Johannes Brahms: Complete Symphonies

Editorial Reviews
Amazon.com
Wolfgang Sawallisch has not been lucky in Brahms. Although a good value at two discs for the price of one, these performances are really nothing special. The Vienna Symphony is not the Vienna Philharmonic, and though they improved under Eliahu Inbal, they were a distinctly second-rate group when these recordings were made. Sawallisch himself offers no special insights that lend his Brahms any particular distinction. --David Hurwitz

Tracks:

Symphony No. 1 In C Minor Op. 68: 1. Un poco sostenuto - Allegro
Symphony No. 1 In C Minor Op. 68: 2. Andante sostenuto
Symphony No. 1 In C Minor Op. 68: 3. Un poco Allegretto e grazioso
Symphony No. 1 In C Minor Op. 68: 4. Adagio - Piu Andante - Allegro non troppo, ma con brio
Symphony No. 3 In F Major op.90: 1. Allegro con brio
Symphony No. 3 In F Major op.90: 2. Andante
Symphony No. 3 In F Major op.90: 3. Poco Allegretto
Symphony No. 3 In F Major op.90: 4. Allegro

Tracks:

Symphony No. 2 In D Major Op. 73: 1. Allegro non troppo
Symphony No. 2 In D Major Op. 73: 2. Adagio non troppo - L'istesso tempo, ma grazioso
Symphony No. 2 In D Major Op. 73: 3. Allegretto grazioso (Quasi Andantino) - Presto ma non assai - Tempo l
Symphony No. 2 In D Major Op. 73: 4. Allegro con spirito
Symphony No. 4 In E Minor Op. 98: 1. Allegro non troppo
Symphony No. 4 In E Minor Op. 98: 2. Andante moderato
Symphony No. 4 In E Minor Op. 98: 3. Allegro giocoso - Poco meno presto - Tempo l
Symphony No. 4 In E Minor Op. 98: 4. Allegro enerico e passionato - Piu Allegro

Amazon.com

These 1977-78 recordings are Karajan's best Brahms--better than his somewhat mannered digital set. The Berlin Philharmonic, as ever, is amazingly smooth and accomplished, playing with great class without losing any power--as an example, just listen to the finale of the second symphony. DG's engineers have turned this always-good recording into something truly magnificent to hear, and, at the price, this is a sure bet. --Robert Levine

Customer Reviews:

Karajan- Brahms symphonies.......2007-01-03

No matter who plays, Brahms always satisfies. This edition, however, is superlative! Highly recommend.

Symphonic Heaven.......2005-10-13

Karajan is largely considered the greatest exponent for mainstream symphonic works- Mozart, Brahms, Tchaikovsky Mahler, Dvorak and Bruckner. This collection is a terrific buy and it's affordable. You can't go wrong. Recorded in 1977 and 1978, Karajan delivers all the rich melody, grace, grandeur and musical harmony that Brahms suffused his four symphonies with. The Berlin Philharmonic are trained so that even the strings move with miraculous exactitude. The only other worthy set is Solti's. This one has everything one can hope for in Brahms symphonies.

Karajan was always a champion of his own German music's history. He is still regarded as the first-rate exponent of Wagner and Strauss for example. Brahms, born in Austria, was another composer whose Germanic music Karajan was able to aptly depict through the magic of his baton. The impressive parts of this set include the entire 1st symphony- not reduced to the Beethoven parody some make it out to be. Instead, it holds its own as a work of compelling power. The finale is inspirational. The finale to the second is equally as moving. The 4th symphony is my favorite symphony of the post Beethoven Romantic Era. In this symphony we find a mixture of mysticism, romantic beauty and classical balance. In it we also find, in the last movement, the greatest example of theme and variations, Brahm's strongest suit as a composer. Karajan knows his stuff. You can never go wrong with any of his interpretations, though he, too, has his detractors. His Tchaikovsky tends to be too fiery and melodramatic for example and he was never at home with Italian opera as he was in German. Karajan is brilliant and his Berlin forces electrify. At a cheap price, this is a must have if you call yourself a true classical music fan.

A great part of your collection!.......2005-10-07

This is an easy, afforable way to get all four Brahms symphonies on two great quality cds. Each symphony is recorded with the passion and fire you get from Brahm's music, although I have heard better recordings of the symphonies,I would still buy these cd's for the price.

