Information
Composer: Johannes Brahms
Scottish Chamber Orchestra
Charles Mackerras, conductor
Date: 1999
Label: Telarc
- (01-06) Serenade No. 1 in D major, Op. 11
- (07-11) Serenade No. 2 in A major, Op. 16
Scottish Chamber Orchestra
Charles Mackerras, conductor
Date: 1999
Label: Telarc
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ARTISTIC QUALITY: 10 / SOUND QUALITY: 10
Charles Mackerras’ marvelous recordings of Brahms’ four symphonies with these same forces for Telarc find a logical successor in this delightful release of the two early serenades. These are special works in Brahms’ output: carefree, breezy, and charming. The unusual freshness and clarity of their orchestration (the Second Serenade scored without violins) shows that the density of his symphonic sound clearly was a matter of intention rather than accident, or worse, lack of skill. Hearing these loosely constructed, generously tuneful pieces, we can only wonder at the effort Brahms must have made to curb his purely lyrical impulses and discipline his musical thought in such a way as to demonstrate his worthiness as symphonic heir to Beethoven. Mackerras and his players clearly delight in the catchy tunes and colorful scoring, and he leads performances that, while clearly “Romantic” in their freedom of tempo, are scaled to emphasize the music’s classical antecedents. Toss in Telarc’s outstanding sonics, and the result is simply irresistible. [11/23/1999]
-- David Hurwitz, ClassicsToday
More reviews:
https://www.amazon.com/Brahms-Serenade-Mackerras-Scttish-CO/dp/B000035X5A
Charles Mackerras’ marvelous recordings of Brahms’ four symphonies with these same forces for Telarc find a logical successor in this delightful release of the two early serenades. These are special works in Brahms’ output: carefree, breezy, and charming. The unusual freshness and clarity of their orchestration (the Second Serenade scored without violins) shows that the density of his symphonic sound clearly was a matter of intention rather than accident, or worse, lack of skill. Hearing these loosely constructed, generously tuneful pieces, we can only wonder at the effort Brahms must have made to curb his purely lyrical impulses and discipline his musical thought in such a way as to demonstrate his worthiness as symphonic heir to Beethoven. Mackerras and his players clearly delight in the catchy tunes and colorful scoring, and he leads performances that, while clearly “Romantic” in their freedom of tempo, are scaled to emphasize the music’s classical antecedents. Toss in Telarc’s outstanding sonics, and the result is simply irresistible. [11/23/1999]
-- David Hurwitz, ClassicsToday
More reviews:
https://www.amazon.com/Brahms-Serenade-Mackerras-Scttish-CO/dp/B000035X5A
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Johannes Brahms (7 May 1833 – 3 April 1897) was a German composer and pianist. In his lifetime, Brahms's popularity and influence were considerable. Brahms composed for symphony orchestra, chamber ensembles, piano, organ, and voice and chorus. Many of his works have become staples of the modern concert repertoire. An uncompromising perfectionist, Brahms destroyed some of his works and left others unpublished. Brahms is often considered both a traditionalist and an innovator. His music is firmly rooted in the structures and compositional techniques of the Classical masters, with a highly romantic nature embedded within.
https://en.wikipedia.org/wiki/Johannes_Brahms
https://en.wikipedia.org/wiki/Johannes_Brahms
***
Charles Mackerras (17 November 1925 – 14 July 2010) was an Australian conductor. He was an authority on the operas of Janáček and Mozart, and the comic operas of Gilbert and Sullivan. Mackerras was known for his broad repertoire, expertise in Czech music, and use of period performance practices with modern orchestras. Mackerras recorded three Mahler symphonies and all of the symphonies of Mozart, Brahms and Beethoven. His final recording was Suk's Asrael Symphony in 2007. His final public performance saw him conduct Così fan tutte at Glyndebourne in the summer of 2010.
http://en.wikipedia.org/wiki/Charles_Mackerras
http://en.wikipedia.org/wiki/Charles_Mackerras
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