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Most Helpful Customer Reviews
27 of 30 people found the following review helpful
Format:Audio CD
The Brahms syphonies are all masterpieces, but they don't always come off well on CD: they are more difficult to get right than more superficially flashy music. Klemperer, similarly, made lots of recordings, but not all of them are universally acclaimed. However here, everything is just right. The music is treated with the respect and attention to detail you would expect, but there's also sparkle. Klemperer makes the repeats and separates the violins, and he also, remarkably, keeps the basic pulse of the movements rock-steady, and yet gives the impression of allowing the flow to alter when needed. These are performances that anyone will enjoy, and which will give more pleasure the more you listen to them.
24 of 27 people found the following review helpful
Format:Audio CD
This is vintage Brahms and vintage Klemperer, recorded in the late 1950's when the conductor was at the height of his powers it is in many ways a summation of his whole approach to the great German classics: unexaggerated, noble and making every note count. The Philharmonia perform marvels and are set out across the sound stage with the first and second violins antiphonally placed. The orchestra's brass section was, at this time, one of the most rounded and rich on record and it can be heard to great effect in the First Symphony, particularly in the finale where there is no pulling back for the great horn statement of the major theme (and indeed no romantic messing with tempi at all).
Symphony 1: Klemperer starts massively with thundering timpani - a most dramatic conception. There is, as was usual at this time, no exposition repeat in the first movement, but given the amplitude and heft of the performance this hardly matters. All the inner movements go well and the whole thing culminates in one of the most noble and massive finales in the Brahms discography. This set is worth buying for this disc alone! But things get better...
The Second Symphony has also something of the stern and "concentrated" tone that is Klemperer's hallmark. Again, there is no exposition repeat and again this does not matter particularly. The Second is the "warmest" of the four symphonies and Klemperer does not let this go for nothing. Indeed, the rumbustious final movement is exhilarating in a most delightful way - a sort of galumphing humour when compared to Bruno Walter, perhaps, but perfectly valid in its own way.
Symphony 3 also has this "concentrated sound" and is strong on presenting the symphonic form. Here there is the first movement exposition repeat as this is very important in establishing the relative lengths of the movements in good balance. This is a deeply satisfying performance all round.
The Fourth is a relatively stern presentation of what is, after all, a tragic symphony. Again the keywords would be "nobility" and "richness". There is one oddity this interpretation. It occurs in the Scherzo and is a sort of "comma" between the first and second parts of the main theme. Sometimes I feel that this interpretation of the 4th is rather bleak and challenging but that is no reason for not accepting it as a great interpretaton.
I have mentioned the "concentrated sound" that Klemperer achieves. The balance of the orchestra always has the woodwind very forward and the string and brass sonorities are very rich. As an analogy, the Klemperer sound is really as if the music has been printed in bold (compared to other conductors' work): there is a sort of "space round the notes" which is difficult to put into words but is entirely characteristic of this great conductor's style.
The overtures and the Alto Rhapsody are magnificent, but most people will buy this set (rightly) for a most impressive and individual group of Brahms symphonies. These are classic performances and would grace any music collection.
Symphony 1: Klemperer starts massively with thundering timpani - a most dramatic conception. There is, as was usual at this time, no exposition repeat in the first movement, but given the amplitude and heft of the performance this hardly matters. All the inner movements go well and the whole thing culminates in one of the most noble and massive finales in the Brahms discography. This set is worth buying for this disc alone! But things get better...
The Second Symphony has also something of the stern and "concentrated" tone that is Klemperer's hallmark. Again, there is no exposition repeat and again this does not matter particularly. The Second is the "warmest" of the four symphonies and Klemperer does not let this go for nothing. Indeed, the rumbustious final movement is exhilarating in a most delightful way - a sort of galumphing humour when compared to Bruno Walter, perhaps, but perfectly valid in its own way.
Symphony 3 also has this "concentrated sound" and is strong on presenting the symphonic form. Here there is the first movement exposition repeat as this is very important in establishing the relative lengths of the movements in good balance. This is a deeply satisfying performance all round.
The Fourth is a relatively stern presentation of what is, after all, a tragic symphony. Again the keywords would be "nobility" and "richness". There is one oddity this interpretation. It occurs in the Scherzo and is a sort of "comma" between the first and second parts of the main theme. Sometimes I feel that this interpretation of the 4th is rather bleak and challenging but that is no reason for not accepting it as a great interpretaton.