If I have to say the worst thing about these recordings is the first movement of the third symphony is not what I was expecting ( I was expecting much more on the recording)

The greatest Brahms twofer you could imagine.......2005-09-24

DG's catalog is overflowing with Brahms performances from Karajan, and although this late-Seventies cycle of the four symphonies is not esteemed as highly as his earlier analog recordings, the truth is that Karajan had few real competitors in these works during the postwar era--except himself. He was the greatest Brahms conductor after Walter and Furtwangler, bar none, and these are outstanding performances in every way. The best are the First and Thrid symphonies, two works that Karajan was peerless in.

Very polished Brahms.......2004-08-28

Wonderful performances from the finest of the Brahms conductors...Herbie Karajan. Wonderfully straightfoward performances without the wayward stylings of the 63 set....

That being said the Fourth and First of the 63 set are incredible and deserve to be in any serious Brahms collection ...

sonincally these are very fine readings!!!

Furtwangler Conducts Brahms - Complete Symphonies, etc / North German RSO, Berlin PO

Average customer rating:

Unsurpassably great
The best Brahms cycle I have heard so far
Furtwangler's best Brahms symphony recordings
Simply Mandatory For Brahms Lovers
Anything but dull

Furtwangler Conducts Brahms - Complete Symphonies, etc / North German RSO, Berlin PO

Manufacturer: Music & Arts Program
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music

Furtwangler Conducts Beethoven - Beethoven: symphonies no 3,4,5, & 9, Leonore
Great Recordings Of The Century - Beethoven: Symphony no 9 / Furtwangler, Schwarzkopf
Recordings 1942-1944, Vol. 1
EMI Great Recordings of Century - Brahms: Symphonies Nos. 1-4/Klemperer
Leon Fleisher Plays Brahms

ASIN: B00002062I
Release Date: 1999-11-16

Tracks:

Symphony No. 1 In C, Op. 68: I Un poco sostenuto - Allegro
Symphony No. 1 In C, Op. 68: II Andante sostenuto
Symphony No. 1 In C, Op. 68: III Un poco allegretto y grazioso
Symphony No. 1 In C, Op. 68: IV Adagio piu andante - Allegro non troppo ma con brio
Symphony No. 1 In C, Op. 68: Adagio piu andante - Allegro non troppo ma con brio

Tracks:

Symphony No. 2 In D, Op. 73: I Allegro non troppo
Symphony No. 2 In D, Op. 73: II Adagio non troppo
Symphony No. 2 In D, Op. 73: III Allegretto grazioso
Symphony No. 2 In D, Op. 73: IV Allegro con spirito
SYMPHONY NO. 3 IN F, OP. 90: I Allegro con brio
SYMPHONY NO. 3 IN F, OP. 90: II Andante
SYMPHONY NO. 3 IN F, OP. 90: III Poco allegretto
SYMPHONY NO. 3 IN F, OP. 90: IV Allegro

Tracks:

Symphony No. 4 In E, Op. 98: I Allegro non troppo
Symphony No. 4 In E, Op. 98: II Andante moderato
Symphony No. 4 In E, Op. 98: III Allegro giocoso
Symphony No. 4 In E, Op. 98: IV Allegro energico e passionato
Variations On A Theme By Haydn, Op. 56A: Haydn Variations

Tracks:

Piano Concerto No. 2 In B Flat, Op. 83: I Allegro non troppo
Piano Concerto No. 2 In B Flat, Op. 83: II Allegro appasionato
Piano Concerto No. 2 In B Flat, Op. 83: III Andante
Piano Concerto No. 2 In B Flat, Op. 83: IV Allegretto grazioso
Variations On A Theme By Haydn, Op. 56A: Chorale St. Antoni: Andante
Variations On A Theme By Haydn, Op. 56A: Var. I Poco piu animato
Variations On A Theme By Haydn, Op. 56A: Var. II Piu vivace
Variations On A Theme By Haydn, Op. 56A: Var. III Con moto
Variations On A Theme By Haydn, Op. 56A: Var. IV Andante con moto
Variations On A Theme By Haydn, Op. 56A: Var. V Vivace
Variations On A Theme By Haydn, Op. 56A: Var. VI Vivace
Variations On A Theme By Haydn, Op. 56A: Var. VII Grazioso
Variations On A Theme By Haydn, Op. 56A: Var. VIII Presto non troppo
Variations On A Theme By Haydn, Op. 56A: Finale. Andante

Amazon.com essential recording

What a bonanza: some of the most searching interpretations ever made of symphonic cornerstones, from a now bygone era of performance, here beautifully remastered by Music & Arts and packaged into a bargain set. Wilhelm Furtwängler's dynamic, always-evolving--and often unpredictable--visions of a classic score could overwhelm listeners with their paradoxical aura of the inevitable, wresting away the easy, dull comfort of familiarity. This is most dramatically the case with the conductor's performances of Beethoven. They still move and shake us free of lazy assumptions about this music with all the power of artistic truth. Furtwängler came relatively late to Brahms (like so many of the composer's most abiding admirers) but identified deeply with Brahms's dark strain of melancholy and self-consciousness. The Furtwängler trademarks are all here--palpable molding of tempos and dynamics to concentrate drama, oracular moments of insight, and an astonishingly compelling, organic sense of the whole.

