Brahms, Schumann: Symphony No. 1 / Karajan, Berlin Philharmonic Orchestra

Editorial Reviews
Amazon.com
The performance of the Schumann is one of the worst, if not the worst, in the history of mankind. Thick, coagulated string textures with nary a woodwind in sight give plenty of ammunition to those who claim that Schumann couldn't orchestrate. The Brahms symphony is a bit better, but not much. Herbert von Karajan really was so much less successful in the basic German repertoire than he wanted everyone to think. That's probably why he recorded it so many times. No matter--this is not recommendable at all. --David Hurwitz

Brahms, Schumann: Symphony No. 1 / Karajan, Berlin Philharmonic Orchestra, Music, Johannes Brahms, Robert Schumann, Herbert von Karajan, Berliner Philharmoniker, Classical, Classical Composers, Classical Music, Romantic Symphony, Symphonic

Average customer rating:

Mr Hurwitz Mr Hurwitz

Beats the later HvK recordings

Karajan Delivers Absolute Greatness! Beware of David Hurwitz, The Endless Karajan Basher!

Thoroughly enjoyable

Karajan in the Brahms First--early or late?

Brahms, Schumann: Symphony No. 1 / Karajan, Berlin Philharmonic Orchestra

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001GQ5
Release Date: 1996-02-13

Tracks:

Symphonie Nr. 1 C-moll Op. 68: 1. Un Poco Sostenuto - Allegro
Symphonie Nr. 1 C-moll Op. 68: 2. Andante Sostenuto
Symphonie Nr. 1 C-moll Op. 68: 3. Un Poco Allegretto E Grazioso
Symphonie Nr. 1 C-moll Op. 68: 4. Adagio - Allegro Non Troppo Ma Con Brio
Symphonie Nr. 1 B-dur Op. 38 - Fruhlings-Symphonie: 1. Andante Un Poco Maestoso - Allegro Molto Vivace
Symphonie Nr. 1 B-dur Op. 38 - Fruhlings-Symphonie: 2. Larghetto - (Attacca:)
Symphonie Nr. 1 B-dur Op. 38 - Fruhlings-Symphonie: 3. Scherzo. Molto Vivace
Symphonie Nr. 1 B-dur Op. 38 - Fruhlings-Symphonie: 4. Allegro Animato E Grazioso

Amazon.com

The performance of the Schumann is one of the worst, if not the worst, in the history of mankind. Thick, coagulated string textures with nary a woodwind in sight give plenty of ammunition to those who claim that Schumann couldn't orchestrate. The Brahms symphony is a bit better, but not much. Herbert von Karajan really was so much less successful in the basic German repertoire than he wanted everyone to think. That's probably why he recorded it so many times. No matter--this is not recommendable at all. --David Hurwitz

Customer Reviews:

Mr Hurwitz Mr Hurwitz.......2007-06-09

Gosh golly, I just listened to the Brahms symphony at Rhapsody and enjoyed myself. I Even caught myself saying WOW a few times, remarking at just how beautiful the performance was. Now I read the Amazon reviewer Mr. Hurwitz "not recommended" comment where he trashes this fine performance and it is almost enough to make me feel guilty--almost! This Sunday we should all light a candle for Mr. Hurwitz and pray that he finds a real job, other than pretending to be a reviewer. I have not listened to the Schumann symphony yet, but I bet it is not as bad as Airport 79.

Beats the later HvK recordings.......2007-01-30

I'll mainly affirm what others have written here and elsewhere. Of the 60's, 70's and 80's HvK Brahms cycles, the 60's are the best, even with their documented flaws. Don't bother with the 80's digital recordings. The 70's versions are "OK", the playing is perhaps a bit cleaner overall, but the sound stage is tight and un-interesting.

The 60's recording of the First has nice sonics and many great moments, some unsurpassed in my experience. Now, if you just want a very good, modern recording of the Brahms First, then try Jansons/Oslo Philharmonic. I own it and like it very much. It received a 10/10 at Classics Today, a site I have found to be reliable.

The Schumann on this disc is very good. I own the recent Barenboim Schumann Symphony recordings which have received fine reviews. I find this HvK recording more firey, rhythmic, and edgy, which suits my tastes.

