Johannes Brahms: Tragic Overture, Op. 81; Piano Concerto in D minor, Op. 15

Track Listings

1. Tragic Overture

2. Konzert fur Klavier und Orchester Nr. 1 d-moll Op. 15: Maestoso - J. Brahms

3. Konzert fur Klavier und Orchester Nr. 1 d-moll Op. 15: Adagio - J. Brahms

4. Konzert fur Klavier und Orchester Nr. 1 d-moll Op. 15: Rondo. Allegro non troppo - J. Brahms

Editorial Reviews
Album Description
Since winning First Prize in the 1987 Busoni International Piano Competition, Lilya Zilberstein has established herself as one of the most exciting pianists of her generation. By the age of 30, she had already become one of the world's finest pianists. Audiences have responded to her exciting and detailed performances in a fashion exemplified by a Montreal critic who praised her April 16, 2002, performance of Tchaikovsky's Piano Concerto No. 2 by citing her "virtuosity and nuanced palette." No less phenomenal are the talents of Cord Garben. Beyond a doubt, as one of the foremost accompanists alive, Garben has provided insightful counterpoint for virtually every major singer – including Fischer-Dieskau, von Otter, Iris Vermillion and many others. Currently, Garben is the series pianist for cpo’s amazing Carl Löwe Edition.

There you have it, two of today’s leading pianists, sharing a single instrument in a World Premiere of Brahms’ own arrangement of the First Piano Concerto. For those listeners who have not heard the Four-version of the Tragic Overture – look out! You are going to hear things you never knew existed in that score, and that have been habitually covered up in the dense orchestration.

Tracks:

Symphony No. 3 In F Major, Op. 90: Allegro con brio
Piano Concerto No. 2 In B-Flat Major, Op. 83: Allegro appassionato
Quintet in E-flat Major, Op. 83: Rondo
Symphony No. 2 In D Major, Op. 73: Adagio non troppo
Serenade, Op. 106: No. 1
Violin Concerto in D Major. Op. 77: Allegro giocoso, ma non troppo vivace
Symphony No. 2 In D Major, Op. 73: Allegro con spirito
Capriccio in B Minor, Op. 76: No. 2
Hungarian Dance No. 6 in D-flat Major
Symphony No. 1 In C Minor, Op. 68: Andante sostenuto
Piano Concerto No. 1 In D Minor, Op. 15: Maestoso
Lullaby, Op. 49: No. 4
Hungarian Dance No. 1 in G Minor
Variations On A Theme By Paganini, Op. 35: Book II
Rinaldo, Op. 50
Waltz in A-flat Major, Op. 39: No. 15
Love Song Waltzes, Op. 52: No. 1
Hungarian Dance No. 5 in F-sharp Major
Variations on a Theme by Haydn: Op. 56a
Symphony No. 1 In C Minor, Op. 68: Excerpts
Symphony No. 2 In D Major, Op. 73: Allegro non troppo
Violin Concerto In D Major, Op. 77: Op. 77
Academic Festival Overture: Op. 80
Piano Concerto No. 2 in B-flat Major: Allegro non troppo
Symphony No. 3 In F Major, Op. 90: Allegro
Clarinet Quintet In B Minor, Op. 115: Allegro
Tragic Overture: Op. 81
Academic Festival Overture: Op. 80
9 Hungarian Dances: No. 1 in G Minor
9 Hungarian Dances: No. 2 in F Major
9 Hungarian Dances: No. 10 in E Major
9 Hungarian Dances: No. 5 in F-sharp Major
9 Hungarian Dances: No. 6 in D-flat Major
9 Hungarian Dances: No. 7 in A Major
9 Hungarian Dances: No. 17 in F-sharp Minor
9 Hungarian Dances: No. 19 in B Minor
9 Hungarian Dances: No. 21 in E Minor

Customer Reviews:

great series.......2007-01-10

This CD along with the others in the series is very good. So far we have collected about ten different ones. They are thorough and interesting. I homeschool and it has been a great additon to our teaching materials and tools. The narrarated history format interspersed with the composer's music is key to keeping the interest of the children. A must-have for introducing classical music with historical background to your kids and at a great price on Amazon!