Perhaps the most viscerally thrilling account here is of the First Symphony, from 1951, which, as John Ardoin brilliantly describes it in The Furtwängler Record, has the "magnificent rawness of a Michelangelo." But, when you think you've reached an untoppable high at its conclusion, listen to the finale from Furtwängler's final wartime concert in Berlin, 1945 (the only extant movement on disc), included in this set. The symphonies presented here are a far cry from the stuffy, pedantic, anachronistic Brahms served up by so many lesser lights. Furtwängler grasps and conveys the subtly layered ambiguities in these scores, the blending--particularly in the Second's Adagio (1945) and the final measures of the Third (1943)--of deep shadow with serene sunlight. His Brahms Four from 1943 at times verges on the terrifying; ultimately it passes beyond tragedy into new wisdom as Furtwängler scoops, caresses, sculpts, and simply builds musical contours. The set also includes two interpretations of the Haydn Variations (1943 and 1951) and the legendary 1942 Second Piano Concerto featuring Edwin Fischer as soloist--a touchstone of musical partnership. There's a varying level of background hiss and distortion throughout the set, but in general this is an extraordinary CD transfer. And in Furtwängler's presence, any distracting artifacts of the recorded sound soon fade into insignificance. This is a must not only for listeners serious about Brahms but for anyone intrigued by the art of musical interpretation. --Thomas May

Customer Reviews:

Unsurpassably great.......2005-06-01

In a sense, Furtwangler's best Brahms recordings, collected here, are even more impressive than his Beethoven. Beethoven is almost foolproof, and even in a mediocre performance he will come across intact, but botch Brahms and a tedious soup is all that remains. Compared to Furtwangler's Brahms, all other versions seem not interpreted but merely played through. Under Furtwangler's baton, Brahms emerges as a tragic artist of Shakespearean proportions, with the unbelievable 1945 performance of the last movement of the First--as another listener points out, it stands with his 1942 Ninth among his greatest achievements on record--and the complete performance of the Fourth as particular standouts. As others have noted, the Third isn't quite up to par--personally I prefer the version in the EMI box, which has a terrifically dynamic first movement--but all in all these are performances to render almost all others insignificant. Nowhere else does Furtwangler better exemplify his uncanny ability to find the living core of a piece of music and bring it out whole. This is visionary artistry of the highest order, to which all discussion of conductorial eccentricity is irrelevant, and it will make a Brahms lover of anyone who encounters it fully. A completely extraordinary set of recordings, and a must.

The best Brahms cycle I have heard so far.......2005-04-18

The Furtwangler cycle of Brahms is comething special indeed. The sound leaves much to be desired, but trust me, after you hear the performances you will never want to hear Brahms any other way (no matter how good the sound is)!! This cycle is raw, uninhibited, fierce, probing, tragic but above all powerful. Take the finle of the 4th symphony as an example. It is played at a faster pace of any other recording I have heard of the piece. At the end the variations played on strings are almost a little sloppy. But playing them at that tempo gives the overall movement such great power, spontaniety and drive that it does'nt matter. These performances are should be the gold standard for all others. No other brahms cycle comes ever close.

Furtwangler's best Brahms symphony recordings.......2005-03-02

...all in one set! I'm not going to jump on "madamemusico's" one-star review too much, since she has certainly gotten her share of well-earned unhelpful votes, but I don't know what the hell the argument that Brahms is a "classicist" has to do with anything. The way I look at it, Brahms may have been a classicist with regard to form, but he had heart and soul of a romantic, so I don't understand what precludes his symphonies from being played as full-blooded romantic music. Just admit you don't like Furtwangler, and don't taint the ratings here with personal biases. 'Nuff said on that subject.

"Brahms music is boring and his orchestration is too thick," is one of my least favorite of the countless cliches' about romantic era composers and their music. When I worked at a record store several years ago, I was playing a really good and exciting recording of a Mendelssohn symphony, and a lady came in and, after listening to it for a few minutes, she asked, "What is this? It's really good." "Mendelssohn's (I think it was the 3rd) Symphony," I responded. "Really?!" she said, surprised; "I thought Mendelssohn was boring." "That's because you've never heard any GOOD Mendelssohn," I said. She bought the CD. I am not a big Mendelssohn fan, but the point of this anecdote is that you frequently get the same kinds of opinions about Brahms, based on cliches' about his music that preclude people from giving it serious consideration: "Oh yeah, Brahms; thick and boring. Not my cup of tea." Then you hear some GOOD Brahms, and you are a fan for life.

