Symphony No. 1 In C Minor, Op. 68: Un poco sostenuto - Allegro
Symphony No. 1 In C Minor, Op. 68: Andante sostenuto
Symphony No. 1 In C Minor, Op. 68: Un poco allegretto e grazioso
Symphony No. 1 In C Minor, Op. 68: Adagio - Allegro non troppo ma con brio
Track Listings (5) - Disc #2
Symphony No.2 In D Major, Op.73: Allegro non troppo
Symphony No.2 In D Major, Op.73: Adagio non troppo - L'istesso tempo, ma grazioso
Symphony No.2 In D Major, Op.73: Allegretto grazioso (Quasi Andantino) - Presto ma non assai - Tempo I
Symphony No.2 In D Major, Op.73: Allegro con spirito
Academic Festival Overture, Op.80
Track Listings (5) - Disc #3
Symphony No.3 In F Major, Op.90: Allegro non brio - Brahms
Symphony No.3 In F Major, Op.90: Andante - Brahms
Symphony No.3 In F Major, Op.90: Poco allegretto - Brahms
Symphony No.3 In F Major, Op.90: Allegro - Brahms
Variations On A Theme By Joseph Haydn, Op.56a - Brahms
Track Listings (5) - Disc #4
Symphony No.4 In E Minor, Op.98: Allegro non troppo
Symphony No.4 In E Minor, Op.98: Andante moderato
Symphony No.4 In E Minor, Op.98: Allegro giocoso - Poco meno presto -Tempo I
Symphony No.4 In E Minor, Op.98: Allegro energico e passionato- Piu allegro
Tragic Overture, Op. 81
This was one of the least successful of Bernstein's projects for DG. His Brahms was always pretty wayward, but in addition to his usual stop-and-start approach to the music, he's slowed everything down by half, making the ... more »result dull as well as demented. There are some great moments in the First and Third symphonies, particularly, and the playing is gorgeous, but these performances simply aren't competitive. --David Hurwitz« less
This was one of the least successful of Bernstein's projects for DG. His Brahms was always pretty wayward, but in addition to his usual stop-and-start approach to the music, he's slowed everything down by half, making the result dull as well as demented. There are some great moments in the First and Third symphonies, particularly, and the playing is gorgeous, but these performances simply aren't competitive. --David Hurwitz
"I find the writings of David Hurwitz to be patronizing and offensive. His reviews on Amazon (which are intended to be opionated and educational) all too often wind up being irritating and uninformative, replete with sweeping over-genralizations that leave me wondering if Mr. Hurwitz has ever actually listened to a single CD he has reviewed. They are also annoyingly predictable: endless praise for Richter and Mutter, etc., endless disdain for any historic or period performances. He criticizes orginality in performances and, unfortunately in many cases, the home reviewers at amazon sheepishly agree with whatever he says. I quote from his review of Goodman's Beethoven cycle, the greatest period recording of these masterworks, "These performances are so terrible that it's hard to believe anyone took them seriously...Utterly grotesque". Isn't this a little harsh for recordings that have been highly praised elsewhere and have recieved a home review average of 5 stars? Rather than pointing out the positives of an alternative approach to a piece, the proud Mr. Hurwitz has fallen to downright slander, while he elsewhere desperately panders his idols with repetitious adulation. There are many examples of this an Amazon. I also suspect that his rather bourgeois values have infected the whole "essential CD's" section of Amazon, which has the potential to be highly informative to listeners new to classical music."
The Definitive Brahms Symphony Cycle?
John Kwok | New York, NY USA | 04/12/2001
(5 out of 5 stars)
"Without a doubt, this splendid set of recordings ranks with the Sanderling/Dresden Staatskapelle cycle as two of the finest Brahms symphonies cycles ever recorded. These are passionate, inspired performances where Bernstein succeeds in illuminating the complex emotional energy of Brahms' scores. Under his baton the Vienna Philharmonic responds as though it was a chamber orchestra, playing with ample warmth and brilliance. I have seen repeated references to Bernstein's version of the 2nd symphony as the definitive recording in the Penguin Guide and elsewhere; his versions of the other symphonies and overtures are superb too. Do not heed David Hurwitz's advice. If you are looking for a definitve set of Brahms' symphonies, then this has to be it."
Awesome, Energetic, & Powerful
Trevor Gillespie | San Jose, California United States | 04/05/2001
(5 out of 5 stars)
"After having bought Brahms Symphony no. 1 individually, I had to buy the box set. Leonard Bernstein had recorded these symphonies before, but here he brings such raw emotional power to the symphonies, as well as the Haydn Variations and Overtures. DG has done an excellent job at recording these works. The digital sound is incredibly revealling with a full range of sound from top to bottom. I have a number of complete cycles of Brahms symphonies (i.e. Karajan, Abbado, Mackerras, and Solti). Although I love each cycle for various reasons, this one stands out particularly. The combination of forces between the Vienna Philharmonic and Bernstein produces a cycle of symphonies that remind you (if you've forgotten) just how incredible Brahms was as a composer. More specifically, my favorite highlights in these symphonies are as follows: As I said before, the sheer power of the first that Bernstein creates encouraged me to buy the box set. The finale is built incredibly sustaining a tension that is hard to match. The III movement in the fourth symphony has to be one of the best played--technically and emotionally. It is what I call a 'rollicking good time'. The third symphony as a whole is a great performance as well. This cycle is not the cheapest of Brahms symphony cycles, but it certainly is one of the very best. If you like how Leonard Bernstein conducted later in his life (a little slower with a heavier hand), then you're bound to love this set. Even if you don't care for the performances, you'll appreciate the beauty of the recorded sound."
An intensely personal approach
Santa Fe Listener | Santa Fe, NM USA | 10/11/2005
(4 out of 5 stars)
"David Hurwitz overstates his objections, but it's true that for many listeners Bernstein's Brahms cycle from Vienna is overwrought. At this period in his career Bernstein tried to wring emotion from every bar of music; when he succeeded, audiences at his concerts felt that he came closest of any living conductor to recreating music as if it was being composed before their very eyes.
But this intense involvement works less well on records, in part becasue we attend concerts with more sense of occasion than we have listening at home. These CDs can sound overcooked, and the tempi are undoubtedly slow. In the Fourth Sym., for example, Bernstein is slower in every movement than any of my versions by Klempeerer, Karajan, Kleiber, and Furtwangler. I don't own Brahms done by Celibidache or Knappertsbusch, two committed slow pokes, but Bernstein is in their vicinity.
If you already connect with his intensely personal style, Bernstein's cycle will appeal to you. There is no other conductor outside of Furtwangler who approaches Brahms with such a heated emotional charge or who brings out so much struggle and suffering. But if your ideal is Mackerras, Szell, or Harnoncourt, all fine Brahmsians of a cooler breed, this cycle might be poisonous."