Johannes BRAHMS (1833-97)
Symphony No. 2 in D major, Op. 73 (1877) [39:46]
Symphony No. 3 in F major, Op. 90 (1883) [39:10]
Symphonieorchester des Bayerischen Rundfunks (Bavarian Radio Symphony Orchestra)/Mariss
Jansons
rec: 16-17 March 2006, Hercules Hall, Residenz, Munich, Germany (Symphony
2), 16 January 2010, Goldener Saal des Musikvereins, Vienna, Austria (Symphony
3) DDD
BR KLASSIK 900111 [79:05]
The Bavarian Radio Symphony Orchestra under their chief conductor Mariss Jansons
have recorded live performances of two of Brahms’ symphonies presented here
in splendid DSD/SACD sound for the BR Klassik label.
Brahms completed his Symphony No. 2 in D major, Op. 73 in 1877, just
one year after his First. It was produced quickly, mainly during a summer
holiday in Pörtschach on Wörthersee Lake, Austria, a favourite holiday destination
of Brahms. He completed the score in Lichtenthal near Baden-Baden. Brahms
modestly wrote to a friend, “I don't know whether I have a pretty symphony.
I must inquire of learned persons!” It was Hans Richter who conducted
the première in Vienna with the Philharmonic in 1877. The four movement score
is occasionally referred to as Brahms’ ‘Pastoral’.
In Jansons’s reading the symphony radiates open-air contentment. Containing
an abundance of romantic expression the opening movement offers textures that
have sufficient buoyancy and tempi that never feel heavy or dragging. A slightly
more serious side is displayed in the brooding slow movement. Courteous and
compassionate, the third movement contains some remarkable playing especially
from the glowing woodwind. I loved the early Presto ma non assai passage
for strings playing leggiero. In the closing movement there’s a sense
of Alpine freshness to Brahms’ glowing scoring. Jansons ends proceedings in
a majestic manner with trumpets and trombones finally letting loose in full
glory in the last few measures.
It was six years before Brahms commenced work on his Symphony No. 3 in
F major, Op. 90. This four movement score was written mainly in the southwest
German spa town of Wiesbaden in the summer of 1883. That same year the première
was given in the Vienna Musikverein at a Vienna Philharmonic concert under
Hans Richter who described the score as ‘Brahms’s Eroica’.
The opening movement of the Third here exudes a remarkably heroic feel. I
was struck by the bold and surging pulses of energy produced. The assured
Jansons is relaxed throughout the warm and congenial second movement - so
evocative of a Wiesbaden summer. Tenderness personified - as if the music
is floating on air - could easily describe Jansons way with the harmonious
and affectionate third movement. The concluding movement contains writing
of tension and of vacillation with Jansons maintaining an air of mystery from
start to finish even when all the reserves of energy are exhausted.
My benchmark recordings of these two symphonies form part of EMI’s evergreen
three disc set of the four symphonies from Otto Klemperer and the Philharmonia.
Klemperer’s aristocratic performances of power and expression were recorded
with the great producer Walter Legge at their favoured recording venue London’s
Kingsway Hall in 1956/57 on EMI Classics 5 62742 2 (c/w Haydn Variations;
Alto Rhapsody with Christa Ludwig, mezzo; Academic Festival and
Tragic Overtures). Rightly selected as part of EMI’s ‘Great Recordings
the Century’ series, the sound on this digitally re-mastered set is outstanding.
I also greatly admire the three disc set of the four Brahms symphonies from
Sir Simon Rattle and the Berlin Philharmonic. The digital recordings were
produced in 2008 at live performances in the Philharmonie, Berlin on EMI Classics
2672542. Central to the performing tradition of the Berlin Philharmonic the
orchestra have this music running through their veins. Rattle’s performances
are warmly recorded, have a spontaneous feel and convey a Romantic power of
great intensity.
Returning to the present disc these are excellent performances. They certainly
rank up there amongst the finest available versions. These are live recordings
but I was generally unaware of any audience presence. I’m not quite sure what
a section from J.M.W. Turner’s oil painting ‘The Burning of the House of
Lords and Commons’ is doing on the front cover of the booklet.
Michael Cookson
see also review by Kevin
Sutton
Excellent performances in live recordings. These rank up there amongst the
finest available versions.