Average customer rating:

Pieces too lengthy and ambient for a 'best of'.

Brahms: Greatest Hits

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

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Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

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Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Grieg: Greatest Hits
Liszt: Greatest Hits
Chopin: Greatest Hits
Mendelssohn: Greatest Hits
Schubert: Greatest Hits

ASIN: B000002A1H
Release Date: 1994-08-09

Tracks:

Hungarian Dance No. 5
Lullaby, Op. 49, No. 4
Academic Festival Overture, Op. 80
Variations On A Theme By Joseph Haydn, Op. 56a: Finale. Andante
Violin Concerto In D Major, Op. 77: Allegro, Ma Non Tanto
Symphony No. 4 In E Minor, Op. 98: Allegro Giocoso - Poco Meno Presto
Piano Quartet In G Minor, Op. 25: Rondo Alla Zingarese. Presto
Tragic Overture, Op. 81
Waltz In A-Flat Major, Op. 39, No. 15
Symphony No. 1 In C Minor, Op.68: Adiagio-Allegro Non Troppo Ma Con Brio

Customer Reviews:

Pieces too lengthy and ambient for a 'best of'........2003-11-17

'Greatest Hits' compilations are purposeful for those who don't want 'the whole piece'.This cd has too many long and ambient versions to be suitable for beginners to Brahms.Alot of his outstanding moments are 'blended in', rather than 'stood out'.So his melodic element is missed on some selections.But there are stand-outs.This Hungarian Dance n.5 is the most extravagent version i've heard.The tempo-changes are clever, and the orchestra packs a gypsy punch.A couple of the chamber works are great (tho u can find similar to those versions on many brahms' best of's).I find the melody of 'lullaby' is a bit lost in how very slowly it's done.Most 'Brahms' Greatest Hits' do focus more heavily on his orchestral pieces.This one also does, so I feel theres too few of his great chamber (trio/4tet/5tet) themes.

Average customer rating:

100 Golden Classics

Manufacturer: Madacy Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B000026EEJ
Release Date: 2000-06-20

Brahms: Piano Concertos/Variations on a Theme/Tragic Overture

Average customer rating:

There is no orchestra like WP
Sluggish First Concerto, uneven but sometimes brilliant Second
Very good performance of the 1st Concerto

Brahms: Piano Concertos/Variations on a Theme/Tragic Overture

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

Brahms: The Complete Symphonies / Karajan, Berlin PO
Tchaikovsky: Piano Concertos 1, 2 & 3 - Prokofiev: Piano Concerto 5 - Bartok: Piano Concerto 2 - Emil Gilels, Sviatoslav Richter, Lorin Maazel
Beethoven, Mozart & Brahms Piano Concertos

ASIN: B000001GYE
Release Date: 1997-07-15

Tracks:

Concerto For Piano And Orchestra No. 1 In D Minor, Op. 15: Maestoso
Concerto For Piano And Orchestra No. 1 In D Minor, Op. 15: Adagio
Concerto For Piano And Orchestra No. 1 In D Minor, Op. 15: Rondo: Allegro non troppo
Variations On A Theme By Joseph Haydn Op. 56a

Tracks:

Concerto For Piano No. 2 In B Flat Major Op. 83: Allegro non troppo
Piano No. 2 In B Flat Major Op. 83: Allegro appassionato
Piano No. 2 In B Flat Major Op. 83: Andante
Piano No. 2 In B Flat Major Op. 83: Allegretto grazioso
Tragic Overture Op. 81

Customer Reviews:

There is no orchestra like WP.......2006-02-05

Wiener Philarmoniker , or Vienna Philarmonic, is a truly wonderful orchestra. The crispy brass section, the sunny woodwinds, the noble string sonority ... a class in itself. Even with average conducting, one has to praise the level and sound the orchestra usually achieves in this repertoire. These Brahms pieces are part of its core, basic repertoire. In the piano concerto Pollini shows a truly great command of the keyboard together with a certain "objectivity" in his touch coupled with power and sensitivity when needed. The orchestra, I like most under Abbado. Bohm makes WP sound with majesty but sometimes underpowered. Balances under Bohm are focused on strings rather than winds, but I think that is a part of a "pre-historically informed practices" age. Strongly recommended unless you have a particular favourite of yours.