I would not pretend that this is the only Brahms set you should have. The sound quality is variable, and Furtwangler's style is unique, but if you have any interest in Brahms' symphonies, and you have some more modern recordings that you like, then you really need to have this one; esp. since you can probably get an inexpensive copy on the Marketplace.

I have listened to many of Furtwangler's numerous Brahms recordings, and there is no question in my mind that M&A have assembled the best ones here. Part of the magic of Furtwangler's Brahms is that, despite the weight of the sound that he gets from these great orchestras, plenty of detail can be heard, and surprisingly little apology needs to be made for the sound, even though these recordings are from widely different sources.

Brahms recorded multiple good Brahms' Firsts, but this one from 1951 with Schmidt-Isserstedt's wonderful Hamburg orchestra is my favorite, and it has the best sound of any Furtwangler Brahms recording. The Tahra release of the First has slightly better sound than the M&A, but not enough to diminish the appeal of this set. The wartime Second might have the most thrilling account of the wonderful finale ever recorded. The Third, recorded in the last few months of Furtwangler's life is deeply ruminative, and is the most idiosyncratic of all of the readings here in that much of it is very slow, but it is easily the best of his Thirds, and I find it to be a uniquely satisfying reading. It has often been commented on the Brahms' music has an autumnal feel to it, and it seems to me that this is particularly explicit in the Third, with its luminous woodwind coloring, esp. the clarinet parts: the third was the last of the Brahms symphonies that I fell in love with-- courtesy of the Szell recording--and there is a palpable feeling of deep autumnal reflection in Furtwangler's reading, esp. in his achingly beautiful account of the third movement; and in the closing bars of the quiet coda, you can almost see the last autumn leaves slowly wafting down to the earth. The wartime Fourth is one of the most overtly tragic readings you will ever hear, with an amazing forward thrust to the finale; again, this is easily Furtwangler's best reading.

The fact that there are later Furtwangler Brahms recordings with somewhat better sound is not really a factor, such is the quality of the performances assembed in this M&A set. If you have this set you don't really need any other of Furtwangler Brahms symphony recordings. The EMI References set is good, but those performances are all runners-up to all of those in this set.

Simply Mandatory For Brahms Lovers.......2004-05-25

I feel that this set belongs in EVERY collection. It has great CD transfers, sensational conducting and WONDERFUL Brahms!

Sym. #1: This 1951 Hamburg with the North German Radio is, to my mind, the finest Brahms 1st on record. It is also on Tahra FURT 1054/7, but this M&A transfer is distinctly SUPERIOR: the Tahra has lots of extra hiss and a midrange that sounds rather hollow. However, you MUST have that Tahra set because it contains Furtwangler's majestic 1954 Lucerne Beethoven 9th in its best transfer. The only Furtwangler 1st to rival this Hamburg is the 1952 Berlin Phil. (deleted DG 415662-2). More mellow and less dramatic, it and this Hamburg are sonically just about the best of ALL Furtwangler recordings.

Sym. #2: The 1945 Vienna Phil. here is also available on 6-disc DG set 474030. They are close in sound quality, but I would give the edge to M&A. Incidentally, you must have the DG set for its 1944 Vienna Phil. Bruckner 8th in a finest-ever transfer. This Brahms 2nd is VERY dramatic, but the lesser 1948 with the London Phil. (Dutton) has grown on me of late - if it were the only Furtwangler available, most of us would be raving about it! My favorite Furtwangler Brahms 2nd remains the more reflective, less hectic 7 May 1952 Berlin Phil. account (mine is on an Electrola Da Capo LP).

Sym. #3: This 1954 Berlin is the best of 3 Thirds - it was also on DG 423572-2 (deleted) in sound that was the same as this M&A (the DG was coupled with my favorite Furtwangler account of the Schubert 8th from 1952). He isn't as persuasive in the 3rd, but the closing pages have a lovely autumnal, valedictory quality.

Sym. #4: This dynamic 4th from 1943 is his best, and this is its best-ever transfer.

2nd Piano Concerto: The 1942 live sound is congested (it's the only poor sound in this set). The transfer on DG 471294-2 is somewhat better, but both are pretty bad.

Haydn Variations: This 1951 Hamburg and the Berlin 1950 (DG) are my two favorites: both have excellent sound.

