Customer Reviews

Brahms: Symphonies Nos. 2 & 3

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Walter recorded his Brahms cycle in 1960 and the sound recording is as good as what we may have today. He certainly recorded a second and third symphony which are staying a favourite version for all of us who like the romantism of Brahms. Walter had a real sense of the polyphony which is characterized by the perfect balance between violin and cello, therefore the sound deployed by his orchestra is the most adapted for Brahms symphonies, where alternance of bass and treble strings is permanent. It is the most natural and the melody goes straight to your heart. There is no secret: listen for the first time, if it is good it should "tilt", and this one does! Sony did a perfect remastering like they did for most of stereo records of the Walter Edition, keeping sound of the Columbia orchestra natural and impressive. We can recommend this record for his authenticity and believe me, it is brilliant. Definitely a reference jointly with the more recent integral record by Kurt Sanderling and the Staatkapelle Dresden in 1997. I may recommend both versions which are budget price.

There is something utterly idiomatically Brahmsian about this conductors' approach to these scores. Themes are played with a genuinely old fashioned Viennese style of cantabile, in a manner which sounds absolutely echt wienerisch and authentic. In other words themes are really allowed to 'sing'- something Walter constantly pleads for an orchestra to do in his taped rehersals. Particularly striking is how in comparison to most post-war conductors the wind section is allowed to stand out - there is none of that modern tendency to to force other instruments to blend into the upper strings to point that the orchestra begins to sound like a string orchestra. At times especially in the third symphony when the brass are really allowed to let rip along with the tympany - without ever once sounding crude. You would never hear that being done any more! Even in the string section it is actually possible to make out the different instruments. The more one listens to these performance over the years the more one comes to the conclusion that the style here must be very close to what Brahms would have expected to hear - keep in mind that Walter trained in Vienna at the end of the nineteenth century. Of course this would count for nothing if it were not for the fact that Walter plays these works with an deep affection and understanding of a sort that brings the listener closer to the soul of this music than perhaps anyone else. One listens to Walter in order to love Brahms.

Virtually all reviewers have given this set very high praise, and most of it is certainly deserved. After re-listening to Walter's Brahms Second and Third, I made a comparison with another CD offering the same works. My resulting impressions were quite instructive and, frankly, also a bit surprising. Before commenting on this, however, I will add, like some of you, that I have listened to quite a few performances of these symphonies (overwhelmingly on long playing records). My preferred choices for the Second Symphony include both this Columbia/Walter reading AND his earlier mono New York Philharmonic account, Klemperer/Philharmonia, Kertesz/Vienna Philharmonic(nla), Weingartner/London Philharmonic(mono) and Jochum with the Berlin Philharmonic(mono). For the Brahms Third, I would again single out Jochum, Weingartner, Klemperer and add George Szell's Cleveland performance, the subject of my upcoming discussion.

Here are my comments regarding the comparison between the Walter and Szell sets of Brahms' Second and Third Symphonies (both on Sony): In the first movement of the Second, Szell does not rush the pace any more than Walter, but he is not Walter when it comes to revealing the poetry in that movement. Where Walter sounds flowing in a natural way, Szell, by comparison, sounds as if he is working to give the impression of a flow. Things sound too perfectly staged. In the second movement, Szell moves along a little faster than Walter and in doing so cools the sense of ardor that Walter brings to the music. Nor is Szell able to match Walter in the lilting portions of the third movement, though his virtuostic tendencies do show through in the more rousing passages. In the last movement, the Clevelanders are at their dynamic best, ending with a blazing conclusion. When all is said/heard and done, however, it is Walter's endearing approach that wins. And that's not to imply that he is without adequate dynamic emphasis, notwithstanding the customary brilliance of the Szell/Cleveland combo.

