Brahms Symphony No 4; Choruses a cappella, Op. 74/1, 109-10
View record and artist detailsRecord and Artist Details
Composer or Director: Johannes Brahms
Label: The Originals
Magazine Review Date: 13/1998
Media Format: CD or Download
Media Runtime: 40
Mastering:
DDD
Catalogue Number: 457 706-2GOR
Tracks:
Composition | Artist Credit |
---|---|
Symphony No. 4 |
Johannes Brahms, Composer
Carlos Kleiber, Conductor Johannes Brahms, Composer Vienna Philharmonic Orchestra |
Composer or Director: Johannes Brahms
Label: Decca
Magazine Review Date: 13/1998
Media Format: CD or Download
Media Runtime: 71
Mastering:
DDD
Catalogue Number: 455 510-2DH
Tracks:
Composition | Artist Credit |
---|---|
Symphony No. 4 |
Johannes Brahms, Composer
Herbert Blomstedt, Conductor Johannes Brahms, Composer Leipzig Gewandhaus Orchestra |
(2) Motets, Movement: Warum ist das Licht gegeben (Wds. Bible: trans Lut |
Johannes Brahms, Composer
Herbert Blomstedt, Conductor Johannes Brahms, Composer Leipzig Radio Men's Chorus |
Fest- und Gedenksprüche |
Johannes Brahms, Composer
Herbert Blomstedt, Conductor Johannes Brahms, Composer Leipzig Radio Men's Chorus |
(3) Motets |
Johannes Brahms, Composer
Herbert Blomstedt, Conductor Johannes Brahms, Composer Leipzig Radio Men's Chorus |
Author:
But, to return to the music. As early as bar 9 (0'09''), Blomstedt pushes both the tempo and the volume, whereas Kleiber – whose opening measures are less piano than Blomstedt’s – keeps the speed fairly steady. At 1'21'', just prior to the forte marcato woodwind idea, the Leipzig strings are more expressive than their Vienna counterparts (1'23'' on the DG disc), and they again shine resplendent at 2'32'', immediately before the second subject.
Blomstedt is marginally more responsive to Brahms’s finer dynamics – for example the mysterious pianissimo string figurations at 5'23'' – though Kleiber points the accompanying wind-brass-timpani chord a little more clearly. The principal difference between the two conductors, at least in the first movement, is of a structure viewed from within (Blomstedt), and from without (Kleiber). As to the coda, Kleiber scores with more prominent horns and a particularly exciting conclusion.
Kleiber opens the second movement in a rather perfunctory manner, whereas Blomstedt – who achieves a more telling legato – effects a subtler transition to pianissimo winds; and while the Vienna cellos make a beautiful sound in the piano dolce second subject (3'44''), Blomstedt’s Leipzig players, though leaner in tone, are no less expressive (at 3'55'' – likewise when they return poco forte espressivo at 8'17'', where Kleiber slightly rushes his fences – at 8'04'').
In the Scherzo, Kleiber pulls back for the two accented notes that dominate the first theme, an interesting gesture that lends the music an appropriately swaggering gait. This, in my view, is Kleiber’s finest movement – also from 4'48'', where he keeps the timpani’s triplets crystal-clear (accentuating the first beat of the bar), then pushes his horns very much to the fore. Blomstedt plays by the book, though his finale is more flexible than Kleiber’s – and rather less dramatic, certainly in the forte opening chords. He broadens the tempo more for the flute solo at 97 (not in my view a virtue) and his re-entrance to ‘tempo 1’ later on is less of a jolt, tempo-wise, than Kleiber’s, though both conductors are by then noticeably faster than they were at the beginning of the movement.
The final reckoning is easily summed up: Blomstedt excels in the lyrical, equivocal sides of the score, thinking through each passage with great sensitivity though always with an ear for structure; and Kleiber is the knight with shining breast-plate, bold, handsome (beautifully played), outgoing, relatively straightforward and (here I know I shall court controversy) perhaps just a little superficial. As to choices, Kleiber has no coupling but sells at mid price, whereas Decca add some of Brahms’s finest a cappella choruses. Indeed, it was something of an inspiration to tail an “act that no one could follow” (the catastrophic ending of Brahms’s Fourth Symphony) with a chorus based on Job’s despair. The harmonically ‘old world’
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