Sluggish First Concerto, uneven but sometimes brilliant Second.......2005-11-10

These analog performances predate Pollini's digital remakes by twenty years--the Brahms First under Bohm is from 1979, the Second under Abbado from 1976. I would go into detaialed comparison with the later verions, both under Abbado but with the Berlin Phil. instead of Vienna, except that there really isn't any comparison. DG's analog sound here is close on the piano, distant for the orchestra, but both sound veiled, and orchestral detail is murky. The remakes are in distinctly better sound and have the added impact of a live concert.

As to the performances themselves, Pollini improved on both works in the 19990's. Bohm offers a solid, unimaginative accompaniment in the First Concerto that seems to have affected Pollini--he shows hardly any of his usual dash and bravura. The slow movement is especially inert; the finale doesn't catch fire, either. By comparison, Abbado offers really splendid, vigorous accompaniment in the 1997 remake, and Pollini rises to the occasion there, giving one of the best Brahms Firsts on record.

As to the Second Concerto, which I like much better, Pollini's first version offers a wonderful opening movement with Abbado diecting the lushest orchestral tones imaginable and Pollini doing the same with his rounded, broad phrasing. Pollini's way with Brahms is always unhurried, deep, secure in tone. The muffled sonics detract from the overall impact, however. The Scerhzo is much less explosive than one sometimes hears (e.g., Richter in his classic RCA account with Leinsdorf) but all the better for that; Pollini is in comand without having to hector or bang. But then the last two movements sink into indifference. It's hard to get the second half of this concerto to make an impression equalling the first half. Pollini and Abbado don't seem to try very hard. A strange falling-off, but it doesn't matter, really, since their 1995 remake is so powerful, belonging in the first rank (where I'd also put Richter, Gilels with Reiner, Fleisher with Szell, nd one of my favorites, Barenboim with Barbirolli).

All in all, only a bargain if you absolutely have to save money, or if you relish the glorious collaboration of Pollini and the Vienna Phil. in the Second Cncerto.

Very good performance of the 1st Concerto.......1999-04-25

Poliziani and Bohm show that you don't have to smooth out the very dramatic and, to this listener at least, fascinating moods swings of the music in order to maintain it's continuity and coherence.

Tracks:

I. Maestoso - Andre Previn
II. Adagio
III. Rondo: Allegro Non Troppo
Tragic Overture, Op.81

Customer Reviews:

I was surprised.......2003-01-02

I do not yet own this recording, but I heard it on the radio. I expected to listen only until the end of the first movement, but I was drawn in and listened until the end.

I am not an unqualified fan of Gutierrez's playing. I have regarded him as a "warhorse" pianist without much musical depth. My criticism is silenced by this performance. Gutierrez's playing was beautiful throughout. There was nothing brash or sensationalistic about his playing.

Probably the most impressive aspect of this recording is the ensemble between Previn and Gutierrez. Previn pulled a sumptuous sound from the Royal Philharmonic, and highlighted details not typically heard in other performances. He supported Gutierrez beautifully throughout the performance, and there was a sense of camraderie between pianist and conductor that found its way into this recording.

I am surprised to say that I would recommend this recording highly, and I won't hesitate to recommend it to anyone.

Superb performance........2002-07-16

Although not as well-known as he desrves to be, Horacio Gutierrez is one one the finest pianists of our time. He is particularly skilled in giving genuinely artistic performances of so-called "warhorses" from the Romantic period. This recording of Brahms Piano Concerto No. 1 is an excellent example of Gutierrez in top form. His virtuosity is staggering, but so is his artistry and, thus, this performance is incredibly beautiful. If you are not yet familiar with this graet pianist -- or you just love great piano playing -- please get this recording. It really is superb.

