Image not available for
|Price:||£18.51 & FREE Delivery in the UK on orders over £20. Details|
|1. I. Un poco sostenuto - Allegro|
|2. II. Andante sostenuto|
|3. III. Un poco allegretto e grazioso|
|4. IV. Adagio - Allegro non troppo ma con brio|
|1. I. Allegro non troppo|
|2. II. Adagio non troppo|
|3. III. Allegretto grazioso (Quasi andantino) - Presto, ma non assai|
|4. IV. Allegro con spirito|
|5. I. Allegro con brio - Un poco sostenuto|
|6. II. Andante|
See all 8 tracks on this disc
|1. I. Allegro non troppo|
|2. II. Andante moderato|
|3. III. Allegro giocoso|
|4. IV. Allegro energico e passionato|
The Brahms symphonies concerts drew praise from the German critics: "The fourth symphony was an ecstatic apotheosis of what current orchestral playing, quick reactions and scarcely sketched annotations can get out of this work which has long since become a classic. Especially the Passacaglia finale was a finely-dosed wonder of sound refinement and harmonic finesse. Rattle appears to have finally conquered his difficult Berliners."--Die Welt.
The question, then, for the Berlin Philharmonic’s new recording of his symphonies, is how such a multi-faceted musical personality will fit within their famously rich and polished sound, even allowing for the fact that 19th century German music historically represents their core repertoire. This three-CD recording generally hits all the right buttons, with the occasional disappointment counteracted by moments of pure musical ecstasy.
The Berlin Philharmonic is often unwilling to sacrifice perfection of sound in order to play rough for dramatic or musical effect, and the criticism stands for this recording. Across all four symphonies you don’t always get edge when you want it. Brahms’ writing also often calls for more sprightliness than this orchestra are prepared to give. From the opening chord of No.1, you’re hit by the velvety force of weight and sorrow, but it needs a lighter jaggedness to bring it to life. There are similar goings-on at the majestic opening of No.3, which has lost some of its turbulent forward thrust and feels more like a wade through treacle.
However, if you’re looking for Romantic depth and sheer beauty of tone, then you’ve come to the right band. In fact, there are moments where a particular theme is so achingly lovely that you almost forget to breathe, such as the golden-hued, vibrato-heavy cello of No.3’s slow movement. Furthermore, the orchestra’s weighty tone often sounds just right; the Scherzo of No.4 may feel more triumphant than playful, but it works. With its clearly delineated, edge-of-the-seat dynamics, you know that were you to be listening to this urgent, enormous interpretation in a concert hall, the floor would be shaking satisfyingly beneath your feet.
In short, this recording absolutely delivers on Brahms’ depth and beauty, but sometimes misses his edge and pizzazz. The good outweighs the bad, though. --Charlotte Gardner
Find more music at the BBC This link will take you off Amazon in a new window
Fab performance, by a great conductor and orchestra - great quality recording too - I just love anything Simon rattle does!Published 3 months ago by John Roots
Simon is one of my favorite conductors.. A wonderful set of cd's at brilliant price.Published 8 months ago by Pamela Blake-Wilson
this far out performs anything I expected, but of course it is Simon Rattle and the Berlin Phil, a good buy and a good listen ove and over.Published 13 months ago by George Malcolm Beard
This set arrived yesterday met with excitement by myself. Perhaps too early for me to make any critical opinions, pro and anti... Read morePublished 13 months ago by Anthony S Jones
You get a masterful and robust approach to all 4 Symphonies. The cd, ok in cd player but when ripped to Player, and mp3 sound distorted and muffled?Published on 19 Aug. 2013 by Chandos
I would happily recommend the recordings in this boxed set to anyone. We have heard many versions but this stands with the best.Published on 29 Jun. 2013 by Rosemary Goddard Svendsen
"Saps the will to live" - Rattle's famous comment on the acoustics of London's Royal Festival Hall applies equally well to these leaden, almost comatose performances. Read morePublished on 19 Feb. 2012 by its