Brilliant as these are, there are accounts by other conductors that I also cherish. Some are foils that help to appreciate the greatness of Furtwangler's readings, and a few of them offer insights that are different and perhaps equally valid. In the 1st, Abendroth is stunning (his best: the live 1955 Berlin Radio on Tahra 145/146). If there were no Furtwangler Brahms 1st, this would be my favorite. I am also quite taken with the 1953 Schuricht/Suisse Romande on Archiphon 2.1 - its coupling is a Beethoven "Missa Solemnis" with Stader, Calveti, Haefliger & Rehfuss. Since Furtwangler never recorded the latter, you might want to try it this excellent Schuricht.

For the 2nd, my other favorites are Schuricht/VPO (London LP) and Fritz Busch (EMI). The Max Fiedler and Walter Damrosch 2nds (on different Biddulph CDs) are weirdly hypnotic - a trip back to the past. In the 3rd, I love Kna (Tahra), Schuricht (Greenhill), and Mengelberg (Naxos). For the 4th, three worth hearing are Abendroth (Arlecchino), Busch (Dante LYS), and Schuricht (Ades).

Edwin Fischer isn't my top choice in the 2nd Concerto, despite the lovely slow mvt. I prefer Curzon with Kna/VPO on a Decca LP. And for the Haydn Variations, I also like the pokey Kna/VPO (Decca) and the Schuricht (Ades).

But make no mistake: if my house were on fire and I could keep only one Brahms set, it would be this Furtwangler. If I could grab two, the old Weingartner (deleted EMI) would come along for contrast. As Fielding once observed, "what is a jewel without its foil?"

Anything but dull.......2003-10-02

Many (perhaps most) people see Brahms as being particularly dull. This set, without any doubt, completely destroys this myth. Just listen to the 1945 recording of the finale to the First symphony, and you will hear one of the most inspiring, most desperately intense recordings of orchestral music you are ever likely to hear (on this score, it is rivalled only by Furtwangler's titanic 1942 recording of Beethoven's Ninth symphony). The main reason why I greatly admire Furtwangler's conducting is that he almost always conveyed a complete understanding of what the music really means; he was a master of the lost art of reading inbetween the lines. This is in great evidence here. The marvelous 1951 Hamburg recordings of the First symphony and the Haydn variations have such a warm, personal sound, and are both intense and noble. The Second symphony has been refered to as Brahms' Pastoral symphony. Furtwangler realises, just as with Beethoven's Pastoral symphony, that this music is not un-dramatic to the point of being comatose, but rather is a thrilling symphony to the wonders of nature, very beautiful, but with a spiritual side as well. The first three movements of the Third symphony are incredible. How could he get that sound out of an orchesta? I cannot describe it in words; you just have to listen to it. The finale of the Third symphony is, from an interpretive standpoint, mildly dissapointing for Furtwangler. (For just about anyone else, it would have been extraordinary.) I agree with John Ardoin (author of a fine book on Furtwangler's recordings; the liner notes are taken from it) here, in thinking that the transition from the introduction to the main Allegro is too abrupt and unexpected, and the very end of the movement is rather unremarkable for Furtwangler. These are very fine interpretive points, however, and the overall experience is still thoroughly enjoyable. The Fourth symphony is excellent here, through and through. Particularly notable is the finale, which, as a previous reviewer noted, is almost apocalyptic. The wartime Haydn variations is somewhat less contemplative and warm toned than its 1951 counterpart, but is more 'straightforward' in its interpretation, and is perhaps more 'festive', joyful, or whatever else you care to call it. To cap this set off is an incredible performance of the 2nd piano concerto, with Edwin Fischer. I don't always care for his playing (I generaly don't find enough subtlety in his touch, listen to Hofmann for that), but here he and Furtwangler work as one, which of course is a great thing. On top of all this, the sound quality, even with the concerto (from 1942), is quite good, and with the Third, is exceptionaly clear. If I were to have no Brahms but this, I would still be happy.