My surprise came in the Brahms Third, where I felt as if Walter and Szell had, to some extent, reversed personalities. I had never noticed this before. Maybe it was because I was hearing both takes in such close proximity. Another factor might have been the enhanced clarity wrought by Sony's 20 bit technology that was given to the Walter disc. In the first movement, I got the impression that Walter was working somewhat deliberately, at times, in a manner reminiscent of Szell. Occasionally, emphasis on detail seemed a bit overdone. In the second and third movements, I didn't quite get the usual Walter sense of lovingly caressing the music. I found particularly annoying the prominence of tympani strokes against the background of the flowing melody of the third movement(though this sounds like it could be the fault of the audio engineers). Finally, I felt Walter moved a little too briskly in some passages of the last movement. As for Szell, I found his journey to be more leisurely and more musically sensitive than Walter's. In both the second and third movements, he was more adept at letting the music breathe. Only in the beginning of the last movement did I wish for a little more liveliness. However, as the movement proceeded, so did Szell in an exemplary way. His close was as satisfying as Walter's. In conclusion, I preferred Szell's Third to Walter's. Nonetheless, neither, I feel, can match the appealing expressiveness and melodic bloom Eugen Jochum brings to his loving mono performance with the Berlin Philharmonic (DG "Originals"). A truly wonderfully characterized Brahms Third. Incidentally, though excellent, his later London Philharmonic stereo Third on EMI does not quite have the same charm; moreover, he observes the exposition repeat in the first movement which, for me, contributes to a less enjoyable listening experience.

It is hard to imagine a better recording of the Brahms Second than this one, even though it was recorded about 30 years ago. Bruno Walter manages to combine sweetness with weight. His steady tempo produces an inertia that pulls the listerner into the music and the heat builds. The string playing is silky smooth. This was recorded in an American Legion Hall that was converted into a recording studio for Bruno Walter's Columbia Symphony Orchestra. The hall was selected for its perfect acoustics. The sound is both bright and warm. The Columbia Symphony was hand picked by Walter for the purpose of making these last recordings of his career. Most of the recordings in this series from the late fifties and very early sixties are wonderful, especially the Mozart symphanies. In case you haven't guessed by now, Walter is my favorite conductor.

Symphony No. 3:
"Original" is always a moniker used to described Brahms' Third, and it's surprising how the description still holds up today. Whereas most composers use the symphonic form to express highly epic themes (a la Beethoven, Mahler, Strauss, Tchaikovsky, Shostakovich et al.), the Hungarian composer among German and Slavic titans presents a surprisingly intimate and peaceful vision with his Third, surely one of the greatest of symphonies. Bruno Walter, after decades of working closely with Mahler's music, brings a level of concentration unmatched by any other conductor to bring together the disparate four movements of a work that threatens to become unglued at any moment's notice. Walter's vision is understated and unforced, and perhaps a little too detached to some ears (like mine), but its gentle power takes over the most casual listener. This is a piece that struggles throughout to resolve the turbulence and tension within to find that ultimate state of peace - Brahms, meanwhile, gives us plenty of gorgeous melody and orchestration along the way - and Walter succeeds masterfully to capture the drama. Furtwangler and The Berlin will always be my favorite for this, but all in all, a classic performance. ****1/2

Other References: Top Recommendation from Gramophone, Rough Guide, Jim Svejda's Classical Guide, Penguin Guide; High Recommendation from Classical Music: Third Ear


Symphony No. 2:
Brahms' Second is a great work in itself, though not as landmark as the Third, but many a connoisseur's favorite among Brahms' symphonies. Walter's work here may be even greater than on No. 3. Finely detailed, full of color and with perfect weight - it is a very mature interpretation. His understanding is deep and he is in complete control, seamless from one movement to the next. The Columbia Symphony, no great orchestra, responds with some of their best playing. Walter could even make you believe you're listening to The Vienna Phil - and that's saying a lot. Much is made of comparing this to Beethoven's Sixth, and if we're talking about richness in melody, genius in orchestration, having a rustic feel, surprising us with its occasional minuet-dance rhythms and finishing off with a grand final movement that thrills and leaves you breathless - sure, the comparisons ring true. But make no mistake, Brahms is a true original. *****

Other References: Top Recommendation from Gramophone, Rough Guide, Penguin Guide

*In both accounts, Sony has done a superb job in the sound remastering to bring more body and clarity to the orchestra as compared to the original CBS releases.*

These are classic performances. The Third is the finer one, such is the irresistible flow and grace of Walter's direction that the whole symphony here sounds like a complete single movement. Marvellous. However, do not let this CD be the only representation of Brahms' 2nd and 3rd in your collection. Its single flaw is the dated sound: it is thin and papery, and the strings have an awful vinegary edge.