I have mentioned the "concentrated sound" that Klemperer achieves. The balance of the orchestra always has the woodwind very forward and the string and brass sonorities are very rich. As an analogy, the Klemperer sound is really as if the music has been printed in bold (compared to other conductors' work): there is a sort of "space round the notes" which is difficult to put into words but is entirely characteristic of this great conductor's style.
The overtures and the Alto Rhapsody are magnificent, but most people will buy this set (rightly) for a most impressive and individual group of Brahms symphonies. These are classic performances and would grace any music collection.
7 of 9 people found the following review helpful
Format:Audio CD
I knew my Brahms through a Giulini's concert, but soon afterwards I prefered Furtwängler's approach: he made of Brahms one of the most profetic, inner and anguished symphonies of all time. For all the ones that love Brahms, I recommend Furtwängler at first sight.
I admire Klemperer's readings, and I was thrilled when this Box with all the Symphonies were reedited. This is a very good approach in Klemperer's Brahms: the Academic Festiva Overture is sparkling, inventive, and also can be heard as if it was Brahms' officinal work: we can understand much of his harmonics and development thoughts in this Klemperer interpretation. The Tragic Overture is very well kept in its tensional approach.
As for the rest: the First is perfect in architecture, but there are more thrilling performances (Haitink, Abendroth, Furtwängler); the Second a surprise, like a being in movement (but Haitink, Furtwängler or Knappersbuch have brought other lights). The Third is driven from the last Beethoven, and is a good reading, but I prefer Furtwängler (breathless) or Reiner (architectural). The Fourth is, with the Second, a hell of a surprise: all the tempi flow without stopping, a tragic wind-wirling experience. This is one of the best recordings I know, comparable to the majestic reading by Fritz Reiner.
Well, what to do? Definitely buy it. The comparisons on interpretation will be a magnificent moment. But there are aspects in these works that only Klemperer made talk. And that's worth listening.
I admire Klemperer's readings, and I was thrilled when this Box with all the Symphonies were reedited. This is a very good approach in Klemperer's Brahms: the Academic Festiva Overture is sparkling, inventive, and also can be heard as if it was Brahms' officinal work: we can understand much of his harmonics and development thoughts in this Klemperer interpretation. The Tragic Overture is very well kept in its tensional approach.
As for the rest: the First is perfect in architecture, but there are more thrilling performances (Haitink, Abendroth, Furtwängler); the Second a surprise, like a being in movement (but Haitink, Furtwängler or Knappersbuch have brought other lights). The Third is driven from the last Beethoven, and is a good reading, but I prefer Furtwängler (breathless) or Reiner (architectural). The Fourth is, with the Second, a hell of a surprise: all the tempi flow without stopping, a tragic wind-wirling experience. This is one of the best recordings I know, comparable to the majestic reading by Fritz Reiner.
Well, what to do? Definitely buy it. The comparisons on interpretation will be a magnificent moment. But there are aspects in these works that only Klemperer made talk. And that's worth listening.
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Most Recent Customer Reviews
Brahms Symphonies
As someone who loves Brahms music, this was an interpretation of the symphonies I've read about but never heared, so to get all this music downloaded; and at such a bargain price... Read more
Published 2 months ago by dave10
Klemperer and Brahms--hand and glove!
Klemperer is duly celebrated for his interpretations of the symphonies of Beethoven and Brahms,and here we have,for an exceptional price,the great Brahms set. Read more
Published 2 months ago by Music Lover
Klemperer sound is magnificient
I have other Brahms's Symphonies set : Karajan, Haitink, Muti, Furtwangler.
Well, Klemperer and Furtwangler are a themselves class. Read more
Well, Klemperer and Furtwangler are a themselves class. Read more
Published 23 months ago by Fabrizio Comandini
Got for a present
I spent some time looking at reviews for this particular music for a Christmas present as I know nothing about this sort of music. Read more
Published on 20 Jan 2010 by Dudley
More Klemperer
I have had the Klemperer Brahms Symphonies since they were first issued on LPs so I know the performances well. Read more
Published on 1 Feb 2009 by Merlin Vanborough
A truly excellent set
The first is immense, the second is rhythmically and harmonically incredible, the fourth is also staggering. Read more
Published on 10 Jan 2006 by Angus
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