» » » Johannes Brahms - The Symphonies - Boston Symphony Orchestra, Andris Nelsons (2017) High-Fidelity FLAC Stereo 24bit/192kHz
Johannes Brahms - The Symphonies - Boston Symphony Orchestra, Andris Nelsons (2017) High-Fidelity FLAC Stereo 24bit/192kHz
Johannes Brahms - The Symphonies - Boston Symphony Orchestra, Andris Nelsons (2017) High-Fidelity FLAC Stereo 24bit/192kHz

Сomposer: Johannes Brahms (1833-1897)
Artist: Boston Symphony Orchestra, Andris Nelsons
Title: Brahms: The Symphonies
Genre: Classical
Label: © BSO Classics
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: BSO
Duration: 02:48:39
Recorded: Live recordings Symphony Hall, Boston November 8-19, 2016

The Boston Symphony Orchestra and Andris Nelsons are pleased to announce the release of their latest recordings on BSO Classics-a three-disc set of the four Brahms symphonies, recorded live during concert performances at Symphony Hall this past November, engineered by the same in-house team that produced the BSO's recent Grammy-winning Shostakovich recordings under Maestro Nelsons on Deutsche Grammophon. This new Brahms symphony cycle follows two others recorded previously by the BSO, under Erich Leinsdorf in the mid-1960s and Bernard Haitink in the early 1990s. "It makes me so proud and happy," observes Andris Nelsons, "that the Boston Symphony Orchestra of today, filled with so many great musicians, will now have its own place in recorded history with this amazing music."

Boston — The British critic Richard Osborne once wrote that, when it comes to Brahms’s symphonies, there are First and Third conductors, and Second and Fourth conductors. The scheme is loose and doesn’t apply to everyone, particularly not to visionaries or stoics, but it captures the difficulties in maintaining consistency across the cycle. Musicians who excel in the personal, odd-numbered statements are often challenged, relatively speaking, by the formalistic, even-numbered works.
Andris Nelsons conducts everything at a high quality, but he’s a First and Third man. That, on the evidence of four concerts heard here during a Brahms minifestival with the Boston Symphony over the past two weeks. Decorated by the premieres of adornments by Eric Nathan and Timo Andres, it was in fact a double cycle, with Hélène Grimaud traversing the two Piano Concertos nicely enough, if not spectacularly, before she fell ill toward the end of the run. The symphonies were recorded for possible release on the orchestra’s label.
Although the volatility of the First and Third suit Mr. Nelsons, his Brahms as a whole resists classification. It’s not close to either of the more extreme performance traditions, whether the subjective style of Wilhelm Furtwängler, Bruno Walter and, more recently, Christian Thielemann, or the classicizing manner of Otto Klemperer or, today, Riccardo Chailly. Rather, Mr. Nelsons’s way recalls Eugen Jochum and Bernard Haitink, his undidactic temperament leading to an interpretive middle ground. The perennial jeopardy of Brahms without an overarching stance is dullness and stodge — there was no sign of that here.
A performance of the First on Election Day, begun just as the vote counts turned in an unexpected direction, was charged by urgency. It snatched for resolution in the first movement and remained darkly angry in the last, struggling to dredge up the optimism needed for the grand ending to sound as truly triumphant as it might. Even the inner movements seemed reluctant to provide gentle contrast, however much space the conductor gave his principal woodwinds, lovely as ever.
The Third had a fire to it, too, balanced by security. Turbulence marked the outer movements, particularly in a finale that offered little consolation, while the second and third held their shape, sinuous and desolate.
As a result of Ms. Grimaud’s withdrawal, I heard it twice, and on both occasions it had a lived-in rightness from the opening bars, like an old friend or a favorite loafer.
Not incidentally, the Third was among the first pieces that Mr. Nelsons conducted at Symphony Hall here, in 2013. That performance, a few months after the conductor was announced as the orchestra’s new music director, was acceptable, though messy. Since then, the improvements in the orchestra’s blend, commitment and purpose have been stark.
There remains work to do, all the same. The Fourth was a case in point, too neutral and ponderous an account to fit the composer’s most foreboding and destructive piece, and with playing that, at times, verged on blare.
Nor did the Second entirely convince, unsure of where it was going and marred by Mr. Nelsons’s habit of holding back a crescendo or a development, then too crudely underlining a harmonic arrival or unleashing a flare in volume.
Eric Nathan’s “the space of a door” and Timo Andres’s “Everything Happens So Much” were billed as responses to Brahms, though Mr. Andres assures me that his wasn’t intended as such.
Regardless, “Everything Happens” hit a sweet spot, a compact illustration of a composer in full command of his language. It proved an apt companion to Brahms — in its way with counterpoint and its satisfying development of a falling, fluttering piccolo theme — even as it echoed the composer’s love for Ravel, Ives, and Adès.
Mr. Nathan’s cinematic “the space of a door” — dedicated to his mentor, Steven Stucky, who died this year — directly borrows from Brahms, taking its opening gesture from the motif that starts the Second Symphony. Rich with asynchronous strings, and full of light and shade, it hurtles toward a nostalgic end. Engaging, from a voice we will hear more of.--David Allen

Johannes Brahms (1833-1897)
Symphony No. 1 in C minor, Opus 68
1 I. Un poco sostenuto—Allegro 00:13:24
2 II. Andante sostenuto 00:09:31
3 III. Un poco allegretto e grazioso 00:04:57
4 IV. Adagio-Più Andante-Allegro non troppo ma con brio-Più Allegro 00:17:46
Symphony No. 2 in D, Opus 73
1 I. Allegro non troppo 00:16:19
2 II. Adagio non troppo 00:09:58
3 III. Allegretto grazioso (quasi andantino) 00:05:15
4 IV. Allegro con spirito 00:09:48
Symphony No. 3 in F, Opus 90
5 I. Allegro con brio 00:13:47
6 II. Andante 00:09:26
7 III. Poco Allegretto 00:06:59
8 IV. Allegro—Un poco sostenuto 00:09:14
Symphony No. 4 in E minor, Opus 98
1 I. Allegro non troppo 00:13:09
2 II. Andante moderato 00:12:20
3 III. Allegro giocoso 00:06:39
4 IV. Allegro energico e passionato 00:10:07

Boston Symphony Orchestra
Andris Nelsons, conductor

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