Great concerto, great performance.......2001-12-15

The first time I heard this piano concerto, I felt a little disgusted. It was so fierce and angry, with its constant dissonant trills and tremolos. In addition, the piano part played even less of a soloists role than in the Mozart or Beethoven concertos- it was completely meshed into the fabric of the orchestra. As I continued listening to it, however, and learning to appreciate Brahms uncompromising musical language, I began to see this work as a profound statement of sadness (it was written after the death of his dear friend Robert Schumann).
The first movement of this concerto is very long, and very imposing. A piece filled with countless chilling moments, its emotion is (in my opinion) heightened by its organization into sonata form. I would like to describe two of the most dramatic moments: 1) the retransition from development into recapitulation where piano and orchestra alternate fortissimo syncopated chords, and 2) the piano's entrance, in quiet ominous sixths, and its repetition by the strings near the close of the piece. The movement closes in despair. This is in direct contrast to the second movement, a very spiritual and tranquil adagio. The concluding rondo seems to have been patterned after the rondo from Beethoven's 3rd piano concerto. It has a very long opening theme followed by a lyrical one in the major. A highlight in the middle of the piece is a string fugue based on the opening theme of the work The piece ends in an uplifting manner in the D-major, using motifs from the opening movement. This piece, as well as the Tragic Overture for orchestra, is played in a very bold and powerful manner. Guttierez is a powerful pianist, perfect for the work of Brahms.

Average customer rating:

Not my kind of uniqueness
Arrau is an acquired taste, but he's in his element here
Quite satisfaying
Proper interpretation
sencillamente genial...

Piano Concerti 1 & 2 / Haydn 5

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
Similar Items:

Brahms: Concertos pour piano 1 & 2
Brahms: Concertos for Piano No. 1 & 2, Fantasia Op. 116
Brahms: The Complete Symphonies / Karajan, Berlin PO
Brahms: Symphonies Nos. 1-4; Double Concerto; Serenade No. 2
4 Symphonies / Variations

ASIN: B000004165
Release Date: 1993-08-10

Tracks:

Piano Concerto No. 1 In D Minor, Op. 15: 1. Maestoso- Poco Piu Moderato
Piano Concerto No. 1 In D Minor, Op. 15: 2. Adagio
Piano Concerto No. 1 In D Minor, Op. 15. 15: 3. Rondo (Allegro Non Troppo- Piu Animato- Tempo I)
Variations On A Theme By Haydn, Op. 56A

Tracks:

Piano Concerto No. 2 In B Flat, Op. 83: 1. Allegro Non Troppo
Piano Concerto No. 2 In B Flat, Op. 83: 2. Allegro Appassionato
Piano Concerto No. 2 In B Flat, Op. 83: 3. Andante - Piu Adagio
Piano Concerto No. 2 In B Flat, Op. 83: 4. Allegretto Grazioso - Un Poco Piu Presto
Tragic Overture, Op. 81
Academic Festival Overture, Op. 80

Customer Reviews:

Not my kind of uniqueness.......2007-06-27

Other reviewers have forthrightly disclosed the "controversial" or "unique" approach that Arrau takes, and gone on to say how wonderful it is. Somebody should represent the opposite view to which these reviewers allude (might there be a reason why no other prominent pianist approaches Brahms this way?), so here goes.

Arrau's habit of slowing down to dwell on details (especially in the Concerto #2) reveals notes as if you were reading the sheet music. Of course this appeals to a Brahms fan's desire to delve into every detail of the score; and yes, it is distinctive, so it provides variety to the jaded connaisseur. It also disrupts momentum and makes the music feel ponderous, disjointed and episodic, qualities that Brahms, as a master of form and unity, would particularly seek to avoid. Sometimes the pacing just makes the music seem dead.

Of course, other great pianists have played these works slowly indeed: notable examples are the Gilels/Jochum performances and especially the slow movement in Curzon's renowned recording of #1 with Szell. But those masters deployed slow tempos with consistency, controlling the pace to convey the wonderful unity of Brahms' carefully structured writing, the buildup and release of dramatic tension over extended stretches of playing, the sweep, drama and power of this unsurpassed music. Especially in #2, Arrau misses the forest for the trees--to strain that metaphor, he is absorbed in the veins of a leaf here, a pine cone there. I liked Arrau better in his older recording of #2 with Giulini (maybe it was the conducting).