Karajan Delivers Absolute Greatness! Beware of David Hurwitz, The Endless Karajan Basher!.......2006-02-05

The absurd review by the Karajan hating David Hurwitz shouldn't deter you from buying this Brahms 1st which comes with Schumann's Spring Symphony. They are both great performances, in the highest class, so why is Hurwitz prattling off such a nonsensical review? It's not merely an opinion, no, this guy has an axe to grind against Herbert von Karajan. Just read some of his other reviews. Once in a while he'll say something nice but even then it seems like Hurwitz is gritting his teeth. Obviously we all know Karajan was an egotistical jerk who became rich from all his many recordings. And yes, Karajan had a spotty record before and during World War II, for which some people still carry a grudge against him. You have to remember Karajan was a musician, not a politician. Yes, he was ambitious and opportunistic but I prefer to judge the man based on his musical achievements and not on his failings in other areas.

Everyone knows Karajan is one of the best conductors who ever lived, that goes without saying. So how go Karajan's musical achievements here in Brahms and Schumann? How about nearly definitive?! I can only think of Furtwangler and Klemperer rising to such heights as Karajan does here. I also like Claudio Abbado's performance of Brahms' 1st in the 1980's but Karajan is more expansive in the finale, giving the music more warmth than Abbado or Klemperer.

If you love classical music or Brahms, you must own this CD. You even get a near perfect performance of Schumann from Karajan's terrific cycle from the 1970's. The sound in both symphonies is weighty and well detailed, perfectly remastered by Deutsche Grammophon. Buy this today and find out for yourself!

Thoroughly enjoyable.......2005-12-13

First, I would like to say a few words in case Mr. Hurwitz is by chance reading this. Hasty, extreme words clothed as professional review do no one justice. Clearly he hates these performances, even refering to the Schumann as possibly the worst in history. Really, can't everyone here think of performances that are vastly inferior to these? Every reviewer should distrust both excessive praise and derision, prefering instead a more objective approach, simply listing the positives and negatives and allowing the reader to make of it what he will (I feel the reviewer should assume the reader to be more intelligent than they themselves are). I cannot pretend to be perfectly objective; certainly I have all the faults I've stated, as does every human being, but let me make an attempt here.
Certainly this music is played with great passion and sincerity. Although in the Brahms Karajan is much more restrained than Furtwangler in his use of tempo modulation, he taps into the same atmosphere, very dark, introspective, with every gesture full of meaning. The interpretation of the Schumann is by contrast extroverted and intense, especially for the supposedly "cold" Karajan. To both the Berliners give their deep, rich sound that is unique and instantly identifiable (it's hard to believe there was a time when you could tell the great orchestras apart). On this line and as a side note, I don't really understand Mr. Hurwitz's comments about the winds being inaudible. I was able to hear them very clearly, and I have perfectly ordinary hearing. To sum up, both are beautiful, passionate, and for me very satisfactory. Thoroughly recommended.

Karajan in the Brahms First--early or late?.......2005-11-02

Critics like to complain that late Karajan was too polished and sleek compared to his earlier self. Here we have a Brahms First from 1964 (Karajan recorded all four Brahms symphonies that year, and all can be found on budget DG issues, though not as a set) that can be compared with his last, digital version from 1987, two years before he died.

Sound: The remastered 1964 analog recording has very natural, wide-ranging sound; the perspective is a bit closer than mid-hall. Although from the same vintage as Karajan's first Beethoven cycle, the microphones never overload; one can hear no obvious engineering flaws. The 1987 sonics are closer and much richer, but with less air around the orchestra. Bass is noticeably fuller; there is more impact in loud passages. Contrary to the Amazon reviewer, the winds are quite prominent in the 1964 recording; strings dominate in 1987.

Tempos: More or less the same for both recordings, although the later version is a minute faster in the second movement. These are moderate tempos throughout, with no exagerrations either on the fast or slow side.

Interpretation: Quite often Karajan settled on an interpretation and kept to it for decades. That's certainly true here--early or late, these readings sound fairly identical. One can detect that Karajan, if anything, became more urgent in the 1987 recording--compare the very openning of the first and last movements. In any event, neither reading is slack or glib.

For its time, the 1964 interpretation, as with Karajan's Beethoven, diverged sharply from Furtwangler's highly personal approach. Karajan sets a tempo and holds to it; he doesn't aim for spontaneous self-expression, and above all, he prefers streamlined Brahms, not to Toscanini's extreme but ahead of German tradition. (Mackerras and Thomas Sanderling have become even more streamlined in the years since, but not necessarily better.)

Overall, this is magnificent, very large-scaled Brahms on both recordings. To me, Karajan stands as the best postwar Brahms ocnductor, along with Bernstein and Klemperer. I would give the edge to 1964 for its more natural sonics, to 1987 for its greater musical impact.

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