Average customer rating:

not memorable, just good
A refreshing approach, but underplayed
Not Bad, But Not Memorable
Tough-Minded, Warm-Hearted Brahms at a Bargain Price

Johannes Brahms: Complete Symphonies

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
Similar Items:

Brahms: Concertos for Piano No. 1 & 2, Fantasia Op. 116
Dvorák: Cello Concerto; Tchaikovsky / Karajan, Rostropovich,

ASIN: B00000417U
Release Date: 1994-01-18

Tracks:

Symphony No. 1 In C Minor, Op. 68: 1. Un poco sostenuto - Allegro - Meno allegro
Symphony No. 1 In C Minor, Op. 68: 2. Andante sostenuto
Symphony No. 1 In C Minor, Op. 68: 3. Un poco allegretto grazioso
Symphony No. 1 In C Minor, Op. 68: 4. Adagio - Piu andante - Allegro non troppo
SYMPHONY NO. 3 IN F, OP. 90: 1. Allegro con brio
SYMPHONY NO. 3 IN F, OP. 90: 2. Andante
SYMPHONY NO. 3 IN F, OP. 90: 3. Poco allegretto
SYMPHONY NO. 3 IN F, OP. 90: 4. Allegro

Tracks:

Symphony No. 2 In D, Op. 73: 1. Allegro non troppo
Symphony No. 2 In D, Op. 73: 2. Adagio non troppo
Symphony No. 2 In D, Op. 73: 3. Allegretto grazioso (Quasi andantino)
Symphony No. 2 In D, Op. 73: 4. Allegro con spirito
Symphony No. 4 In E Minor, Op. 98: 1. Allegro non troppo
Symphony No. 4 In E Minor, Op. 98: 2. Andante moderato
Symphony No. 4 In E Minor, Op. 98: 3. Allegro giocoso - Poco meno presto - Tempo I
Symphony No. 4 In E Minor, Op. 98: 4. Allegro energico e passionato - Piu allegro

Amazon.com

Wolfgang Sawallisch has not been lucky in Brahms. Although a good value at two discs for the price of one, these performances are really nothing special. The Vienna Symphony is not the Vienna Philharmonic, and though they improved under Eliahu Inbal, they were a distinctly second-rate group when these recordings were made. Sawallisch himself offers no special insights that lend his Brahms any particular distinction. --David Hurwitz

Customer Reviews:

not memorable, just good.......2007-02-15

I find Brahms' symphonies ponderous, at least over against his undeniable brillance with, say, a violin concerto.

This is a mere statement of preference. If you like Brahms when he's rallying the whole orchestral troupe around a theme, then this Philips Duo is, as usual, a fine value.

These are early 1960s recordings, performed by the good folks in Vienna when the world was a very different place. The miracle in this collection may not so much occur in terms of brilliant performance as in the sheer unlikely delight of being able to sit down to an evening of Brahms in full flower, nearly fifty years after the fact.

The folks at Philips are commended for at least making this option available to listeners who, preference or not, enjoy a night of orchestral chest-beating done with unmistakable competence.

A refreshing approach, but underplayed.......2006-09-02

There are so many bargain two-fers of the Brahms symphonies, including stupendous readings from Karajan, Walter, and Toscanini, that price issn't the attraction here. Nor is orchestral finesse and power: the Vienna Sym. was a woebegone ensemble for decdes and manages to sound good here but no better. The real attraction has to be Sawallisch's insights into Brahms.

His main notion is that Brhams should sound lean, brisk, and fresh, much the same approach Sawallishc took in his notable recordings of Schumann for EMI. This is Brahms for springtime. As such, it's quite pleasant, but Sawallisch lacks conviciton, and where the music struggles and strives, he relaxes the tension too much. Even so, within its limits this is a pretty good listening experience.

Not Bad, But Not Memorable.......2002-10-06

These are variable performances, ranging from fair to good. Most notable for its absence is a feel for the grand scale, which, if present, might have imparted a sense of stature to Sawallisch's readings. This is especially true of Brahms' First. Interestingly, early in the last movement, the horn call that follows the rushing pizzicati and the crashing chord comes through broadly, smoothly and musically, but after that, things proceed in rather pedestrian fashion. The quickening of the pace near the end lacks real drive and excitement, and the final chord ends on somewhat of an undervitalized note. For outstanding Firsts, go to Van Beinum, (if you can find his stereo Concertgebouw recording), Klemperer/Philharmonia and Walter with the Columbia Symphony. In the Second Symphony, there are some areas of untidy ensemble work. Also, there are moments when Sawallisch's characterization leaves something to be desired. In sum, nothing special. Eugen Jochum's wonderfully shaped Berlin Philharmonic reading (mono), Bruno Walter's eloquent Columbia Symphony and New York Philharmonic (mono) versions, Carl Schuricht's tuneful, relaxed presentation with the SDRSO and Felix Weingarner's lyrical account stand out here. Sawallisch's Brahms Third is his best of the lot. There's little that seems to interfere with what is basically a pretty fine performance. The close of the last movement could have been a little more opulent. The most special Third, however, is Jochum's (again, from his mono Berlin Philharmonic set). His later stereo version with the London Phiharmonic, George Szell's presentation with the Cleveland Orchestra and Weingartner's lively and tuneful offering are also very fine. In the first movement of the Fourth Symphony, there is some unevenness in the flow of the music, and the massed strings of the Vienna Symphony occasionally sound a bit frayed. The playing in the second, third and fourth movements is rather routine. Brahms' great melodies really do not soar. Cream of the crop here are the autumnal Walter, the sweeping Klemperer, the solidly musical Reiner, the taut, yet lyrical Weingartner and the warmly expressive Abendroth. For those who want to go with the same conductor for the Four Brahms Symphonies, my first choices are the collections of Eugen Jochum with the Berlin Philharmonic on DGG's "Originals" (mono only), Felix Weingartner (also in mono on EMI) and Bruno Walter with the Columbia Symphony (individual discs on Sony). Also very fine is Klemperer's Philharmonia/EMI set.

