One might expect Andrew Manze's interpretations of Johannes Brahms' four symphonies to adhere to ideas of the movement for historically informed performance practice, due to his scholarship and dedication to authenticity in his early music performances. However, and somewhat paradoxically, he and the Helsingborg Symphony Orchestra have delivered more or less mainstream readings on modern instruments; there are no signs of late 19th century woodwind or brass timbres, and the strings play with standard vibrato. Yet Manze's historical fact finding has gone to a deeper level than just replicating instrumentation or orchestral scale, and he has found numerous clues to Brahms' intentions in the composer's transcriptions of the symphonies for two pianos, which often vary with the published orchestral scores in accentuation, tempo indications, and phrasing. These are fine points that can be discerned with careful listening and great familiarity with many other recordings of the symphonies, both conventional and historic, but they may not be the main thing listeners will consider in appreciating this set. The playing and the recording quality are up to the extraordinarily high levels set by CPO in all its releases, and these resilient works sound as good as they ever did under any other conductor.
A totally excellent Buster Williams album from the 70's, and one of the best (and hardest to find). The bassist has always been one of our favorite talents – and this little gem is one of the few albums he's cut on his own, a majestic bit of straight-ahead jazz and bop, recorded with a very hip lineup!
1985 Japanese edition of a classic featuring Terumasa Hino on trumpet and Sadao Watanabe on alto sax, recorded live at Ginza Yamaha Hall, Tokyo on March 15, 1969.
This duo set unites all of Brahms’ Piano Trios, masterpieces of the genre, in performances of integrity and beauty from the Trio Fontenay.
Bernard Haitink conducts the Royal Concertgebouw Orchestra in Brahms’s great orchestral works, including the complete symphonies. The concertos feature three great soloists: pianist Claudio Arrau, violinist Henryk Szeryng, and cellist Janos Starker. "No one, I trust, will deny that Arrau has lived with, wrestled with, and in a truly terribly way ’known’ the D minor Concerto for more years than most of us can consciously recall. Where contemporary pianists have often tended to refine or domesticate the concerto, withdrawing it from the world of heroic endeavour, Arrau has always done the reverse. No pianist, apart possibly from Serkin in his several recordings, has communicated so formidably the work’s scope: its seriousness and its anxious, tragic mood. Often Arrau makes free with the text. But the vision is huge, the technique astonishing. Haitink is a worthy accompanist."
Julius Katchen performs the composer's work whom he most favored; again, highly-esteemed recordings among classical cognoscenti.