"Lenny and the Vienna Phil bring to us a powerful, romantic, performance of arguably Brahms greatest symphony. This is definately not a Szell-style interpretation(as are probably none of Bernstein's interpretations of anything by anyone). Right from the opening bars, you can hear the BUM BUM BUM of the timpani very well. I always love a recording with well-definited percussion ensemble. Bernstein, wisely, keeps the repeat in the first movement. I can live without repeats, but I do prefer that they be in there. The second movement is done a little slower then normal. It's not a super-classical interpretation, but Lenny doesn't destroy it by getting hyper-romantic, either, as he too often does. He finds a happy medium. The last movement is a spectacular display, both in musical content and performance. It starts out dark and ominous in minor but then goes into a beautiful C major theme and ends in a blaze of glory with a thunderous C Major chord. For a real thrill ride, listen to the last 3 minutes of the piece on your stereo with the volume cranked up as loud as possible without blowing out the speakers. The only complaining you will hear will be from the neighbors. Plus, you get the Academic Festival overture. It's a good piece and a nice filler. The sound quality is very good. I would note that the Vienna Phil's playing is dynamite, but you probably already guessed that, since it is in almost every recording done by them. And it all comes at only 12 bucks. As the previous reviewer said, if you have never heard any of Brahms music before or are fairly new to it, this disc has your name on it. What more could you ask for? Essential."
Incredibly Charged Brahms
Trevor Gillespie | San Jose, California United States | 12/14/2000
(5 out of 5 stars)
"This is the true Romantic Brahms filled with power, beauty, depth, and emotion. Bernstein really has delivered to us a knockout performance of the first symphony. Of course it helps to have an orchestra like the Wiener Philharmoniker adding to the performance. And what a wonderful job they do. They have such a rich beautiful sound in the string section, and DG captures all the details. Particularly impressive is how they capture the strokes on the tympani---closer than some recordings and full of more presence and clarity. With the beginning of this symphony you can tell that it will be a little different from most performances, but if you let yourself be open to it, you'll find an incredibly satisifying performance. The climax of the last movement is breathtaking, filled with raw power that has you on the edge of your seat begging that the symphony continue on just a little more. These are my thoughts at least. If you have heard this symphony before, hear it again in this performance. If you haven't heard it, this is a great place to start."
A review for the rest of us
Trevor Gillespie | 03/19/2003
(4 out of 5 stars)
"A lot of these classical music reviews get bogged down in arguing one conductor's interpretation over another; sometimes I think too much so. All I will say is this: it is a superbly recorded CD by an excellent ensemble and a reknowned conductor. I have never regretted spending the money I did for this CD, and I recommend it for anyone who is looking to explore the music of brahms."
Flaccid Brahms when there are so many compelling versions
John Grabowski | USA | 08/23/2001
(2 out of 5 stars)
"Bernstein was never a superb Brahms conductor in my opinion, but in the later years he got even worse. And yet JB was one of the composers whose music he championed repeatedly in his declining years. This lackluster, plodding performance was beautifully recorded by DG and performed by the VPO live. Little if any audience noise, but perhaps that was because they were asleep or had left. Bernstein's tempi, as they almost universally were by this time, were too slow, leading to phrases stretched and distorted. Such is particularly the case in the outer movements here, but he misses the dramatic flow and builds in the gorgeous slow movement too--the signposts of structure are just ignored. The result is not just perverse, but willfully perverse. This is Brahms without lilt, without Viennese dance rhythms, without charm, without sunlight. (And the First, despite what you may initially think, has plenty of pages of sunlight.) There are many great Brahms Firsts out there: Karajan (DG Originals, not the later one), Klemperer, Furtwangler (1951 with the Lucerne Festival Orchestra). This indulgent disc is best avoided. The two stars are for the orchestra's playing and DG's fine engineering achievement."
Thrilling
David Saemann | 11/19/2008
(4 out of 5 stars)
"Bernstein always had a knack for Brahms. In his young years, his interpretations were fairly mainstream. There is a great Fourth with the N.Y. Stadium Symphony from 1953 that flows like molten lava, and there is an elegant yet powerful Second from 1962 with the N.Y. Philharmonic. My first reaction to this Brahms First was that it was very weird. Tempos in the first and last movements alternated between slow and fast, while the middle movements were very slow indeed. I couldn't make any sense of the interpretation. The second time I listened to the CD, everything came together. Even in the slow moments, details came through that I never had paid much attention to before. Despite the tempo changes, there was a flow to the interpretation that was unstoppable. Also the sound engineering, from 1981, is excellent, revealing every strand of the Vienna Philharmonic's luxurious playing. I still feel that the big moments in the last movement, the two statements of the main theme and the chorale in the coda, are just a little too slow, but they're not deal breakers for me. In sum, this is a unique experience of the Brahms First, one that is very revealing even if it is idiosyncratic. The Academic Festival Overture receives a vigorous reading, if without quite the nobility of Bruno Walter's or the excitement of Stokowski's."