Tough-Minded, Warm-Hearted Brahms at a Bargain Price.......2002-02-26

These performances were recorded in analog stereo in Vienna between 1959 and 1963 and, by and large, they've earned only tepid praise from the English and American musical press. For the life of me, I don't understand why. Well, maybe I can guess. Wolfgang Sawallisch is not the sort of Brahms conductor to go in for showy dramatics or a plush, luxurious sound. So if you're that kind of Brahms listener (as I am, on some days!), you'll probably want to stay away from this set. On the other hand if you like your Brahms lean and trenchantly articulated, Sawallisch is a front line contender, right up there with Brahmsians like Weingartner and Szell, if not Toscanini. If I prefer Sawallisch to Weingartner and Toscanini, it's probably because the sound of the Vienna Symphony somewhat softens the contours of Sawallisch's performances so that they achieve a marvelous balance between intellectual rigor and lyric sentiment. (Szell's recordings are in a special category because of the sheer quality of playing by his phenomenal Cleveland Orchestra.) Sound quality is very good, considering the date of the recordings, and the price is quite wonderful. (All four symphonies are contained on two discs and at a budget price!) Sawallisch recorded another Brahms cycle just a few years ago for EMI/Angel and these digital recordings (with the London Philharmonic) are now available as three single CD reissues on the Seraphim label. But the earlier Philips two-fer represents better value, not just because of price but also because the Vienna Symphony consistently plays better than the surprisingly raw and rough-sounding London orchestra.

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Brahms: Complete Symphonies

Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B000DZV8BM
Release Date: 2006-01-24

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Brahms Four Symphonies - Weingartner
5 Stars for the Arkadia set
Great music, but a very poor recording
Great conductor, great orchestra, but...

Brahms: Complete Symphonies

Manufacturer: Classica D'oro
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Customer Reviews:

Brahms Four Symphonies - Weingartner.......2005-04-15

These CDs are a great transfer from 78s. The sound is clear and the joining of sides is without flaw. About all I noticed was an extra beat in the third movement of the first symphony near the end where a group of sixteenths are repeated. There has been some confusion for a while over the particular orchestras and which symphonies they recorded. I know that the first and fourth were the LSO and the third is the LPO. The second has confusion that goes back a while, though I'm leaning towards the LSO.
Certain works seem to lend themselves to interpretive skill more than others. Brahms' first always sounds different depending on the conductor and the fourth doesn't usually get as wide a variance on tempos as the other three. However, Weingartner's experience tends to result in performances of the last three that grow as the records are heard repeatedly.
If you are still happily maturing in your appreciation of Brahms, the Weingartner cycle of symphonies is a "must listen" in my opinion.

5 Stars for the Arkadia set.......2004-06-11

I have these recordings on two, separate Arkadia CDs, and the disc holding symphonies 3 and 4 opens with a very fine Academic Festival Overture.

The Arkadia releases have excellent sound; one would think these recordings came from the 1950s instead of the 30s. Why such variation in sound quality among the various releases of vintage recordings? If you can't find the Arkadia discs, it would be worth while waiting for Naxos to get around to Weingartner's Brahms. The London orchestras are quite fine in this music, but I can't help but wonder how it might sound with the Vienna Philharmonic, especially considering the excellent Eroica that orchestra recorded with Weingartner, now available on Naxos.

Great music, but a very poor recording.......2002-01-24

Although the music was wonderfully expressive, the recording quality was horrible. I would only purchase this as a comparison for other recordings of Brahms major symphonies.

Great conductor, great orchestra, but..........2001-11-01

Subpar recording. I personally don't mind most audio at a "less-than-pure-digital" level, but when I actually notice the static above the music, then I get perturbed. I absolutely love these symphonies, and I've never heard them better played / conducted, but if audio quality is a big factor for you, I'd investigate something more recent. Obviously the recording's age has something to do with the fuzz.

