Johannes BRAHMS (1833-1897)
Symphony No. 2 in D, Op. 3 [39:46]
Symphony No. 3 in F, Op. 90 [39:10]
Symphonieorchester des Bayerischen Rundfunks/Mariss Jansons
rec. live: Munich, Herkulessaal der Residenz, 16-17 March 2006 (2); Vienna,
Goldener Saal des Musikvereins, 16 January 2010. (3)
BR KLASSIK 900111 [79:05]
Johannes Brahms was forty-two years old before he was brave enough to release
his first symphony. Schumann had earlier proclaimed the young composer to
be the natural successor to Beethoven, and Brahms found such an expectation
to be practically unbearable, and thus delayed a sojourn into the realm of
the symphony for some years. He needn’t have worried. No less a musician than
Hans von Bülow proclaimed Brahms’ emotion-packed First Symphony to be “Beethoven’s
tenth.”
Brahms presented his Second Symphony in 1877, only one year after the first.
It is the result of a summer retreat in Pörtschach on the Wörthersee which
proved to be enormously peaceful and productive. And yet, despite these happy
circumstances, Brahms warned future listeners that his new symphony was laden
with melancholy. This is hard to believe upon listening to the music, which
is arguably some of the sunniest and most hopeful of the composer’s output.
The Second Symphony received a triumphant first performance in Vienna on 30
December 1877 under Hans Richter’s able baton. Vienna’s most formidable critic
Eduard Hanslich was effusive with praise, declaring that Brahms’ new symphony
was “incontrovertible proof” that symphonies could still be written after
Beethoven.
The second is a work that is full of sunshine. With its gorgeous double theme
beginning in the cellos and basses, followed by a lovely response from the
horns, the strings soon take over with a counter-theme that is reminiscent
of a lullaby. The beautiful slow movement is followed by lilting third, and
the symphony ends with a joyous finale.
Mariss Jansons evokes an enormous and rich tone from the Bavarian Radio Symphony.
He chooses tempos that both convey the profundity of the music while never
letting it bog down or die on the vine. Balances are of the first order and
the string tone is so warm and vibrant that it practically glows. More and
more compact disc releases are live recordings from concerts instead of “studio”
recordings with multiple takes and fixes. That so many of these recordings
come out sounding so superb is both a testament to the quality of orchestral
playing around the world, and a compliment to the recording industry for finding
a way to keep classical music coming to us while still minimizing the enormous
cost of recording a symphony orchestra.
Brahms’ Third is a far different animal from the Second. Although cast in
the happy, pastoral key of F major, this is a work that is full of pathos.
Of particular merit is the mysterious third movement with its haunting minor
key theme. Branford Marsalis was later to take this marvelous melody and turn
it into the basis for a fascinating jazz piece on his album “The Beautiful
Ones are Not Yet Born.” Again Jansons captures all the range of emotions in
this stormy work without ever letting the playing become overwrought.
With hundreds of fine recordings of these pieces available, it can be hard
to justify yet another. These performances however, merit a spot in any collection.
Whether this is your first experience with the music or your fiftieth, these
are recordings that have exceptional merit.
Kevin Sutton
Strong performances marked by rich tone and just-right choices of tempo and
demeanor. Well worth adding to any collection.
Kevin Sutton sings and teaches music in Dallas, TX. His additional writings
can be found at www.thetenordiaries.blogspot.com.
Follow him on twitter @Maestro214.