IV. Adagio - Piu Andante - Allegro Non Troppo Ma Con Brio
Tragic Overture, Op. 81
Academic Festival Overture, Op. 80
Track Listings (8) - Disc #2
I. Allegro Non Troppo
II. Adagio Non Troppo
III. Allegretto grazioso (Quasi andantino)
IV. Allegro Con Spirito
I. Allegro Con Brio
II. Andante
III. Poco Allegretto
IV. Allegro
The same London Philharmonic that sounds bored out of its collective mind on Wolfgang Sawallisch's Brahms cycle here seems to be playing on the edge of its seat. Eugen Jochum's much more positive direction is certainly at ... more »least partially responsible. He's a tremendously inspiriting Brahms conductor, and these are performances full of fire and passion. The Fourth Symphony comes separately, coupled with Klaus Tennstedt's German Requiem, and at the twofer price, these are four CDs not to be missed. --David Hurwitz« less
The same London Philharmonic that sounds bored out of its collective mind on Wolfgang Sawallisch's Brahms cycle here seems to be playing on the edge of its seat. Eugen Jochum's much more positive direction is certainly at least partially responsible. He's a tremendously inspiriting Brahms conductor, and these are performances full of fire and passion. The Fourth Symphony comes separately, coupled with Klaus Tennstedt's German Requiem, and at the twofer price, these are four CDs not to be missed. --David Hurwitz
"Jochum's readings of the first three Brahms Symphonies are lithe, sinewy performances with flexible tempi and phrasing that seem almost to presage the practices of the 'authentic' performers. Compared to Szell in this repertoire, for example, I find these Jochum readings to be just a bit less complacent, more heterogeneous and more spontaneous. Incisiveness is not Jochum's main objective (Furtwangler was Jochum's mentor, after all) while expressive leeway is. In the First Symphony, Jochum is not afraid to whip up a tempo here and there, the coda of the Finale of the First Symphony being a good example. Some of the dynamic crescendos in the slow movement take one by surprise initially but come to seem natural after repeated hearings. By contrast, Jochum paces the third movement so that the climax does not run away from him.The natural way in which the first movement of the Second Symphony unfolds is totally disarming. There's charm here balanced with virility and Jochum does not hesitate to bend tempi to increase expressive effect. On first hearing, the Finale of the Second Symphony seems to be a bit lightweight but the tempo is Allegro con spirito and Jochum is content to let the music speak for itself without imposing any preconceived heroism.In the Third Symphony, the relative shortness of phrasing (compared with Szell) is apparent throughout. There's less of a heroic stride here than with Szell but more litheness and spontaneity. The relative objectivity of the third movement is most striking. Among versions that I've heard, Bruno Walter's seems closest to Jochum's approach to this symphony although Jochum is more volatile.In total, these performances are hard to resist. Given the excellence of the remastered analogue and the fine performances of the two overtures, this is a highly recommendable, nay, essential reissue."
Revelatory performances, excellent sonics, too
02/19/1999
(5 out of 5 stars)
"Jochum's stereo Brahms cycle is stunningly beautiful, and makes me curious to hear his mono set from the early 50s. The Walter and Solti Brahms cycles are classics, but Jochum's is right up there, and the sound is outstanding. His tempos are just different enough to be interesting and make you hear the music in a new way, without being eccentric. Highly recommended, especially at the reasonable price."
A Take-no-prisoners Brahms cycle...
Joey Joe Joe Jr. Shabadoo | Boston, MA USA | 12/09/2005
(5 out of 5 stars)
"Great set. I just picked this up from Amazon, and I must say I am quite pleased. Jochum's direction is, quite simply, electrifying. I would say the 3rd is definitive, and the 1st and 2nd are up there with the other great interpretations. The 4th (on this disc's pair in the catalogue) is very good, but not quite to the same level as these 3. I have never heard anyone take the third that quickly and fearsomely, and the same can be said for the coda in the finales of Symphony No.1 and Symphony No.2. Just a brilliant trilogy, with the fourth paired with Ein Deutsches Requiem on another EMI two-fer. I would recommend this set to anyone who likes lushness, density and beautiful string sonorities first and foremost with their Brahms. Add to those qualities impeccable interpretation from an old master from a different time, and you've got a winner. I would highly recommend both two-fers to complete the cycle."
Wonderful
Anand Ramachandran | Bangalore, India | 06/05/2004
(5 out of 5 stars)
"This is probably the finest Brahms cycle I have heard. Walter is good with 2 & 3 but is let down by his orchestra and the sound. Not only is the sound on this release excellent, Jochum has Walter's lyricism and is more muscular when needed. Morover, his tempi and phrasing are flexible unlike Abbado, Klemperer etc which means he makes the music really sing. Till I listen to Sanderling, to me this is at the top. When I play any symphony in this cycle, I don't feel like switching it off, it is so gripping."
Superb
Erez Katz | CA, USA | 03/05/2006
(5 out of 5 stars)
"EMI originally issued this recording of Brahms 1st symphony with Jochum and the London Philharmonic in another CD that has been out of print for many years. It took me a long time to find this wonderful recording.
Even though it is not a digital recording, the sound is great and the detail is amazing.
I admit, it is the 4th movement of the 1st symphony of which I was in search. What I was looking for in other recordings, and did not find, is the delicate and unmatched orchestral balance that is shown here. For instance, this is the only recording I am aware of in which brass section does not drown out the bassoons, in fact the contra bassoon can be clearly distinguished from the rest. In many other recordings this is not the case, and the brass is almost always overbright and overshadowing.
The recording further features one of the best flute solos that I have ever heard.