Brahms - Symphony No. 1 in C minor, Op. 68 / Remastered (reference recording: Wolfgang Sawallisch)
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- เผยแพร่เมื่อ 25 มิ.ย. 2024
- Brahms: Ein Deutsches Requiem, The 4 Symphonies, Overtures and Choral Works by Wolfgang Sawallisch
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🎧 Apple Music (Lossless) apple.co/3QFTVcL Napster (Hi-Fi) bit.ly/3RytqoF
🎧 Spotify (mp3) spoti.fi/3RyZZ66 TH-cam Music (mp4) bit.ly/3EUMV4Q
🎧 Pandora, Anghami, Soundcloud, QQ音乐, LineMusic 日本…
Johannes Brahms (1833-1897) Symphony No. 1 in C minor, Op. 68
00:00 I. Un poco sostenuto, Allegro, Meno allegro (2023 Remastered, Vienna 1962)
13:19 II. Andante sostenuto (2023 Remastered, Vienna 1962)
22:38 III. Un poco allegretto grazioso (2023 Remastered, Vienna 1962)
27:20 IV. Adagio, Più andante, Allegro non troppo (2023 Remastered, Vienna 1962)
Wiener Symphoniker
Recorded in 1962, at Vienna
New mastering in 2023 by AB for CMRR
🔊 Discover our new website: www.classicalmusicreference.com/
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
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When Johannes Brahms completed his First Symphony at Lichtentaal in 1876, it represented not only his greatest compositional achievement to date, but also the culmination of 14 years preparatory work. The composer was only too well aware of Schumann's prediction that he was the man destined to "take over the mantle of Beethoven," and so it was only natural that he should have spent so long ensuring that his new work would prove worthy of such high praise. In the event, so complete was his success that the symphony soon became popularly, if somewhat glibly, known as "Beethoven's Tenth." Brahms even paid homage to the Bonn master via the fourth movement's chorale theme, which bears an uncanny resemblance to Beethoven's "Ode to Joy" from the Ninth Symphony. When questioned at the time, Brahms typically snapped back impatiently: "Any donkey can see that!" The was given by the Karlsruhe Orchestra under Otto Dessolf on 4 November 1876.
Not everyone took to the 43-year-old composer's densely contrapuntal and at times severely logical style. After directing a performance in Munich in 1878, the conductor Hermann Levi recalled: "I have never been through anything more painful. Total silence greeted the first movement and persistent hissing broke out after the second and third. After the concert there was a move afoot to compel the Academy to publish all its programmes at the beginning of the season so that in the event of a Brahms symphony being presented, one could decline to subscribe!" Posterity has been somewhat kinder in its judgement, and the work is now recognised as a seminal work in the history of symphonic form.
The volatile landscape of the first movement is immediately signalled by an introduction of the highest intensity which contains all the essential thematic elements to be employed therein. Schoenberg picked up on the formal processes involved by aptly describing the technique as "developing variation." The second and third movements inhabit an entirely different world; indeed their relative brevity and melodic grace led Hermann Levi to suggest that they were "more suitable for a serenade or a suite than a symphony on this scale." One interesting feature of the Allegretto, however, is the opening clarinet melody, which inverts halfway through, and proceeds to play the first half again, with all the original intervals turned upside down! The finale opens with one of the most extended of all symphonic introductions, its decidedly brooding atmosphere ultimately soothed by the calming influence of the solo horn. The main allegro section begins with the famous chorale melody loosely based on the "Ode to Joy" theme, which re-emerges triumphant on the brass section just before the final magnificent peroration.
Johannes Brahms PLAYLIST (reference recordings): • Johannes Brahms (1833-... - เพลง
Brahms: Ein Deutsches Requiem, The 4 Symphonies, Overtures and Choral Works by Wolfgang Sawallisch
🎧 Qobuz (Hi-Res) bit.ly/41zg5kA Tidal (Hi-Res) bit.ly/3t8i9TD
🎧 Deezer (Hi-Fi) bit.ly/457DzO1 Amazon Music (Hi-Res) amzn.to/3Rster6
🎧 Apple Music (Lossless) apple.co/3QFTVcL Napster (Hi-Fi) bit.ly/3RytqoF
🎧 Spotify (mp3) spoti.fi/3RyZZ66 TH-cam Music (mp4) bit.ly/3EUMV4Q
🎧 Pandora, Anghami, Soundcloud, QQ音乐, LineMusic 日本…
Johannes Brahms (1833-1897) Symphony No. 1 in C minor, Op. 68
00:00 I. Un poco sostenuto, Allegro, Meno allegro (2023 Remastered, Vienna 1962)
13:19 II. Andante sostenuto (2023 Remastered, Vienna 1962)
22:38 III. Un poco allegretto grazioso (2023 Remastered, Vienna 1962)
27:20 IV. Adagio, Più andante, Allegro non troppo (2023 Remastered, Vienna 1962)
Wiener Symphoniker
Recorded in 1962, at Vienna
New mastering in 2023 by AB for CMRR
🔊 Discover our new website: www.classicalmusicreference.com/
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page.
Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr
When Johannes Brahms completed his First Symphony at Lichtentaal in 1876, it represented not only his greatest compositional achievement to date, but also the culmination of 14 years preparatory work. The composer was only too well aware of Schumann's prediction that he was the man destined to "take over the mantle of Beethoven," and so it was only natural that he should have spent so long ensuring that his new work would prove worthy of such high praise. In the event, so complete was his success that the symphony soon became popularly, if somewhat glibly, known as "Beethoven's Tenth." Brahms even paid homage to the Bonn master via the fourth movement's chorale theme, which bears an uncanny resemblance to Beethoven's "Ode to Joy" from the Ninth Symphony. When questioned at the time, Brahms typically snapped back impatiently: "Any donkey can see that!" The was given by the Karlsruhe Orchestra under Otto Dessolf on 4 November 1876.
Not everyone took to the 43-year-old composer's densely contrapuntal and at times severely logical style. After directing a performance in Munich in 1878, the conductor Hermann Levi recalled: "I have never been through anything more painful. Total silence greeted the first movement and persistent hissing broke out after the second and third. After the concert there was a move afoot to compel the Academy to publish all its programmes at the beginning of the season so that in the event of a Brahms symphony being presented, one could decline to subscribe!" Posterity has been somewhat kinder in its judgement, and the work is now recognised as a seminal work in the history of symphonic form.
The volatile landscape of the first movement is immediately signalled by an introduction of the highest intensity which contains all the essential thematic elements to be employed therein. Schoenberg picked up on the formal processes involved by aptly describing the technique as "developing variation." The second and third movements inhabit an entirely different world; indeed their relative brevity and melodic grace led Hermann Levi to suggest that they were "more suitable for a serenade or a suite than a symphony on this scale." One interesting feature of the Allegretto, however, is the opening clarinet melody, which inverts halfway through, and proceeds to play the first half again, with all the original intervals turned upside down! The finale opens with one of the most extended of all symphonic introductions, its decidedly brooding atmosphere ultimately soothed by the calming influence of the solo horn. The main allegro section begins with the famous chorale melody loosely based on the "Ode to Joy" theme, which re-emerges triumphant on the brass section just before the final magnificent peroration.
Johannes Brahms PLAYLIST (reference recordings): th-cam.com/video/qEbxOAhcOrg/w-d-xo.html
When Johannes Brahms completed his First Symphony at Lichtentaal in 1876, it represented not only his greatest compositional achievement to date, but also the culmination of 14 years preparatory work. The composer was only too well aware of Schumann's prediction that he was the man destined to "take over the mantle of Beethoven," and so it was only natural that he should have spent so long ensuring that his new work would prove worthy of such high praise. In the event, so complete was his success that the symphony soon became popularly, if somewhat glibly, known as "Beethoven's Tenth." Brahms even paid homage to the Bonn master via the fourth movement's chorale theme, which bears an uncanny resemblance to Beethoven's "Ode to Joy" from the Ninth Symphony. When questioned at the time, Brahms typically snapped back impatiently: "Any donkey can see that!" The was given by the Karlsruhe Orchestra under Otto Dessolf on 4 November 1876.
Not everyone took to the 43-year-old composer's densely contrapuntal and at times severely logical style. After directing a performance in Munich in 1878, the conductor Hermann Levi recalled: "I have never been through anything more painful. Total silence greeted the first movement and persistent hissing broke out after the second and third. After the concert there was a move afoot to compel the Academy to publish all its programmes at the beginning of the season so that in the event of a Brahms symphony being presented, one could decline to subscribe!" Posterity has been somewhat kinder in its judgement, and the work is now recognised as a seminal work in the history of symphonic form.
The volatile landscape of the first movement is immediately signalled by an introduction of the highest intensity which contains all the essential thematic elements to be employed therein. Schoenberg picked up on the formal processes involved by aptly describing the technique as "developing variation." The second and third movements inhabit an entirely different world; indeed their relative brevity and melodic grace led Hermann Levi to suggest that they were "more suitable for a serenade or a suite than a symphony on this scale." One interesting feature of the Allegretto, however, is the opening clarinet melody, which inverts halfway through, and proceeds to play the first half again, with all the original intervals turned upside down! The finale opens with one of the most extended of all symphonic introductions, its decidedly brooding atmosphere ultimately soothed by the calming influence of the solo horn. The main allegro section begins with the famous chorale melody loosely based on the "Ode to Joy" theme, which re-emerges triumphant on the brass section just before the final magnificent peroration.
