 1950s that he had never met Anton Bruckner in person.)

Walter's recording of Brahms Symphony 4 has been in the catalog ever since it's release in 1960, first on Columbia LP and later Odyssey LP, then on cassette and CD (1985) and the Bruno Walter Edition CD (1995): this issue. I am familiar with the first generation CD of these recordings (the 1985 version) and they are very fine. There is a little hiss, but the orchestra sounds so good: brilliant, with great highs. Walter's conducting is affectionate and loving: it's as if a kindly grandfather or uncle is telling a story as Brahms Symphony unfolds. Tempos are never too fast; I prefer a little quicker pace in III, but this is pleasant, and Walter brings out many details, especially in the woodwinds and violas that some conductors gloss over. Columbia's recording is very good, despite the early stereo date.

The Tragic Overture and Schicksalslied are both performed very well, and it shows that Walter really cared about this music. Again, tempos lean to the moderate side, and Walter uses a delicate rubato to serve Brahms' music.

These recordings may not knock your socks off on first listen: there are subtle things details to be heard, and Walter is totally in service of Brahms. I have heard Walter interviewed, both on CD (accompanying Sony's Bruno Walter Edition of Mahler Symphony 9) and DVD (VAI's "Bruno Walter: the Maestro; the Man") and his kindness and humanity were great. I know Walter hated all that was artificial and superfluous, and this recordings of Brahms 4 bears witness to his beliefs.

Sym 1-4 / Piano Ctos 1-2 / Violin Cto / Double Cto

Average customer rating:

A Brahms collection well worth remembering
A Wonderful Bargain
all the music that fits...

Sym 1-4 / Piano Ctos 1-2 / Violin Cto / Double Cto
Brahms , and Sawallisch
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Similar Items:

Liszt: Works for Piano and Orchestra
Mozart: Chamber Music
Sibelius: The Complete Symphonies & Tone Poems
Beethoven: Piano Trios; Violin & Cello Sonatas
Beethoven: The Complete Symphonies and Piano Concertos

ASIN: B00006HM8Y
Release Date: 2002-11-05

Tracks:

I: Un Poco Sostenuto-Allegro
Allegro
II Andante Sostenuto
III Un Poco Allegretto E Grazioso
IV Adagio-Piu Andante-
Allegro Non Troppo, Ma Con Brio-Piu Allegro
Variations On A Theme By Joseph Haydn (St. Anthony), Op. 56a
Tragic Overture, Op. 81

Tracks:

I: Allegro Non Troppo
II: Adagio Non Troppo-L'istesso tempo, ma grazioso
III: Allegretto Grazioso (Quasi Andantino)-Presto Ma Non Assai- Tempo I
IV: Allegro Con Spirito
Symphony No. 3, Op. 90 F Major: I: Allegro Con Brio-Un Poco Sostenuto
II: Andante
III: Poco Allegretto
IV: Allegro- Un Poco Sostenuto

Tracks:

I: Allegro Non Troppo
II: Andante Moderato
III: Allegro Giocoso
IV:Allegro Energico E Passionato-Piu Allegro-
Langsam Und Sehnsuchtsvoll-
Allegro-
Adagio-
Academic Festival Overture, Op. 80

Tracks:

I: Maestoso
II: Adagio
III: Rondo: Allegro Non Troppo
1. Gestillte Sehnsucht- Longing Assuaged- Nostalgie Apaisee
2. Geistliches Wiegenlied- Sacred Cradle Song- Berceuse Mystique

Tracks:

I: Allegro Non Troppo
II: Allegro Appassionato
III: Andante Piu Adagio- Tempo I
IV: Allegretto Grazioso- Un Poco Piu Presto
1. Wie Melodien Zieht Es Mir- Like Melodies Flowing- Comme Des Melodies Cela Passe
2. Immer Leiser Wird Mein Schlummer- Ever Softer Grows My Slumber- Mon Sommeil Se Fait Toujours Plus Leger
3. Klage- Lament-Plainte
4. Auf Dem Kirchhofe- In The Churchyard- Au Cimetiere
5. Verrat- Betrayel- Trahison

Tracks:

I: Allegro - Mozart
II: Adagio - Mozart
III: Rondeau: Allegro- Allegretto- Tempo I - Mozart
I: Allegro Non Troppo
II: Adagio
III: Allegro Giocoso, Ma Non Troppo Vivace

Tracks:

I: Allegro
II: Andante
III: Vivace Non Troppo
I: Andante- Poco Piu Animato
II: Scherzo: Allegro- Molto meno Allegro
III: Adagio Mesto
IV: Finale: Allegro Con Brio

Customer Reviews:

A Brahms collection well worth remembering.......2007-02-14

Everyone is looking for a bargain these days and too often we get cheated with something cheap and nasty. Don't get nervous, however. This is a real nugget.
The title may be slightly misleading. It's not just Brahms' orchestral works - there are also chamber pieces and Lieder with just a little Mozart Violin Concerto thrown in to fill up the space...though I'd have preferred a Brahms clarinet quintet. Ach weh, das Leben ist nie perfekt!

If you think of the great 20th century conductors, Wolfgang Sawallisch is probably not the first name that springs to mind. Yet you would be hard put to it to find anything to fault with any of these performances and some are truly outstanding. The Violin concerto is probably not one of these, because of the final movement, yet Franz Peter Zimmerman as soloist has perfect intonation and the Berlin Philharmonic for the most part plays with him in beautiful balance. It's a fine partnership with some lovely and some very dramatic moments. I just wish the finale had been played with a little more rubato. There's nothing wrong with it, but it's definitely more German than Hungarian. The Berlin Philharmonic also plays in the Mozart. The rest is all with the London.

Let's come to the First Piano Concerto. For me this is a seminal Brahms work. Put together out of the ruins of the "first" symphony this is a youthful but extraordinarily complex piece full of extreme contrasts, with violent and passionate emotions vying with moments of pure lyricism. For the soloist it is less technically than physically and emotionally demanding with its many pages of `doubled' writing but Stephen Kovacevich (Bishop) is the ideal pianist for it, never flagging, even in the monumental finale. This is a performance of immense power, strength, beauty and warmth, encapsulating as it does, and as no other does, both the despair and triumph of youthful passion, and I can honestly say I have never heard it better performed. In it Sawallisch shows himself to be the perfect conductor, holding the orchestra back and giving the soloist free rein and then applying full throttle at exactly the right moments.
Twenty-two years separate the two piano concertos, yet what is most striking is the similarity between the two works, the Second being, if anything even more symphonic than the First with its four movements. The conflict here is not between the piano and the orchestra - each is locked together in the first two movements in a joint and at times arduous battle with the Fates - yet in many ways it's also more like a gigantic piano quintet and Sawallisch and Kovacevich work here in perfect harmony to establish a fantastic rapport. In the third movement the structure is perhaps even songlike with the pianist accompanying the orchestra, particularly the cello, rather than vice versa and the finale is pure delight with both orchestra and piano ending up hopping and skipping round each other in a charming puckish way. Brahms is here at his most winsome and appealing and this is one of the lightest and most attractive endings I have heard to an otherwise at times very intense and demanding piece of music .
Many will buy this selection for the orchestral works - well that is after all what it says on the label - so I imagine there will also be many who are surprised to find the Lieder. Brahms was a wonderful composer of songs and his unerringly full-blooded choice of lyric - to which he always paid the closest attention - puts him right at the forefront of the great romantic song composers of the period, though it is here that his debt to Schumann is probably at its greatest. Ann Murray has a lovely voice and though I would not put her front of Schwarzkopf or Kathleen Ferrier, these are more than respectable performances. Stephen Kovacevich shows a different but very impressive side of his talent as accompanist. My favorite here, however, is his setting for choir and orchestra of Hölderlin's deeply pessimistic Hyperions Schicksalslied, which absolutely transforms the poem and gives us a wonderful glimpse at least of Ein Deutsches Requiem.

It would be beyond the scope of this commentary to review the performances of the four Symphonies in detail, not to mention the ability of the reviewer! Suffice it to say that Sawallisch and the London Philharmonic play these all with strict attention to Brahms' markings and excellent dynamic contrast, though always remaining aware that during the 20th century, like it or not, tempi in most classical pieces did speed up. No-one can play Brahms successfully without, at the right moments, passion, and for me the highlight (one of many) was the swirling attack in the emotionally turbulent opening to the First Symphony. Sawallisch cannot fail to have been aware of the immense presence of Karajan in these symphonies and to his eternal credit he does not attempt to fight with this, by striving to be different, but lets the orchestra "have its head" and as a consequence his performance of the battling First Symphony is very fine indeed. The key moment in this work for me is the entry of the horn in the slow introduction to the finale and I'm pleased to say, in this performance it is absolutely right. The second symphony, composed only a year later in the beautiful surroundings of the Wörther See in Austria's Lake District, is altogether a much more relaxed affair, and a great opportunity for the conductor to allow the orchestra a chance really to show its style, which is precisely what Sawallisch does and this is one of the London Philharmonic's most sumptuous performances. Interestingly for the Third Symphony Sawallisch opts for the slower Klemperer tempi and there is some very grand playing here, especially in the richly contrasted first movement. However, I feel in the third movement he is a tad too slow, with the result that some of the seething and restless undercurrents are allowed to fade. This is a very "classical" rendering of a tragic work in which the finale is seen, and I'm sure Brahms was striving for this, as both resigned and conclusive. I don't really feel, however, that Sawallisch has quite got to the bottom of this profoundly ambiguous piece. As for the Fourth, in this symphony often described as "autumnal" or "resigned" but probably one of the most passionate and perturbed of all Brahms' works, with time and again the resolution of soft legato passages broken into by turbulent outbursts, Sawallisch does not quite get the same precision of playing in the third movement as Karajan and at one point seems to lose the rhythmic impetus altogether, however, he quickly regathers it and the final passacaglia is as bold, dramatic, and tragic, as anyone could wish for.

The best is saved till last. Who else but Brahms could have composed a world class piece for an instrument that can only play about 11 notes, the Waldhorn? Well he does, and this work, the Horn Trio Op.40, is pure joy from beginning to end, the only hint of sadness being in the slow movement, which is an elegy on the death of his father, who was, guess what, a Waldhorn player. The violinist in this piece is Franz Peter Zimmerman, the same as who performed so well in the Violin Concerto and the pianist none other than Wolfgang Sawallisch, one of the very few recordings of him as a performer. Warum, ich frage mich? The final movement simply bounds along, with some perfect staccato playing by Marie Luise Neunecker on such an abominable instrument! No-one could ever have had a better ride into Elysium.

Is this a bargain? Well I'll let you judge for yourself, but this is my only Brahms recording and I won't be buying another, I imagine, for a little while yet. I suppose purely on the strength of the performances it's 4 stars rather than 5, but given the price and the range of the set, it would be churlish not to give it its 5.

A Wonderful Bargain.......2003-04-01

In this elegant and efficiently packaged compact box from EMI you get all of Brahms's orchestral music (except the two serenades) in first-rate performances at an unbeatable price. Wolfgang Sawallisch is one of the most distinguished conductors alive today and his performances of the great German classics are always worth listening to. Not a showman or an attention-grabber, Sawallisch unfailingly delivers beautifully thought-through performances that are nuanced and subtle. As a result, his work can strike some people as too laid back and emotionally reticent. Musicians, on the other hand, marvel at what they hear. (Check out the DVD version of the documentary film "The Art of Conducting," where long-time Sawallisch fan and colleague Elisabeth Schwarzkopf doesn't hesitate to mention him in the same breath with Klemperer, Boehm, Furtwaengler and Toscanini.) Especially if you're past the neophyte stage as a Brahms listener, you're likely to find Sawallisch's performances very satisfying. As far as specific performances go, let me admit that in another Amazon.com review I've compared these Brahms symphony recordings unfavorably with an earlier Sawallisch set on Philips. I've now changed my mind because EMI apparently has remastered the performances for this box set and they now sound marvelously fresh and alive - even better played(!) than on previous issues. Ditto the two overtures, Haydn Variations and "Schicksalslied." The concerto performances, gorgeously imagined and performed with scrupulous attention to structural detail, are also excellent. Sawallisch seems to have found his ideal partner in pianist Stephen Kovacevich, who matches the conductor insight for insight in the two piano concertos ... just listen to how magically Kovacevich and Sawallisch conjure Mozart in the finale of the B-flat concerto! The two string concertos are also done memorably by Frank Peter Zimmerman, with cellist Heinrich Schiff assisting in the great, late Double Concerto. Finally, the set provides a generous number of bonus performances including handsome renditions of the Mozart third violin concerto (with Zimmerman); some Brahms lieder (performed by Kovacevich and Ann Murray); and the wonderfully autumnal Horn Trio (where Sawallisch himself presides at the piano). Even if you own other performances of this music, I urge you to buy this set: it provides a remarkably satisfying brahmsian synthesis of public rhetoric and private emotion that I'm sure will continue to impress you the more you listen. Sound quality is marvelously warm and true for a digital recording.

all the music that fits..........2003-01-02

if you're a fan of brahms' symphonies and concertos, then this EMI compilation is the perfect match...his four symphonies, two piano concertos, violin concerto, and double concerto are well presented by sawallisch, the berlin philharmonic, and soloists....nothing outlandish or unusual, just straight-on brahms for those who enjoy a good balance from the orchestra, soloists, and wallet.....if I had to choose only one cd release for brahms, this would be it.

Brahms: Symphonies Nos. 1-4; Overtures (Box Set)

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One of the Best Brahms Symphony Cycles
BRAHMS SIN NOVEDAD

Brahms: Symphonies Nos. 1-4; Overtures (Box Set)

Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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ASIN: B000000S99
Release Date: 1996-10-29

Tracks:

Sym No.1 in c, Op.68: Un poco sostenuto
Sym No.1 in c, Op.68: Andante sostenuto
Sym No.1 in c, Op.68: Un Poco Allegretto e grazioso
Sym No.1 in c, Op.68: Adagio-Piu Andante-Allegro non troppo Ma con brio-Piu Allegro
Tragic Ov, Op.81

Tracks:

Sym No.2 in D, Op.73: Allegro non troppo
Sym No.2 in D, Op.73: Adagio non troppo
Sym No.2 in D, Op.73: Allegretto grazioso (Quasi Andantino)-Presto ma non assai
Sym No.2 in D, Op.73: Allegro con spirito
Academic Festival Ov, Op.80

Tracks:

Sym No.3 F, Op.90: Allegro Con Grio
Sym No.3 F, Op.90: Andante
Sym No.3 F, Op.90: Poco Allegreto
Sym No.3 F, Op.90: Allegro
Var On A Theme By Joseph Haydn ,Op.56 a: Chorale St. Anthony: Andante
Var On A Theme By Joseph Haydn ,Op.56 a: Var I: Poco piu animato
Var On A Theme By Joseph Haydn, Op.56 a: Var II: Piu vivace
Var On A Theme By Joseph Haydn, Op.56 a :Var III: Con moto
Var On A Theme By Joseph Haydn, Op.56 a: Var IV: Andante con moto
Var On A Theme By Joseph Hadyn, Op.56 a: Var V: Vivace
Var On A Theme By Joseph Haydn, Op.56 a: Var VI: Vivace
Var On A Theme By Joseph Haydn, Op.56 a: Var VII: Grazioso
Var On A Theme By Joseph Haydn, Op.56 a: Var VIII: Presto non troppo
Var On A Theme By Joseph Haydn, Op.56 a: Finale: Andante

Tracks:

Sym No.4 in e, Op.98: Allegro non troppo - Westminster Symphonic Chor/Flummerfelt
Sym No.4 in e, Op.98: Andante moderato - Westminster Symphonic Chor/Flummerfelt
Sym No.4 in e, Op.98: Allegro giocoso - Westminster Symphonic Chor/Flummerfelt
Sym No.4 in e, Op.98: Allegro energico e passionato - Westminster Symphonic Chor/Flummerfelt
Schicksalslied Op.54 for Chor & Orch: Langsam und sehnsuchtsvoll - Westminster Symphonic Chor/Flummerfelt

Amazon.com

Under Kurt Masur, the New York Philharmonic has achieved a marvelously rich, dark sound that suits this music quite well. Unfortunately, Masur just isn't a conductor to set the pulse racing, and these very well played and recorded performances end up sounding dull. Nothing's out of place, but there's also nothing very interesting happening either. Given the fact that you can get a great Brahms cycle for less than the cost of a single one of these discs (Kurt Sanderling's, for instance), there's just no point in investing in these performances. --David Hurwitz

Customer Reviews:

One of the Best Brahms Symphony Cycles.......2001-04-12

This underrated Brahms symphony cycle has received some recognition in the annual Grammophone guide to classical CDs, which singles out the Masur/New York Philharmonic's version of the 2nd symphony as among the best out there. Indeed, I think the New York Philharmonic Orchestra plays as well as the Royal Concertgebouw Orchestra in Haitink's critically acclaimed cycle which they recorded for Phillips in the 1970's. Furthermore, Masur gives a warmer, more vibrant view of Brahms than Haitink. Indeed, the New York Philharmonic sounds more like a Central European orchestra than a motlety crew of brash, self indulgent American soloists. Aside from the splendid version of the 2nd Symphony, other great performances in this set include the Academic Festival Overture, Variations on a theme from Haydn and the 1st and 4th symphonies. However, I suspect that one major reason why this fine set hasn't received more recognition is because of some coughing from the audience; all of the performances were recorded live. Yet Teldec's engineers still manage to produce a well-balanced set of recordings. Although this set won't replace the Sanderling/Dresden Staatskapelle and Bernstein/Vienna Philharmonic versions, it is one worthy of serious consideration by those looking for an entire Brahms symphony cycle.

BRAHMS SIN NOVEDAD.......2000-03-30

Las interpretaciones de la Sinfonías de Brahms por Kurt Masur, en realidad no tienen nada de malo, pero tampoco nada relevante. Dentro de esta misma literatura tenemos versiones mucho mejor logradas. Antes de comprar Masur mejor busque una de estas otras: Karajan / Berlín, Toscanini / NBC, Bernstein / Viena, Abbado / Berlín, Walter / Columbia.

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Meet the Classics [Box Set]

Manufacturer: Direct Source Label
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005QKDI
Release Date: 2000-07-07

Beautiful Classical Music To Share (Box Set)

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Beautiful Classical Music To Share (Box Set)

Manufacturer: Direct Source Label
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Binding: Audio CD

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ASIN: B0007PLM0A
Release Date: 2005-02-22

Bruno Walter: The Edition, Vol. 3 (Box Set)

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Perennially satisfying performances.

Bruno Walter: The Edition, Vol. 3 (Box Set)
Johannes Brahms , Wolfgang Amadeus Mozart , Franz Schubert , Ludwig van Beethoven , Anton Bruckner , Bruno Walter , Columbia Symphony Orchestra , Miguel Kertsmann , Occidental College Concert Choir , Staff Band of Corps of Royal Electrical and Mechanical Engineers , Dawn Frank , Chris Herles , New York Philharmonic , Pierre Fournier , Zino Francescatti , John Sr. [violinist] Corigliano , Walter Hendl , Leonard Rose , Charles Harbutt , Mack Harrel , Martha Lipton , David Lloyd , Irmgard Seefried , Leopold Simoneau , and Jennie Tourel
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B000002APC
Release Date: 1995-11-03

Tracks:

Sym No.1 in c, Op.68: I. Un Poco Sostenuto-Allegro
Sym No.1 in c, Op.68: II. Andante Sostenuto
Sym No.1 in c, Op.68: III. Un Poco Allegretto E Grazioso
Sym No.1 in c, Op.68: IV. Adagio - Piu Andante - Allegro Non Troppo, Ma Con Brio
Vars On A Theme By Joseph Haydn, Op.56a: Thema. Chorale St. Antoni. Andante
Vars On A Theme By Joseph Haydn, Op.56a: Var I. Poco Piu Animato
Vars On A Theme By Joseph Haydn, Op.56a: Var II. Piu Vivace
Vars On A Theme By Joseph Haydn, Op.56a: Var III. Con Moto
Vars On A Theme By Joseph Haydn, Op.56a: Var IV. Andante Con Moto
Vars On A Theme By Joseph Haydn, Op.56a: Var V. Vivace
Vars On A Theme By Joseph Haydn, Op.56a: Var VI. Vivace
Vars On A Theme By Joseph Haydn, Op.56a: Var VII. Grazioso
Vars On A Theme By Joseph Haydn, Op.56a: Var VIII. Presto Non Troppo
Vars On A Theme By Joseph Haydn, Op.56a: Finale. Andante
Academic Festival Ov, Op.80: Allegro - Maestoso

Tracks:

Sym No.2 in D, Op.73: I. Allegro Non Troppo
Sym No.2 in D, Op.73: II. Adagio Non Troppo
Sym No.2 in D, Op.73: III. Allegretto Grazioso (Quasi Andantino) - Presto Ma Non Assai
Sym No.2 in D, Op.73: IV. Allegro Con Spirito
Sym No.3 in F, Op.90: I. Allegro Con Brio
Sym No.3 in F, Op.90: II. Andante
Sym No.3 in F, Op.90: III. Poco Allegretto
Sym No.3 in F, Op.90: IV. Allegro

Tracks:

Sym No.4 in e, Op.98: I. Allegro Non Troppo
Sym No.4 in e, Op.98: II. Andante Moderato
Sym No.4 in e, Op.98: III. Allegro Giocoso - Poco Meno Presto - Tempo I
Sym No.4 in e, Op.98: IV. Allegro Energico E Passionato - Piu Allegro
Tragic Ov, Op.81: Allegro Ma Non Troppo
Song Of Destiny, Op.54: 'Ihr Wandelt Droben Im Licht' Langsam Und Sehnsuchtsvoll - Allegro - Adagio - Occidental College Conc Chor/Bruno Walter

Tracks:

Sym No.25 in g, K.183 (173dB): I. Allegro Con Brio
Sym No.25 in g, K.183 (173dB): II. Andante
Sym No.25 in g, K.183 (173dB): III. Menuetto - Trio
Sym No.25 in g, K.183 (173dB): IV. Allegro
Sym No.28 in C, K.200 (189k): I. Allegro Spiritoso
Sym No.28 in C, K.200 (189k): II. Andante
Sym No.28 in C, K.200 (189k): III. Menuetto. Allegretto - Trio
Sym No.28 in C, K.200 (189k): IV. Presto
Sym No.29 in A, K.201 (186a): I. Allegro Moderato
Sym No.29 in A, K.201 (186a): II. Andante
Sym No.29 in A, K.201 (186a): III. Menuetto - Trio
Sym No.29 in A, K.201 (186a): IV. Allegro Con Spirito
Sym No.35 in D, K.385 'Haffner': I. Allegro Con Spirito - New York Phil/Bruno Walter
Sym No.35 in D, K.385 'Haffner': II. Andante - New York Phil/Bruno Walter
Sym No.35 in D, K.385 'Haffner': III. Menuetto - Trio - New York Phil/Bruno Walter
Sym No.35 in D, K.385 'Haffner': IV. Finale. Presto - New York Phil/Bruno Walter

Tracks:

Sym No. 36 in C, K. 425 'Linz': I. Adagio - Allegro Spiritoso
Sym No. 36 in C, K. 425 'Linz': II. Andante
Sym No. 36 in C, K. 425 'Linz': III. Menuetto - Trio

Tracks:

Sym No. 36 in C, K. 425 'Linz': IV. Presto
Sym No. 36 in C, K. 425 'Linz': I. Adagio - Allegro Spiritoso
Sym No. 36 in C, K. 425 'Linz': II. Andante
Sym No. 36 in C, K. 425 'Linz': III. Menuetto - Trio
Sym No. 36 in C, K. 425 'Linz': IV. Presto
Sym No. 38 in D, K. 504 'Prague': I. Adagio - Allegro - New York Phil/Bruno Walter
Sym No. 38 in D, K. 504 'Prague': II. Andante - New York Phil/Bruno Walter
Sym No. 38 in D, K. 504 'Prague': III. Finale. Presto - New York Phil/Bruno Walter

Tracks:

Sym No.39 in E flat, K.543: I. Adagio - Allegro - New York Phil/Bruno Walter
Sym No.39 in E flat, K.543: II. Andante Con Moto - New York Phil/Bruno Walter
Sym No.39 in E flat, K.543: III. Menuetto. Allegretto - Trio - New York Phil/Bruno Walter
Sym No.39 in E flat, K.543: IV. Finale. Allegro - New York Phil/Bruno Walter
Sym No.40 in g, K.550: I. Molto Allegro - New York Phil/Bruno Walter
Sym No.40 in g, K.550: II. Andante - New York Phil/Bruno Walter
Sym No.40 in g, K.550: III. Menuetto. Allegretto - Trio - New York Phil/Bruno Walter
Sym No.40 in g, K.550: IV. Allegro Assai - New York Phil/Bruno Walter
Sym No.41 in C, K.551 'Jupiter': I. Allegro Vivace - New York Phil/Bruno Walter
Sym No.41 in C, K.551 'Jupiter': II. Andante Cantabile - New York Phil/Bruno Walter
Sym No.41 in C, K.551 'Jupiter': III. Menuetto. Allegretto - Trio - New York Phil/Bruno Walter
Sym No.41 in C, K.551 'Jupiter': IV. Molto Allegro - New York Phil/Bruno Walter

Tracks:

Sym No. 9 (8) in C, D 944 'The Great': I. Andante - Allegro Ma Non Troppo
Sym No. 9 (8) in C, D 944 'The Great': II. Andante Con Moto
Sym No. 9 (8) in C, D 944 'The Great': III. Scherzo. Allegro Vivace - Trio
Sym No. 9 (8) in C, D 944 'The Great': IV. Finale. Allegro Vivace
Incidental Music To 'Rosamunde' D 797: 'Die Zauberharfe' D44: Ov. Andante - Allegro Vivace
Incidental Music To 'Rosamunde' D 797: No.9 Ballett: Andantino
Incidental Music To 'Rosamunde' D 797: No.5 Entr'acte Nach Dem 3.Aufzug: Andantino

Tracks:

Con in a, Op. 102 'Double Con': I. Allegro - Zino Francescatti/Pierre Fournier
Con in a, Op. 102 'Double Con': II. Andante - Zino Francescatti/Pierre Fournier
Con in a, Op. 102 'Double Con': III. Vivace Non Troppo - Zino Francescatti/Pierre Fournier
Con in C, Op. 56 'Triple Con': I. Allegro - Walter Hendl/John Corigliano/Leonard Rose
Con in C, Op. 56 'Triple Con': II. Largo - Walter Hendl/John Corigliano/Leonard Rose
Con in C, Op. 56 'Triple Con': III. Rondo Alla Polacca - Walter Hendl/John Corigliano/Leonard Rose

Tracks:

Te Deum in C: I. Te Deum: Allegro Moderato - Frances Yeend/Martha Lipton/David Lloyd/Mack Harrel
Te Deum in C: II. Te Ergo: Moderato - Frances Yeend/Martha Lipton/David Lloyd/Mack Harrel
Te Deum in C: III. Aeterna Fac: Allegro. Moderato. Feierlich, Mit Kraft - Frances Yeend/Martha Lipton/David Lloyd/Mack Harrel
Te Deum in C: IV. Salvum Fac: Moderato - Frances Yeend/Martha Lipton/David Lloyd/Mack Harrel
Te Deum in C: IV. Salvum Fac: Per Singulos Dies Benedicimus Te. Allegro Moderato - Frances Yeend/Martha Lipton/David Lloyd/Mack Harrel
Te Deum in C: V. In Te, Domine, Speravi: Massig Bewegt - Frances Yeend/Martha Lipton/David Lloyd/Mack Harrel
Te Deum in C: V. In Te, Domine, Speravi: Fuge. Im Gleichen Gemassigten Tempo - Alla Breve - Frances Yeend/Martha Lipton/David Lloyd/Mack Harrel
Requiem in d, K.626: I. Introitus: Requiem. Adagio - Irmgard Seefried/Jennie Tourel/Leopold Simoneau/William Warfield
Requiem in d, K.626: II. Kyrie: Kyrie Eleison. Allegro - Irmgard Seefried/Jennie Tourel/Leopold Simoneau/William Warfield
Requiem in d, K.626: III. Sequentia: Dies Irae. Allegro Assai - Irmgard Seefried/Jennie Tourel/Leopold Simoneau/William Warfield
Requiem in d, K.626: III.Sequentia: Tuba Mirum. Andante - Irmgard Seefried/Jennie Tourel/Leopold Simoneau/William Warfield
Requiem in d, K.626: III. Sequentia: Rex Tremandae - Irmgard Seefried/Jennie Tourel/Leopold Simoneau/William Warfield
Requiem in d, K.626: III. Sequentia: Recordare - Irmgard Seefried/Jennie Tourel/Leopold Simoneau/William Warfield
Requiem in d, K.626: III. Sequentia: Confutatis. Andante - Irmgard Seefried/Jennie Tourel/Leopold Simoneau/William Warfield
Requiem in d, K.626: III. Sequentia: Lacrimosa - Irmgard Seefried/Jennie Tourel/Leopold Simoneau/William Warfield
Requiem in d, K.626: IV. Offertorium: Domine Jesu. Andante Con Moto - Irmgard Seefried/Jennie Tourel/Leopold Simoneau/William Warfield
Requiem in d, K.626: IV. Offertorium: Hastias. Andante - Andante Con Moto - Irmgard Seefried/Jennie Tourel/Leopold Simoneau/William Warfield
Requiem in d, K.626: V. Sanctus: Adagio - Allegro - Irmgard Seefried/Jennie Tourel/Leopold Simoneau/William Warfield
Requiem in d, K.626: VI. Benedictus: Andante - Allegro - Irmgard Seefried/Jennie Tourel/Leopold Simoneau/William Warfield
Requiem in d, K.626: VII. Agnus Dei - Irmgard Seefried/Jennie Tourel/Leopold Simoneau/William Warfield
Requiem in d, K.626: VIII. Communio: Lux Aeterna - Irmgard Seefried/Jennie Tourel/Leopold Simoneau/William Warfield

Customer Reviews:

Perennially satisfying performances........2002-12-25

Gathered together here, on 10 CDs, are some of the major recording projects of Bruno Walter's last years. In many cases the performances were the last he recorded commercially. Most of the Mozart symphonies he did again. Of special interest in the Mozart items heard here, however, are the rehearsal sequences that preceded the recording of Mozart's "Linz" Symphony. Uniquely articulate amongst conductors, whether rehearsing or writing, he here gently but firmly moulds each movement into shape, then lays down his baton and says, "Now, we record".

Perhaps the performances that have won the highest praise are the Brahms symphonies found here, especially Nos. 2 and 3. Indeed, some reviewers continue to head their list of top recommendations of these works with these 1960 recordings. Everything here was recorded between 1949 and 1961, either in New York or in Los Angeles.

Tracks:

Sym No.1 Op.68 in c: 1. Un Poco Sostenuto/Allegro - 'George Enescu' Bucharest PO/Cristian Mandeal
Sym No.1 Op.68 in c: 2. Andante Sostenuto - 'George Enescu' Bucharest PO/Cristian Mandeal
Sym No.1 Op.68 in c: 3. Un Poco Allegretto E Grazioso - 'George Enescu' Bucharest PO/Cristian Mandeal
Sym No.1 Op.68 in c: 4. Adagio/Allegro Non Troppo, Ma Con Brio - 'George Enescu' Bucharest PO/Cristian Mandeal
Academic Festival Ov Op.80 in c - 'George Enescu' Bucharest PO/Cristian Mandeal

Tracks:

Sym No.2 Op.73 in D: 1. Allegro Non Troppo - 'George Enescu' Bucharest PO/Cristian Mandeal
Sym No.2 Op.73 in D: 2. Adagio Non Troppo - 'George Enescu' Bucharest PO/Cristian Mandeal
Sym No.2 Op.73 in D: 3. Allegretto Grazioso - 'George Enescu' Bucharest PO/Cristian Mandeal
Sym No.2 Op.73 in D: 4. Allegro Con Spirito - 'George Enescu' Bucharest PO/Cristian Mandeal
Tragic Ov Op.81 in d - 'George Enescu' Bucharest PO/Cristian Mandeal

Tracks:

Sym No.3 Op.90 in F: 1. Allegro Con Brio - 'George Enescu' Bucharest PO/Cristian Mandeal
Sym No.3 Op.90 in F: 2. Andante - 'George Enescu' Bucharest PO/Cristian Mandeal
Sym No.3 Op.90 in F: 3. Poco Allegretto - 'George Enescu' Bucharest PO/Cristian Mandeal
Sym No.3 Op.90 in F: 4. Allegro - 'George Enescu' Bucharest PO/Cristian Mandeal
Vars On A Theme By J.Haydn in B flat Op.56a - 'George Enescu' Bucharest PO/Cristian Mandeal

Tracks:

Sym No.4 Op.98 in e: 1. Allegro Non Troppo - 'George Enescu' Bucharest PO/Cristian Mandeal
Sym No.4 Op.98 in e: 2. Andante Moderato - 'George Enescu' Bucharest PO/Cristian Mandeal
Sym No.4 Op.98 in e: 3. Allegro Giocoso - 'George Enescu' Bucharest PO/Cristian Mandeal
Sym No.4 Op.98 in e: 4. Allegro Energico E Passionato - 'George Enescu' Bucharest PO/Cristian Mandeal
Hungarian Dances No.1 in g - 'George Enescu' Bucharest PO/Cristian Mandeal
Hungarian Dances No.3 in F - 'George Enescu' Bucharest PO/Cristian Mandeal
Hungarian Dances No.5 in g - 'George Enescu' Bucharest PO/Cristian Mandeal
Hungarian Dances No.6 in D - 'George Enescu' Bucharest PO/Cristian Mandeal
Hungarian Dances No.7 in F - 'George Enescu' Bucharest PO/Cristian Mandeal
Hungarian Dances No.10 in F - 'George Enescu' Bucharest PO/Cristian Mandeal

Tracks:

Pno Con No.1 Op.15 in d: 1. Maestoso - Wolfgang Manz
Pno Con No.1 Op.15 in d: 2. Adagio - Wolfgang Manz
Pno Con No.1 Op.15 in d: 3. Rondo/Allegro Non Troppo - Wolfgang Manz
Song Of Fate Op.54 - Wolfgang Manz

Tracks:

Pno Con No.2 Op.83 in B flat: 1. Allegro Non Troppo - Wolfgang Manz
Pno Con No.2 Op.83 in B flat: 2. Allegro Appassionato - Wolfgang Manz
Pno Con No.2 Op.83 in B flat: 3. Andante - Wolfgang Manz
Pno Con No.2 Op.83 in B flat: 4. Allegretto Grazioso - Wolfgang Manz
Nanie Op.82 - Wolfgang Manz

Tracks:

Vn Con Op.77 in D: 1. Allegro Non Troppo - Benjamin Schmid
Vn Con Op.77 in D: 2. Adagio - Benjamin Schmid
Vn Con Op.77 in D: 3. Allegro Giocoso, Ma Non Troppo Vivace - Benjamin Schmid
Pno Qt No.3 Op.60 in c: 1. Allegro Non Troppo - 'Pro Arte' Qt Of 'George Enescu'
Pno Qt No.3 Op.60 in c: 2. Scherzo (Allegro) - 'Pro Arte' Qt Of 'George Enescu'
Pno Qt No.3 Op.60 in c: 3. Andante - 'Pro Arte' Qt Of 'George Enescu'
Pno Qt No.3 Op.60 in c: 4. Finale (Allegro Comodo) - 'Pro Arte' Qt Of 'George Enescu'

Tracks:

Double Con Op.102 in a: 1. Allegro - Mihaela Martin/Frans Helmerson
Double Con Op.102 in a: 2. Andante - Mihaela Martin/Frans Helmerson
Double Con Op.102 in a: 3. Vivace Non Troppo - Mihaela Martin/Frans Helmerson
Pno Qt No.1 Op.25 in g: 1. Allegro - 'Pro Arte' Qt Of 'George Enescu'
Pno Qt No.1 Op.25 in g: 2. Intermezzo (Allegro Ma Non Troppo) - 'Pro Arte' Qt Of 'George Enescu'
Pno Qt No.1 Op.25 in g: 3. Andante Con Moto - 'Pro Arte' Qt Of 'George Enescu'
Pno Qt No.1 Op.25 in g: 4. Rondo Alla Zingarese (Presto) - 'Pro Arte' Qt Of 'George Enescu'

Tracks:

Son No.1 Op.1 in C: Allegro - Nadja Rubanenko
Son No.1 Op.1 in C: Andante - Nadja Rubanenko
Son No.1 Op.1 in C: Scherzo/Allergo Molto E Con Fuoco - Nadja Rubanenko
Son No.1 Op.1 in C: Finale/Allegro Con Fuoco - Nadja Rubanenko
Three Intermezzos Op.117: 1. Andante Moderato - Nadja Rubanenko
Three Intermezzos Op.117: 2. Andante Non Troppo E Con Molto Espressione - Nadja Rubanenko
Three Intermezzos Op.117: 3. Andante Con Moto - Nadja Rubanenko
Four Pno Pieces Op.119: 1. Intermezzo. Adogio - Nadja Rubanenko
Four Pno Pieces Op.119: 2. Intermezzo. Andantino Un Poco Agitato - Nadja Rubanenko
Four Pno Pieces Op.119: 3. Intermezzo. Grazioso E Giocoso - Nadja Rubanenko
Four Pno Pieces Op.119: 4. Rhapsodie. Allegro Risoluto - Nadja Rubanenko

Tracks:

Pno Trio No.1 Op.8 in B: Allegro Con Brio - Ralph Manno/Alfredo Perl
Pno Trio No.1 Op.8 in B: Scherzo/Allegro Molto - Ralph Manno/Alfredo Perl
Pno Trio No.1 Op.8 in B: Adagio - Ralph Manno/Alfredo Perl
Pno Trio No.1 Op.8 in B: Allegro - Ralph Manno/Alfredo Perl
Pno Trio No.2 Op.87 in C: Allegro - Ralph Manno/Alfredo Perl
Pno Trio No.2 Op.87 in C: Andante Con Moto - Ralph Manno/Alfredo Perl
Pno Trio No.2 Op.87 in C: Scherzo - Ralph Manno/Alfredo Perl
Pno Trio No.2 Op.87 in C: Finale. Allegro Giocoso - Ralph Manno/Alfredo Perl

Tracks:

Son in f Op.120 No.1: Allegro Appassionato - Ralph Manno/Alfredo Perl
Son in f Op.120 No.1: Andante Un Poco Adagio - Ralph Manno/Alfredo Perl
Son in f Op.120 No.1: Allegretto Grazioso - Ralph Manno/Alfredo Perl
Son in f Op.120 No.1: Vivace - Ralph Manno/Alfredo Perl
Son in E Flat Op.120 No.2: Allegro Amabile - Ralph Manno/Alfredo Perl
Son in E Flat Op.120 No.2: Allegro Appassionato - Ralph Manno/Alfredo Perl
Son in E Flat Op.120 No.2: Andante Con Moto - Ralph Manno/Alfredo Perl
Son in E Flat Op.120 No.2: Allegro - Ralph Manno/Alfredo Perl

Tracks:

Str Sextex No.1 Op.18 in B: Allegro Ma Non Troppo - Luz Leskowitz/Dana Anka/Vladimir Mendelssohn/Daniela Crisan/Emil Klein/Boris Match
Str Sextex No.1 Op.18 in B: Andante, Ma Moderato - Luz Leskowitz/Dana Anka/Vladimir Mendelssohn/Daniela Crisan/Emil Klein/Boris Match
Str Sextex No.1 Op.18 in B: Scherzo. Allegro Molto - Luz Leskowitz/Dana Anka/Vladimir Mendelssohn/Daniela Crisan/Emil Klein/Boris Match
Str Sextex No.1 Op.18 in B: Rondo. Poco Allegretto E Grazioso - Luz Leskowitz/Dana Anka/Vladimir Mendelssohn/Daniela Crisan/Emil Klein/Boris Match
Str Sextet No.2 in G Op.36: Allegro Non Troppo - Luz Leskowitz/Dana Anka/Vladimir Mendelssohn/Daniela Crisan/Emil Klein/Boris Match
Str Sextet No.2 in G Op.36: Scherzo. Allegro Non Troppo - Luz Leskowitz/Dana Anka/Vladimir Mendelssohn/Daniela Crisan/Emil Klein/Boris Match
Str Sextet No.2 in G Op.36: Poco Adagio - Luz Leskowitz/Dana Anka/Vladimir Mendelssohn/Daniela Crisan/Emil Klein/Boris Match
Str Sextet No.2 in G Op.36: Poco Allegro - Luz Leskowitz/Dana Anka/Vladimir Mendelssohn/Daniela Crisan/Emil Klein/Boris Match

Music Review:

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