Uniqueness can be found in the polar opposite of Arrau's approach: the Gilels/Reiner #2 (available used as of this writing). Fast-paced and hard-hitting, it gives the music real drive and colossal momentum (besides making you wonder how human fingers could play like that). You do miss some of the miniatures in the writing (the RCA sound doesn't help) but Brahms comes across as a more-than-worthy heir of Beethoven, not as a befuddled composer of interesting trifles. The Serkin/Szell performance of #2 is not as fast as the Gilels/Reiner, but it's deeper and even more powerful--to the point of being a bit bombastic now and then, but that's a better way to gain distinction than to drain the energy out of the piece. The most highly acclaimed CDs, Gilels' recordings with Jochum, are far more stately (and better recorded) than his #2 with Reiner; they feature the deepest account of #2 and throw in a great set of Fantasies as an encore. Even when he slows the tempos, Gilels holds the music together better than Arrau; but in this regard both of them are handily surpassed by Clifford Curzon's account of the First Concerto--simply the best.

While not my favorites, the Richter/Leinsdorf and the various Rubinstein performances have more going for them than Arrau's--more coherence, more flow, more style. There is a second-rate Horowitz/Toscanini CD of #2 that at least offers vitality. But again, I will admit, Arrau is distinctive. Maybe when you've heard all the above, plus Brendel, Cliburn, Ax, Licad, Fischer, Ashkenazy and Barenboim...you'll come to love Arrau's uniqueness.

Arrau is an acquired taste, but he's in his element here.......2007-01-20

Claudio Arrau was a divisive pianist who took such liberties with the score and drew so much attention to himself that he all but forced you to have a strong opinion. His general approach was grand, Romantic, and at times tragic. As he aged hsi playing grew more self-important to the point of ponderousness. But in 1970 when he made this Brahms First Concerto with Haitink, Arrau was in his element. In the first movement of the Second he displays equal authority, but at times he goes into slow motion to the point of pompous underlining.
The composer intended both his massive concertos to be pillars of high seriousness and epic scope. Haitink approaches them that way in the orchestral part--he was an exciting Brahms interpreter during this period, as his symphony cycle wth the Concertgebouw demonstrates (only later did his Brahms become slack and uninvolved).

Therefore we have a like-minded pairing of pianist and orchestra. There's rubato and even distension of phrases all over the place. Arrau couldn't pass by a cahdence without turning it into an oration. Even so, with all the pounding and self-conscious "greatness," these performances appeal to me strongly. We aren't wallowing in Brahms soup; Haitink and Arrau communicate a compelling energy in every bar. I'd rank both eprformances up there with Barenboim/Barbirolli (who are equally epic and grand), Fleisher/Szell, and Pillini/Abbado.

Quite satisfaying.......2006-04-16

I know 4 versions of the piano concertos: Barenboim/Barbirolli, Pollini/B?hm(1)and Abbado (2), Arrau/Giulini and this one. Besides this glorious couple of concerti, all of them include the Tragic overture and Haydn variations (with B?hm in the second case) and the Academic Festival overture (Barbirolli and Haitink only).
In my opinion this is the most satisfaying compilation of the 4 already listed. Of course, with such diverse works not all are prefect here but the balance of positive aspects outdo the negative ones more than the competition listed. So I will compare work by work, in cronological order of composition.

