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Track Listings
| 1. Begrabnisgesang - Johannes Brahms |
| 2. Mitten Wir Im Leben Sind Mit Dem Tod Umfangem, Op. 23 No. 2 - Johannes Brahms |
| 3. Schicksalslied - Johannes Brahms |
| 4. Un Poco Sostenuto - Allegro |
| 5. Andante Sostenuto |
| 6. Un Poco Allegretto E Grazioso |
| 7. Adagio - Allegro Non Troppo Ma Con Brio |
Product Description
CD Description
Following on from John Eliot Gardiner's critically acclaimed recordings of the symphonies of Beethoven and Schumann, SDG are proud to be releasing the first disc in a new series exploring the music of Johannes Brahms. Recorded live during last autumn's Brahms and his antecedents tour, and showcasing the four symphonies as well as Brahms' major choral works, this series is an important milestone for SDG heralding the development of the label beyond the music of Johann Sebastian Bach and the Renaissance choral repertoire which have so far dominated its catalogue. The first release in the series coincides with the second part of Gardiner's project, which will be touring extensively in Europe in the autumn. (See tour calendar below). Brahms' large-scale music is brimful of vigour, drama and a driving passion - says John Eliot Gardiner in his introductory notes. One way to release these characteristics is, for the conductor, to set his symphonies in the context of his own superb and often neglected choral music, and that of the old masters he particularly cherished and studied (Schutz and Bach especially) and of recent heroes of his (Mendelssohn, Schubert and Schumann). ''This way'', says Gardiner, ''we are able to gain a new perspective on his symphonic compositions, drawing attention to the intrinsic vocality at the heart of his writing for orchestra''. Composing such substantial choral works as Schicksalslied, which also features on this release, gave Brahms invaluable experience of orchestral writing years before he brought his first symphony to fruition. Solemnity, pathos, terror and jubilation are all experienced and encapsulated before they come to a head in the finale of the first symphony.
Customer Reviews
Most Helpful Customer Reviews
8 of 16 people found the following review helpful
By pablot68
Format:Audio CD
Suonando Brahms con strumenti d'epoca Gardiner ci introduce in un universo sonoro sorprendente: la chiarezza del fraseggio e la dovizia di timbri permettono di recepire la straordinaria tessitura sonora che il compitore tedesco ordisce nelle sue sinfonie. Eliminato il vibrato enfatico delle orchestre tradizionali, il direttore inglese ci permette di cogliere la complessa personalità di Brahms, in cui le componenti romantiche coesistono con istanze classicheggianti e con il recupero di forme arcaiche. Anche se preferisco la prima sinfonia brahmsiana interpretata da Harnoncourt con i Berliner, devo dire che questo cd è consigliato a chi cerca strade interpretative alternative rispetto a quelle tradizionali (Karajan)
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
4.0 out of 5 stars
5 reviews
9 of 10 people found the following review helpful
5.0 out of 5 stars
One fantastic CD
17 April 2009
By Osvaldo Colarusso
- Published on Amazon.com
Format:Audio CD
This CD pleased me very much.First of all the Monteverdi choir is, today, one of the most impressive vocal ensembles . The Mendelssohn, in this CD , for a Capella choir , sounds magnificent. And the version of the superb Song of Destiny is one of the best I heard. The first three tracks are the sufficient reason to buy this record , but after we can hear one of the most beautiful versions available of the first Symphony of Brahms. The orchestra play so well, and the transparency, all the time ,make you hear things that simply don't appear in others versions.I am very happy to hear this CD, and I'm anxious to listen the others Symphonies. After the wonderful work with the Cantatas of Bach, the Monteverdi Choir and Gardiner, with this superb orchestra,shows once more the serious intentions of this new label.
15 of 22 people found the following review helpful
3.0 out of 5 stars
Interesting and well played, but I doubt Brahms would recognize it.
13 Jun 2009
By Some Guy from Ohio
- Published on Amazon.com
Format:Audio CD
The musicianship displayed on this recording is of a very high order, and the sonics are very good. This is a performance that creates a new Brahms First for the modern world, a Brahms that speaks to us.
This should not however be confused with Brahms as Brahms would have heard it. Brahms died in 1897, the phonograph was invented in 1877, and flat disc records in 1881. We have an ample auditory record of what musicians of Brahms' time sounded like, and this is not even close.
We have recordings of Joseph Joachim (the violinist for whom Brahms wrote his concerto) as well as other violinists of Brahms' time, and clearly vibrato and a lot of portamento were used. Joachim's vibrato is spare, but to use none at all, and no portamento, is not in keeping with the known performance practices of Brahms' time.
Beyond those primitive early recordings, some musicians who knew Brahms, conducted for Brahms, and heard Brahms conduct lived well into the mid-twentieth century, when electric recording techniques were available.
If you are interested in hearing something close to what Brahms must have heard, look into Felix Weingartner's recordings from the 1930's. Weingartner was in his mid-thirties when Brahms died; Brahms heard him conduct his Second Symphony, and liked what he heard. Weingartner also heard Brahms conduct his Third and Fourth symphonies.
The standards of orchestral playing were not as high in the 1930's as they are today, and there are imperfections, but this is the closest to "authentic" Brahms as it is possible for us to have. The recordings themselves were made using an electrical process with microphones, and are not primitive.
This should not however be confused with Brahms as Brahms would have heard it. Brahms died in 1897, the phonograph was invented in 1877, and flat disc records in 1881. We have an ample auditory record of what musicians of Brahms' time sounded like, and this is not even close.
We have recordings of Joseph Joachim (the violinist for whom Brahms wrote his concerto) as well as other violinists of Brahms' time, and clearly vibrato and a lot of portamento were used. Joachim's vibrato is spare, but to use none at all, and no portamento, is not in keeping with the known performance practices of Brahms' time.
Beyond those primitive early recordings, some musicians who knew Brahms, conducted for Brahms, and heard Brahms conduct lived well into the mid-twentieth century, when electric recording techniques were available.
If you are interested in hearing something close to what Brahms must have heard, look into Felix Weingartner's recordings from the 1930's. Weingartner was in his mid-thirties when Brahms died; Brahms heard him conduct his Second Symphony, and liked what he heard. Weingartner also heard Brahms conduct his Third and Fourth symphonies.
The standards of orchestral playing were not as high in the 1930's as they are today, and there are imperfections, but this is the closest to "authentic" Brahms as it is possible for us to have. The recordings themselves were made using an electrical process with microphones, and are not primitive.
5.0 out of 5 stars
Never ceases to amaze
31 Mar 2013
By Marco's Mom
- Published on Amazon.com
Format:Audio CD|Amazon Verified Purchase
Gardiner and the Monteverdi Choir never ever cease to amaze by their high level of professionalism and excellence. Keep it up!
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Go to Amazon.com to see all 5 reviews
4.0 out of 5 stars
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