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Brahms: Symphony No. 1; Haydn Variations
1. Symphony No. 1 in C minor, Op. 68 43:36
Composed by Johannes Brahms
Conducted by George Szell
Performed by Cleveland Orchestra
2. Variations on a Theme of Haydn, for 2 pianos in B flat major (St. Anthony Variations), Op. 56b 17:06
Composed by Johannes Brahms
Conducted by George Szell
Performed by Cleveland Orchestra
3. Hungarian Dances (21) for orchestra, WoO 1: Hungarian Dance No. 17 in F sharp minor 2:28
Composed by Johannes Brahms
Conducted by Eugene Ormandy
Performed by Philadelphia Orchestra
4. Hungarian Dances (21) for orchestra, WoO 1: Hungarian Dance No. 18 in D major 1:14
Composed by Johannes Brahms
Conducted by Eugene Ormandy
Performed by Philadelphia Orchestra
5. Hungarian Dances (21) for orchestra, WoO 1: Hungarian Dance No. 19 in B minor 1:47
Composed by Johannes Brahms
Conducted by Eugene Ormandy
Performed by Philadelphia Orchestra
6. Hungarian Dances (21) for orchestra, WoO 1: Hungarian Dance No. 20 in E minor 2:38
Composed by Johannes Brahms
Conducted by Eugene Ormandy
Performed by Philadelphia Orchestra
7. Hungarian Dances (21) for orchestra, WoO 1: Hungarian Dance No. 21 in E minor 1:32
Composed by Johannes Brahms
Conducted by Eugene Ormandy
Performed by Philadelphia Orchestra
Total Running Time: 1:10:21
Reviews
All Music Guide
It was the golden age, the Stereo Age, when American and European labels were making recordings unmatched for their clarity, immediacy, brilliance, and warmth. EMI's recordings of Klemperer, DG's of Karajan, Decca's of Solti, RCA's of Reiner, Columbia's of Bernstein were all regarded then and now as among the greatest ever made. There was, however, one conspicuous exception: George Szell and the Cleveland Orchestra's recordings for Columbia. They always had way too much high end, a really dry mid-range, and just about no bottom at all. It was a shame. Everybody could tell Szell and the Cleveland were as good as it got, but everybody had to make excuses for the sound. As it turns out, Szell, always the perfectionist, insisted on checking out the first pressing's sound at home before he'd authorize their release -- and because his wife had decorated their living room with heavy drapes and thick rugs, it absorbed the high end and emphasized the low end, forcing Szell to demand remastering with way more high and way less low.
What a relief, then, to have Szell and the Cleveland's Brahms' recordings re-released in magnificently remastered digital sound so that the real performances can at last be heard. How are they? In a word, staggering. Not only are they clean, lean, strong, and direct -- qualities that were readily apparent even in the worst transfers -- but they are also subtle, colorful, and surprisingly warmhearted. It's true that the Un poco sostenuto that opens the "First Symphony" from 1966 is less poco sostenuto than molto stringendo, but from there on out, Szell leads the Cleveland in an epic performance fully as great as those of Klemperer or Karajan. Their "Haydn Variations" from 1964 are expressive and explosive and their five "Hungarian Dances" from 1957 are robust and rambunctious, adjectives not usually associated with Szell and the Cleveland but wholly appropriate here. If you love Brahms' orchestral music but you've never heard these performances, now is the time. James Leonard |
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