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Friday, September 29, 2017

Johannes Brahms - Symphonies; etc. (Charles Mackerras)


Information

Composer: Johannes Brahms

CD1:
  • (01-04) Symphony No. 1 in C minor, Op. 68
  • (05)      Symphony No. 1 in C minor, Op. 68: alternate movement II
  • (06)      Academic Festival Overture, Op. 80
CD2:
  • (01-04) Symphony No. 2 in D major, Op. 73
  • (05-14) Variations on a Theme by Joseph Haydn, Op. 56a
CD3:
  • (01-04) Symphony No. 3 in F major, Op. 90
  • (05-08) Symphony No. 4 in E minor, Op. 98

Scottish Chamber Orchestra
Charles Mackerras, conductor

Date: 1997
Label: Telarc


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Review

Mackerras’ highly regarded Telarc Brahms cycle bills itself as being “in the style of the original Meiningen performances.” This claim is, of course, nonsense, if only because of the word “original.” The interpretations are based on a very interesting 1933 typescript by Walter Blume, a pupil of Meiningen conductor Fritz Steinbach, which allegedly comprises the conductor’s own notes on how to interpret the four symphonies plus the Haydn Variations. Steinbach succeeded Richard Strauss in Meiningen, where he remained from 1886-1902. Strauss had followed Hans von Bülow, so calling Steinbach’s Meiningen Brahms “original” makes no sense at all. The Brahms tradition there preceded him by at least two conductors, and could have been quite different when it did.

Nevertheless, we can say that Steinbach’s notes, if accurately transcribed by Blume, represent an authentic Brahms tradition, and they are quite interesting. For one, they make it clear that Steinbach’s approach to tempo and accent was much freer than usual today. They also suggest that vibrato was already in general use. It is mentioned only twice in the typescript, in the description of the First Symphony’s introduction, and in connection with the slow movement of the Third Symphony. In both cases, Steinbach warns the orchestra not to use vibrato–specifically in order to create a special timbral effect–thereby implying that it was in pretty continuous or at least unobjectionable use otherwise. Interestingly, the note-writer for this edition of the symphonies misses that point entirely, still adhering to the usual period-instrument cant that vibrato was employed “only as an ornament” at the time in question.

The reason for bringing all of this, and these performances, up now is because Blume’s typescript, formerly extremely difficult to find (I got my copy through a German antique book-seller several years ago), has now been published in an edition edited by Michael Schwalb for Olms Verlag, as Brahms in der Meininger Tradition. If you know a bit of German, plus the usual musical terminology, the typescript itself is relatively easy to follow. Sometimes Mackerras sticks to it, and sometimes he doesn’t–which is a good thing, actually, because Mackerras was a great conductor in his own right and we don’t want or need a purely mechanical application of someone else’s rules.

However, you can glean a good example of the general approach from the coda of the Second Symphony’s finale, which is quite effective and, at the end of the day, not terribly controversial. The performances are noteworthy for their transparency, energy, and natural ensemble balances, with especially persuasive accounts of the Third and Fourth Symphonies. You also get an excellent Haydn Variations and a rousing Academic Festival Overture, plus the original version of the First Symphony’s slow movement.

The note-writer would also have us believe that Brahms preferred performances of his music with small forces. This is total nonsense. If you’re interested in a good musical education, avoid Robert Pascall and the University of Nottingham. Brahms loved larger ensembles (as scholar Styra Avins has pointed out), and as to what he preferred more generally, we may assume that he wanted the best possible quality whatever the absolute numbers in question. Nevertheless, these are fine interpretations of uncommon interest, and now, if you are curious, you can get the book on which they claim to be based and see to what extent Mackerras really does embody at least one authentic Brahms performance tradition.

-- David Hurwitz, ClassicsToday

More reviews:
BBC Music Magazine  PERFORMANCE: ***** / SOUND: *****
https://www.gramophone.co.uk/review/brahms-symphonies-nos-1-4-academic-festival-overture
http://www.musicweb-international.com/classrev/2005/Sep05/Brahms_Mackerras_CD80463.htm
http://www.musicweb-international.com/classrev/2005/Nov05/Brahms2_Mackerras_CD80464.htm
http://www.musicweb-international.com/classrev/2005/Nov05/Brahms34__Mackerras%20CD80465.htm
http://www.classical.net/music/recs/reviews/t/tlc80450a.php
https://www.amazon.com/Four-Symphonies-style-Meiningen-performances/dp/B000003D2C

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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

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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

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FLAC, tracks
Links in comment
Enjoy!

8 comments:

  1. This comment has been removed by the author.

    ReplyDelete
  2. Greetings! Could you please re-upload the music? The links are down.

    ReplyDelete
    Replies
    1. I've just tested these links and they are still working. Can you be more specific about your problem?

      Delete
    2. The first link works, the two other ones come up with "link does not exist". :-(

      Delete
  3. These are very interesting versions of Brahms' symphonies. Thank you so much!!

    ReplyDelete
  4. hi Ronald Do, thanks so much for the Romantic Piano Concertos of HYPERION

    if it is possible, could you upload The Romantic Piano Concertos Vol. 69, 71, 72, 73, 74, 75, 76, 77, 78 and 79 ? thanks so much

    ReplyDelete
  5. Choose one link, copy it to your browser's address bar, wait 5 seconds, then click on 'Skip Ad' (or 'Continue') (top right).
    If you are asked to download anything, IGNORE, only download from file hosting site (mega.nz).
    If MEGA shows 'Bandwidth Limit Exceeded' message, try to create a free account.

    CD1
    http://evassmat.com/clPH
    or
    https://ouo.io/6S39X3
    or
    http://uii.io/ypdHCb

    CD2
    http://evassmat.com/clPI
    or
    https://ouo.io/DyxV2Z
    or
    http://uii.io/VZFO9

    CD3
    http://evassmat.com/clPJ
    or
    https://ouo.io/1anHxI
    or
    http://uii.io/aHijT7

    ReplyDelete