I remember seeing Bruno Walter's Columbia Symphony recordings of Brahms Symphonies on LPs in the 1970s, and became more familiar with them when a college student, 1977-81. Walter was born in 1876, so was 21 in 1897 when Brahms died: their lives overlapped, and Walter, a product of the late Romantic age and student of Gustav Mahler(1860-1911), applies the needed affection and emotion to his interpretations of Brahms Symphonies.

There was a New York Philharmonic Brahms cycle conducted by Walter in the 1950s, and he conducted all 4 Brahms Symphonies with the Vienna Philharmonic and other orchestras in the earlier years of his career. Walter's name then, is authoritative in these works.

I especially like his affectionate treatment of Symphony 2: every phrase is caressed with just the right amount of needed expression and affection, yet he never overdoes it. IV moves along, but not as quickly as some other conductors, such as Steinberg with the Pittsburgh Symphony (Command LPs or MCA CD, from about 1988). Symphony 3, while revealing a few slight flaws, is done "con amore" (with love) and IV really blazes in the development section: the trombone chords will lift you out of your chair. The sound in both symphonies is very good late 1950s stereo, with rich mid range, clear highs, and strong bass.

I also like Walter's recordings of Brahms 1 and 4 (some feel 4 is over rated, but I find it charming). I believe these, along with Karl Bohm's 1975 Vienna Philharmonic cycle (Deutsche Grammophon 3 CD set), to be the best recordings of the Brahms Symphonies available in the US today.

Have just done my annual traversal of brahms symphonies. This years included Walter, Jochum (DGG and EMI), Von Karajan ('64 and '78) and Furtwangler (the Music and Arts live recordings from '45 and '51)

I haven't heard Walter's 3rd bettered by anyone, although HVK's '64 reading is interesting and pretty genial. Both Jochums are great, although slight preference to the DG recording. Furtwangler couldn't figure this one out.

Unfortunately, I am still looking for the standard bearer for the 2nd. Jochum DG or EMI may come the closest. My reactions to Walter's 2nd surprised me. It sounds vaguely stilted, and not as natural as his 3rd on the same CD, or as natural as either Jochum, or HVK '64. Nothing obviously has the sheer energy or emotion of the '45 Furtwangler (not all necessarily good things all the time). But Walter could have put a tad more natural flow into the first movement, and also a notch or two more energy and verve into the finale. I wasn't blown away. I didn't feel that "inevitability" of the phrasing the way the Penguin guide reviewers did.

Disclaimer: I'm not an expert on classical music, much less on classical music performances, so my reviews represent a newcomer's take on classical CDs. Take that for what it's worth.

While I was expecting to enjoy Brahms's symphonies, the sheer excellence of them took me by surprise. They quickly became some of my favorite symphonies. The recording is very clear and really sounds great, and the compositions themselves are phenomenal. Highly recommended.

Bruno Walter's Brahms is the final result of a life's experience. Walter was Mahler champion conductor and Mozart too. This curious association brought as consequence the intimacy, the wanderer spirit, the joyful Vienna's evenings, and the Dionysian mood. Walter was a wise musician and his approach was always deeper than most of people realize.
That's why any other conductor hasn't been able to decipher as he did, the unbeatable performances of the Second Symphony and the hard to conduct Third Symphony.
His best readings were made through the Fifties. We find a Walter in the peak of his musical powers. Personally, I don't have any doubt that his profound knowledge about Mahler was a decisive factor to express a wider and expansive Brahms ` feature.