Piano concerto op 15 under Pollini and B?hm is not quite satisfaying. At first hearing you have the glorious Wiener Philarmoniker with their special sound, but balances tend to put brasses behind (a defect of Haitink`s, too). Tempi are quite fluid: the most attractive of the four. But the approach is too superficial and Pollini, well, plays on authomatic pilot. Grammophone said it is a bad performance and after some hearings, I agree. Under Barbirolli the New Philarmonia sounds very good, better balances. The begginning is a bit ponderous (like the last mov), but in general he is attentive to the soloist: a good reading in general. Another tiny imperfections I notice is a lack of unanimous attack of notes in the 2nd mov, but still effective interpretation. Barbirolli shows in the concerti a slow, grand, hyper romantic view, which could be appropiate when played with intensity, as he does. Barenboim is fantastic. Period. Then we have Arrau and Giulini. Arrau is a great, great artist. He was in his sixties when recorded this under Giulini and the Philarmonia. To the virtuosism he adds maturity, a fact that makes his playing superior to Barenboim?s (and a prove that there are different levels of excelence). And the conducting of Giulini excels all competition in every matter: strength and vigour, politeness, orchestral balances (superb brasses!!!), tempi. Then you have Haitink. Still great playing from Arrau, but perhaps not so intense. Orchestra sounds involved (except in begginning of 2nd mov, too plain), but as I said balances are not observed as they should. Irregular, I would say, but not truly "bad", and still great Arrau.

Haydn Variations find B?hm with a heavy reading, but still intense, and with such "gloomy" sound I tend to forgive him. The WP sounds more gloriously than ever. Good, very good.
Under Barbirolli that orchestra does not so good, in fact brasses are too weak in the purely orchestral work that prevents this compilation from being a serious alternative, unless you are looking exclusively for the concerti. Again Giulini is the best here. The Philarmonia is excellent: precise, elegant playing; contrasting tempi (essential in this work) and carefull balances between strings, woodwinds, brasses and timpani, with great clarity, in general. In particular, horns show so focused, detailed phrasing (has it something to do with the fact that Giulini`s father was, if I am not wrong, a horn player??)!! Haitink is very, very good, perhaps not so polite, not enough clarity in brasses as with Giulini, but quite strong, very acceptable reading.

Academic Festival Overture: too "festive" for Brahms, perhaps, but an essential contrast to the Tragic Overture. Barbirolli is very warm and noble; Haitink is another matter: here you discover the energy, the "push" lost under Barbirolli, and with fantastic brasses (far better than Barbirolli`s). Extraordinary. A pity Giulini didn`t record it (here).

Tragic Overture: B?hm plays it with a style similar to that used in Variations. Under Barbirolli it is faster, but nothing resembling something menacing. Clearly underpowered. Giulini is, again, the best. Terrifying, intense, supreme. All the virtues cited before appear here. Haitink does not achieve that, but comes close, very close.

Second Concerto: Pollini, not so good, not so bad. Abbado gets a very intense sound with Wiener Philarmoniker, with fast, fluid, perfect tempi. The problem that makes this version the worsest is the poor sound: pianist too close, orchestra too far behind, little clarity. Under Barenboim/Barbirolli you have a great reading. Slow tempi, but not a problem, perhaps the quieter sections in 2nd mov are played by Barenboim too slowly, but a small criticism in a great second. The last mov is particularly amusing. Then Arrau/Giulini ... surprisingly, not a memorable, great recording. Giulini conducts it with great expertise, but Arrau clearly does not focus himself as he did in op 15. Indeed, in comparison, very good played, but ... a bit boring. Not the "flame" that push them to the heights of artistic greatness. A pity, because this is achieved under Haitink. In the net I red a fan had said Arrau does not understand the structure of 2nd concerto. Please, open your mind. After the horn call, Arrau makes clear from the very begginning that his reading is revealing, quite special, the best of the four.
To sum up, B?hm did acceptable orchestral pieces and a bad 1st, and Abbado a poorly recorded second, so not a favourite. Barenboim/Barbirolli made acceptable concerti, but IMHO not truly great orchestral pieces. Arrau/Giulini did not reoord Academic and have an ordinary second, despite great Tragic, 1st concerto and Variations, and Haitink good 1st (not so good as Giulini`s, but still good, and with a great Arrau), very good Variations, good Tragic, excellent academic and 2nd concerto. That is why this is the best compilation.

There are others like Abbado`s new readings of the piano concerti with Pollini, the pair under Andrew Davis (Virgin label), the DG`s "Trio" compilation (adds to this one the violin and violin and cello concertos), not to forget the famous Gilels/Jochum and Fleischer/Szell couplings, which are filled with piano pieces. But I don?t know them.