Brahms: 4 Symphonies (complete)/Variations on a Theme by Haydn

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Brahms: 4 Symphonies (complete)/Variations on a Theme by Haydn

Manufacturer: Music & Arts Program
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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ASIN: B000001OHR
Release Date: 1996-10-17

Tracks:

Sym No.1 in c, Op.68: I. Un Poco Sostenuto; Allegro - North Germany RO/Furtwangler
Sym No.1 in c, Op.68: II. Andante Sostenuto - North Germany RO/Furtwangler
Sym No.1 in c, Op.68: III. Un Poco Allegretto E Grazioso - North Germany RO/Furtwangler
Sym No.1 in c, Op.68: IV. Adagio Piu Andante; Allegro Non Troppo Ma Con Brio - North Germany RO/Furtwangler
Sym No.1 in c, Op.68: Finale: IV. Adagio Piu Andante; Allegro Non Troppo Ma Con Brio - BPO/Furtwangler

Tracks:

Sym No.2 in D, Op.72: I. Allegro Non Troppo - VPO/Furtwangler
Sym No.2 in D, Op.72: II. Adagio Non Troppo - VPO/Furtwangler
Sym No.2 in D, Op.72: III. Allegretto Grazioso - VPO/Furtwangler
Sym No.2 in D, Op.72: IV. Allegro Con Spirito - VPO/Furtwangler
Sym No.3 in F, Op.90: I. Allegro Con Brio - BPO/Furtwangler
Sym No.3 in F, Op.90: II. Andante - BPO/Furtwangler
Sym No.3 in F, Op.90: III. Poco Allegretto - BPO/Furtwangler
Sym No.3 in F, Op.90: IV. Allegro - BPO/Furtwangler

Tracks:

Sym No.4 in e, Op.98: I. Allegro Non Troppo - BPO/Furtwangler
Sym No.4 in e, Op.98: II. Andante Moderato - BPO/Furtwangler
Sym No.4 in e, Op.98: III. Allegro Giocoso - BPO/Furtwangler
Sym No.4 in e, Op.98: IV. Allegro Energico E Passionato - BPO/Furtwangler
Vars on A Theme By Haydn, Op.56a: Haydn Vars - BPO/Furtwangler

Tracks:

Pno Con No.2 in B flat, Op.83: I. Allegro Non Troppo - Adrian Aeschbacher
Pno Con No.2 in B flat, Op.83: II. Allegro Appassionato - Adrian Aeschbacher
Pno Con No.2 in B flat, Op.83: III. Andante - Adrian Aeschbacher
Pno Con No.2 in B flat, Op.83: IV. Allegretto Grazioso - Adrian Aeschbacher
Vars on A Theme By Haydn, Op.56a: Haydn Vars - North Germany RO/Furtwangler

Violin, Trumpet, Guitar, Flute: Greatest Hits

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Violin, Trumpet, Guitar, Flute: Greatest Hits

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000029NR
Release Date: 1995-12-05

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Brahms: Complete Symphonies

Manufacturer: Brilliant
ProductGroup: Music
Binding: Audio CD

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General | Opera & Vocal | Styles | Music

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ASIN: B000E0DID2

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Brahms: Complete Symphonies (Box Set)

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Tracks:

Symphony No. 1 Op.68: I Un Poco sostenuto - Allegro
Symphony No. 1 Op.68: II Andante sostenuto
Symphony No. 1 Op.68: III Un Poco allegretto e grazioso
Symphony No. 1 Op.68: IV Adagio - Piu andante - Allegro non troppo

Tracks:

I Allegro non troppo
II Adagio non troppo - L'istesso tempo, ma grazioso
III Allegretto grazioso (quasi andantino) - Presto ma non assai
IV Allegro con spirito

Tracks:

Symphony No. 3, Op. 90: I Allegro con brio
Symphony No. 3, Op. 90: II Andante
Symphony No. 3, Op. 90: III Poco allegretto
Symphony No. 3, Op. 90: IV Allegro

Tracks:

I Allegro non troppo
II Andante moderato
II Allegro giocoso - Poco meno presto
IV Allegro energico e passionato - Piu allegro

Eduard van Beinum / Concertgebouw Orchestra / Brahms Complete Symphonies (2 CD set)

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Eduard van Beinum / Concertgebouw Orchestra / Brahms Complete Symphonies (2 CD set)

ProductGroup: Classical
Binding: Audio CD
ASIN: B000M6CL72

Product Description

Philips copycat label issued by MHS 5261746 1950s recordings.

Track Listings: