Brahms: Symphony 1/Triumphlied

Editorial Reviews
Amazon.com
Before the phonograph, arrangements for piano with four hands were the only way most people had of hearing orchestral music. Brahms made his own versions of his symphonies, giving them at least some potential academic validity as listening experiences. The imaginative and resourceful playing of Matthies and Köhn takes the music much further. They thoroughly understand the symphonic structure and the emotional weight of the music, and they play with such tonal and dynamic variety that they turn this piano arrangement into a gripping experience. The Triumphlied, a large-scale but obscure choral work, sounds less bombastic in this arrangement than in its original form, but it is still not one of Brahms's masterpieces and probably won't invite repeated hearings. But for those interested in a new perspective on familiar Brahms, superbly performed, this disc offers a fascinating experience. --Leslie Gerber

Tracks:

Sym No.1 in c, Op.68: Un Poco Sostenuto-Allegro
Sym No.1 in c, Op.68: Andante Sostenuto
Sym No.1 in c, Op.68: Poco Allegretto E Grazioso
Sym No.1 in c, Op.68: Adagio-Allegro Non Troppo Ma Con Brio
Triumphlied, Op.55: Lebhaft Und Feierlich
Triumphlied, Op.55: Massig Belebt
Triumphlied, Op.55: Lebhaft

Amazon.com

Before the phonograph, arrangements for piano with four hands were the only way most people had of hearing orchestral music. Brahms made his own versions of his symphonies, giving them at least some potential academic validity as listening experiences. The imaginative and resourceful playing of Matthies and Köhn takes the music much further. They thoroughly understand the symphonic structure and the emotional weight of the music, and they play with such tonal and dynamic variety that they turn this piano arrangement into a gripping experience. The Triumphlied, a large-scale but obscure choral work, sounds less bombastic in this arrangement than in its original form, but it is still not one of Brahms's masterpieces and probably won't invite repeated hearings. But for those interested in a new perspective on familiar Brahms, superbly performed, this disc offers a fascinating experience. --Leslie Gerber

Customer Reviews:

Brahms surprises and captivates.......2006-07-14

A little disclaimer for the reader of this review: I've not heard any of these works on this CD in their original orchestral/choral form. In fact, I've not heard any orchestral work from Brahms except the Variations on Haydn and a few Hungarian Dances. I'm on an outlandish and rare path of exposing myself to Brahms exclusively through Naxos' Four Hand Piano series. My first taste was the German Requiem for Four Hands, and I was breathless. I still feel stunned by Brahms music.

For the experienced listeners or Brahms lovers, there's no need for me to tell you how great his First Symphony is. You know it's good and has always been good, even in past times been referred to as Beethoven's tenth. But I still must praise it as a composition on piano. The first movement is serious and dark, sometimes ecstatic and for the entire duration, forceful. I'm sure it can only be wholly appreciated through the orchestra, but nevertheless the lower registers and infinite tones of the piano do it justice. It took only two concentrated listenings to feel spellbound.

The second movement sounds like it was made for piano; a gentle and lyrical sweetness with a tinge of graveness that Brahms is adept at articulating. The music itself is simply beautiful and alluring; the movement emits a vast range of emotions that only a piano seems capable of expressing. I'm sure many could deride against me that the orchestral version is far superior, but whatever. I've not heard the orchestral version and so I judge this music on its own through the illustrious and efficient piano.

The third and fourth movements seem to be the peak of musical profundity. The third movement is intense and arousing, making way for a sublime fourth movement quite reminiscent of Beethoven's "Ode to Joy" theme. The movement is so far one of the best musical moments I've encountered from Brahms. The drama and propulsion of amazing music, with slow breezes of sound to climatic whirls and clashes, it is simply powerful through Matthies and Kohn's fingers. There is something in this Symphony that only the piano can subtlely augment, as if the keys have additional accents to communicate Brahms' great music. What a brilliant, penetrating, and mighty achievement by the piano duo here.

The last work, the Triumphlied, might appear overshadowed by the magnificent Symphony in C minor, but it still has a capability to surprise the listener. The first movement opens with a Handel-like Baroqueish sound and it surges through heroic, joyful choral tones which sound bright and crisp on the piano. The second and third movements have their unique themes and ideas all woven together. Again, I reiterate that the piano does not take away from any musical experience, at least to me. The Triumphlied is economical but still euphoric when carefully heard. It's not one of the best Brahms works I've heard yet, but it's not repulsively bad.

Bottom line: This is great music; the First Symphony is exhilarating, poignant and enchanting, and sounds outstanding on the piano; the orchestra would be envious. The Triumphlied is not as good but should not be dismissed at all; it has its potent moments that are only enhanced by the generally lively music. Those familiar with these works in their original version are missing out on a distinct and exemplary rendition that only the piano can produce. Those unfamiliar with these works: get this CD. With all the Brahms symphonies recorded out there why not try something different at such a low price, too!

A very nice suprise of lovers of Brahms' Symphony 1.......2000-04-19

Naxos has just issued the latest entry in their series of Brahms' (8.55419), this one offering us the mighty and the meretricious. I had not known that Brahms had reduced his "Symphony No. 1" to a piano piece for four hands. While it certainly will never replace that remarkable work, it can stand on its own as an independent work of art and a welcome substitute for the fully orchestrated version, which I have heard once too often in my lifetime.

The "Triumphlied" that fills out the program is a 22-minute piece of jingoism celebrating Brahms' beloved Bismarck and his conquest over the French back in 1870. I believe that the composer was sincere but that he did not find much deep musical inspiration in the events that prompted this work. I am sure it sounds even more blatantly propagandistic in its original version for baritone, chorus and orchestra. I don't dislike it, mind you; but anything in praise of slaughter always leaves a sour taste for me.

Pianists Silke-Thora Matthies and Christian Kohn make a good case for both works. And the ultimate decision is, of course, yours to make.

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