Proper interpretation.......2005-04-30

This is a specific performance of Brahms concertos. The first one is my favourite piano concerto.
Arrau plays it with rich, thick sound, and very calm tempo. He accents sometimes very strong the single tones, and never play sharp sound in fast moments. It is very characteristic in his play.
Here it captures the athmosphere of this concertos very well in my opinion. The music is like romantic meditation, hesitating and dreaming.
If I take into account the wide orchestration and reduced role of piano in this concertos, this interpretation is logical for me.
Brahms was serious and intellectual ROMANTIC composer, and these are great interpretations in my opinion.

sencillamente genial..........2004-11-27

Llevo 6 años escuchando este CD y cada dia me maravillo de la gran interpretacion, Arrau es un interprete que se prepara de la mejor forma para llegar al alma del compositor y poner su don al deleite de nuestros oidos, para Brahms fuerza y pasion, dulzura y tensión, y por cierto gran rigor. Para que la audición sea continua, apasionada y por cierto cautivante.
Bernard Haitink es un director de rigor, solemne y estricto, por lo que la orquesta suena como tiene que sonar nada sobra, quizas falte luminosidad pero es un detalle que solo se justifica al compararlo con directores mas pomposos o magnificentes.
Ahora bien las Variaciones, la obertura tragica y la del festival academico no estan faltos de luninosidad y vigor, es mas son notoriamente distintos en forma de presentarlos a los conciertos, claro esta son menos solemnes y no requieren la rigides de las otras obras.
Disfruten entonces de dos grandes conciertos y ademas tres obras sinfonicas en un CD grandioso.

Average customer rating:

500 Classic Masterpieces

Manufacturer: Vox (Classical)
ProductGroup: Music
Binding: Audio CD

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Modern & 20th Century | Symphonies | Classical | Styles | Music

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ASIN: B00008FZWM
Release Date: 1992-11-04

Brahms: The 4 Symphonies: Overtures; Haydn Variations; Piano Concertos; Violin Concerto

Average customer rating:

Brahms: The 4 Symphonies: Overtures; Haydn Variations; Piano Concertos; Violin Concerto

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
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Vaughan Williams: The Nine Symphonies

ASIN: B0001TSWOQ
Release Date: 2004-06-08

Average customer rating:

100 Classical Favorites???

100 All-Time Classical Favorites

Manufacturer: Madacy Records
ProductGroup: Music
Binding: Audio CD

Polkas | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

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German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

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Operettas | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B0009VNBTM
Release Date: 2005-07-05

Customer Reviews:

100 Classical Favorites???.......2007-03-27

Horrible. A proper name would be "100 BITS of All-Time Classical Favorites". Do yourself a favor and don't buy it.

Average customer rating:

Classicworks: Brahms

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

Waltzes | Ballets & Dances | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

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Track Listings:

Track Listings

track listings

Track Listings

Fuzzy Warbles 3: Demo Archives [Import]

Karl Weigl: Symphony No. 5 "Apocalyptic Symphony" (To the Memory of Franklin Delano Roosevelt) / Fantastic Intermezzo for Orchestra - Berlin Radio Symphony Orchestra / Thomas Sanderling

Legends of the 20th Century

Dreams Do Come True

The Ultimate Collection [Original recording remastered]

If You're Ready: The Best of Enchantment

Les Miserables [Cast Recording]

germanbooks88.com Music: Antonio Vivaldi: L'Estro Armonico

Mixed Bag

Jazz Band Ball [Soundtrack]

My Early Burglary Years [Enhanced]

Honestly is a Word Used By Liars (EP) [CD-single] [EP]

Invader [CD-single] [Import]

Wait - it's a musical!

Music for the New Millennium

1. Tragic Overture
2. Konzert fur Klavier und Orchester Nr. 1 d-moll Op. 15: Maestoso - J. Brahms
3. Konzert fur Klavier und Orchester Nr. 1 d-moll Op. 15: Adagio - J. Brahms
4. Konzert fur Klavier und Orchester Nr. 1 d-moll Op. 15: Rondo. Allegro non troppo - J. Brahms