The London Symphony Orchestra’s cycle of Brahms symphonies was Bernard Haitink’s first set of recordings on the LSO Live label, originally released in 2005. This 4 Album Set of remastered recordings is now available in Stereo and 5.1 Channel Surround Sound DSD at a special price.
For a long time, the composer Johannes Brahms was regarded as the epitome of the conservative who, in contrast to the representatives of the Wagner and Liszt successors, fell back on old forms that supposedly no longer had any life.
In fact, Brahms was a profound connoisseur of the music of the past, right down to the polyphonists of the 16th century. He made use of old types of form, such as the variation and the passacaglia associated with it. He adopted the traditional four-movement structure of the classical symphony and its sequence of movements, respected the scheme of the sonata movement and hardly went beyond Beethoven in his instrumentation.
Nevertheless, the view that Brahms was a “reactionary”, as espoused by the Wagner circle from Nietzsche up to Richard Strauss, is untenable. This was seen by none other than Arnold Schoenberg, who in his famous article “Brahms, der Fortschrittliche” (Brahms, the Progressive) (1933 or 1947) recognized the fundamental difference that separates the composer, above all the symphonist Brahms, from the masters of the classical sonata and symphony.
London Symphony Orchestra
Bernard Haitink, Conductor
Gordan Nikolitch, Violin
Tim Hugh, Cello
Total time: 04:04:42
Jonathan Stokes & Neil Hutchinson
|Original Recording Format|
Jonathan Stokes for Classic Sound Ltd balance engineer (Symphonies Nos 1 & 2, Tragic Overture, Double Concerto, Serenade No 2), mixing & mastering & Neil Hutchinson for Classic Sound Ltd balance engineer (Symphonies Nos 3 & 4), mixing & mastering
Recorded live in Stereo and 5 Channel Surround Sound DSD 64fs on 17 & 18 May 2003 (Tragic Overture, Double Concerto, Symphony No 2), 21 & 22 May 2003 (Symphony No 1 & Serenade No 2), and 16 & 17 June 2004 (Symphony No 3 & Symphony No 4) at the Barbican, London
|Release Date||September 2, 2022|
Not a nuance is misjudged, as Haitink takes us on a hair-raising version of the journey Brahms envisaged: long, scenic and never a dull moment.
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