🔊 Discover our new website: www.classicalmusicreference.com/
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page.
Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr
Wolfgang Sawallisch's interpretations of Brahms symphonies, while possibly hindered by the limitations of recording technology during his time, stand as a testament to the enduring qualities of his musicianship. Sawallisch's approach to Brahms is characterized by a profound understanding of the composer's emotional depth and structural intricacies, creating performances that resonate with authenticity and sincerity. Wolfgang Sawallisch's interpretations of Brahms symphonies, particularly his handling of the First Symphony, stand as a testament to his deep musical insight and profound connection with the composer's work.
That's just like... you opinion, man!
@@plastique45 well yes, it is just like me opinion
@@blaspayri Thank you for your comment. We agree with you, but for 1962, the early years of stereo (we generally prefer this period to today's digital recordings, which are almost too processed), we think it sounds pretty good. Friedrich Schnapp, Wilhelm Furtwängler's sound engineer, reported this. Furt told him: "What I like about you is that you don't do anything (you don't touch up anything, you don't tamper with anything, and my interpretation remains authentic)." That's what we like about historical recordings.
De acuerdo. La 2da Sinfonía de Brahms con la Sinfónica de Viena es de las mejores que he escuchado.
With this magnificent remastering of this wonderful rendition by Wolfgang Sawallisch I thank CM/RR very much and sincerely for all the beautiful music you uploaded in 2023. I wish al the fellow workers a Merry Christmas and a very prosperous 2024 !
Wunderschöne und detaillierte Interpretation dieser spätromantischen und perfekt komponierten Sinfonie mit seidigen Tönen aller Streicher, brillanten Tönen aller Blechbläser und vor allem milden Tönen aller Holzbläser. Der dritte Satz klingt besonders schön und echt melodisch. Im Kontrast klingt der letzte Satz echt detailliert und auch majestätisch. Der intelligente und geniale Dirigent leitet das ausgezeichnete Orchester im gut betrachteten Tempo und mit künstlerisch kontrollierter Dynamik. Alles ist wunderbar und frohe Weihnachten!
The melody and rhythm of this music are fantastic! It's time for the music to wake us up! 💃🎼
Magnifico Brahms magnifico Sawallisch!
Thanks a ton from India for uploading one of my all time favourites ❤
Fool of romantic charm and classical decorum. Probably the best recording of this great work ever.
Brahms est un "musicien du coeur", un de ceux qui évoque et inspire l'amour, pas tant dans les contrastes tourmentés du "Sturm un Drang" que dans les mutations et les variations des sentiments et des affections humaines, du frisson premier aux grandes effusions. Merveilleuse interprétation qui transmet la juste mesure d'une oeuvre chaleureuse qui invite les âmes à danser, à rêver, à "souffrir", à s'offrir. Brahms passe pour l'un des plus classiques parmi les Romantiques; je dirais qu'il est d'abord celui qui a su révéler ce qu'il y a de généreux, de tendre et de glorieux dans les esprits les plus tourmentés. C'est une musique de l'intériorité et non de l'évocation ou du spectacle, aspect qu'on retrouve souvent aussi chez Schubert... Un voyage intérieur sans images et qui se déroule comme un chant.
Tout à fait d'accord! Excellenr résumé de comme on se sent en écoutant Brahms.
Cela me fait très plaisir de savoir que vous partagez un ressenti analogue "en compagnie" de la musique de Brahms . Merci à vous !@@lostados2795
What a great song! Dramatic
Stupenda sinfonia molto beethoveniana,sia pure con le stupende sfumature malinconiche di Brahms!
Дякую це прекрасно!
Magnifiques, musique et tableau. Merci beaucoup et joyeux Noël et bonne année ainsi que sincères salutations de Montréal, Qc, Canada
💯💯💯💯💯💯💯💯💯💯💯💯
❤❤❤🎶🎶🎶🎼🎼🎼🇩🇪🇩🇪🇩🇪👏👏👏
Making use of this topic as it came by, in your opnion what are the most underrated, or your choice for the better conduction/recording of the Third Symphony of Brahms ? Thank you.
良くないねえ、どの段階で劣化したのかな
The tempo is waaaayyyyyy toooooo slooooowwwwwww.
Yes, it's slower than other versions, but that doesn't mean it lacks tension and energy. The conducting is equally precise and transparent, expressing every detail of the score without losing the general line. You should therefore appreciate this version: th-cam.com/video/yy_rNsEIBwU/w-d-xo.html
A fine Christmas treat to hear this sonically excellent {!) and musically majestic performance. Herr Sawallisch was a reliably good to outstanding conductor, both operatic and symphonic. This recording presents a solid, idiomatic, and quietly very exciting reading of this great work. Thanks to all concerned, and happy New Year!