Customer Reviews

Brahms: 4 Symphonies / Variations

5 star:		(8)
4 star:		(4)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Karl Bohm's recording of Brahms Four Symphonies with the Vienna Philharmonic (recorded 1975-76) is one of the great bargains of the DG catalog. These are recorded in beautiful analog stereo sound in the Musikvereinsalle, one of the world's great concert halls, and Bohm was in great shape when these were put on tape.

The Vienna Philharmonic could of course play these works in their sleep, having recorded and performed them numerous times under other great conductors since Brahms (1833-1897) was living. Karl Bohm (1894-1981) had ample experience conducting Brahms, having recorded Symphonies 1 and 2 with the Vienna Philharmonic in 1940, and again with Symphonies 1 and 2 with the Berlin Philharmonic for DG, about 1960. There is a famous Bohm/Dresden State Orchestra recording of Brahms Symphony 4 from the late 1930s, reissued in the US on Dutton (but may be deleted now), and a Vox LP (mono) of Brahms 3 by Bohm/Vienna from about 1952.

Bohm's tempos here are slower than some, especially the Allegros, but his sense of forward motion and phrasing do not make them seem overly long or tedious, as is the case with Bernstein's 1983 recordings, with the same orchestra (DG).

Symphony 1 is big and bold, and Bohm is not afraid to slow down for big moments, although he does not jerk tempos around for effect, as do some conductors. Symphony 2 seems more autumnal than some recordings, but is perfect in flow and pacing. Symphonies 3 and 4 sound beautiful, and are again on the moderate to slow side. These are all beautiful recordings, and I have the highest admiration for them.

DG waited a long time to release Karl Bohm's Brahms Symphonies, as they already had cycles by Karajan/Berlin (1978 and 1987-88, 2 different cycles), Bernstein/Vienna (1983) and Abbado/Berlin (early 1990s) in their catalog. But they have done a great job with this presentation, and the dismates: Haydn Variations, Tragic Overture, and Alto Rhapsody with Christa Ludwig, are all first rate and very beautiful.

One apt description for this release would be "think of Bruno Walter with a better orchestra." Since Bohm was Walter's assistant at the Munich opera in the early 1920s - the beginning of his career - this is an appropriate description.

This is, overall, a fantastic set, especially considering the its budget price. The only reason I gave it 4 stars instead of 5 is that your taste will decide whether you like the set or not. Firstly, the 1st Symphony is fabulous, no reservations or quibbles. The 2nd is elative, though, for some, the tempos may be a bit slow, but I find that Bohm makes it interesing enough (or really, more interesting than any other conductor I have encountered) that you don't notice that slow tempos at all. The 3rd may not be to everyone's taste, especially if you think Klemperer's 3rd is the ideal. Really, though, it is never at any point less than satisfactory, and sometimes quite good. The 4th is dark and gloomy, if you like it that way. The Haydn Variations, Tragic Overture and the Alto Rhapsody (especially the Alto Rhapsody) are beyond praise. The sound, though not digital, is late analog, and is really fantastic, warmer than any digital recording I have encountered made before 1990. Really, if you want a good collection of the symphonyies, with some bonuses, you can't get better than this, especially at the price range. Highly Reccomended.

For some, the choice in stereo boxed sets might be either Bohm or Sanderling. I see no clear winner between the two, though I give Bohm the edge on the practical consideration of price. He also offers, along with soprano Christa Ludwig, a very fine Alto Rhapsody. In the symphonies, Bohm's account of the First ranks near the finest I have heard. There's a very pleasing overall balance between firmness and flexibility, and Bohm seems to treat each movement as if it was individually special. Technically, the other symphonies are well played, but they lack the special quality brought to the First. I find the Second intermittently lethargic, while its third movement lacks somewhat in playful spirit. There's also little that impresses me in Symphonies Three and Four. In particular, a sense of fantasy seems to be missing in the idyllic middle movements of the Third. My favorite sets, all of which I consider superior to both Bohm and Sanderling, are Jochum's with the Berlin Philharmonic(one container with two mono discs), Weingartner's with the London Symphony and London Philharmonic Orchestras in somewhat dated mono sound, the two by Bruno Walter, one with the New York Philharmonic in mono, the other with the Columbia Symphony in stereo, where you must buy separate discs for each symphony, Otto Klemperer's with the Philharmonia Orchestra and Georg Solti's with the Chicago Symphony.

Over the years, I have variously been told I would outgrow Brahms, or at least see his music move to the margins of my active repertoire of current musical interests. Fortunately, this has not yet happened to be the case. Instead, I have become ever more fascinated by the music, in which Schoenberg could discern the seeds of his New Music, and for which the dreaded conservative critic of Vienna, Hanslick, was wont to do battle against the tilting windmills of modernity in that turn- of-the-century epoch, especially those dragons of Wagnerism! To understand how such different cliques could have made such disparate, yet passionate use of Brahms as a key exhibit in their culture wars, one only has to listen .... again and again and again. Notoriously self-critical, Johannes made considerable efforts to present and publish only his best efforts in all genres of music. He only wrote four symphonies, but what distances other symphonists have traversed in nine, or more; it seems Brahms could compress into just four. The point of all this is that Brahms is a complicated composer who manages to draw upon much that is old, even traditional; while at the same time he strikes open into new horizons, new vistas, and above all new musics. Mozart is said to have bragged in his letters that his music had something for everyone: popular appeal for the common folk of his day, as well as formal schemes with complications and depths that probably only the highly trained musical cognoscenti would hear. Perhaps something equivalent must be also argued for Brahms' music. Thus, a conductor who succeeds in Brahms is by definition capable of discerning the old and the new, while preserving in passionate reserve the distinctiveness of Brahms's musical speech. The reissue of this set of performances of the Brahms symphonies merits our attention, because Karl Bohm was renowned in his own lifetime for being a prince of Mozartians. Given the evidence in this recorded set, he clearly was also among the most noble, and most notable, of Brahms conductors. Another part of the golden, glowing quality in these performances can only have come from the vaults of that other treasury, the Vienna Philharmonic. Brass, woodwinds, strings .... no one has quite the velvety depths of sound, as well as the mountainous granites of height and power, like the Vienna band. Karl Bohm was alleged to be quite demanding, to get what he wanted out of an orchestra; yet these recordings provide irrefutable proof that both he and the orchestra could be united in musical warmth and intimacy with the challenging demands of Brahms four symphonies. Even a somewhat stiff, foursquare, formally reserved quality that sometimes arises momentarily in these performance, every so slightly apparent in moments of transition in the keys, as the musical narrative shifts and transforms within the musical structure, would itself be quite true to what we know of Brahms as a human being. You find yourself musing that surely Karl Bohm had some of those same, authentically gruff and rough-hewn qualities himself, not too glowing nor too proud or polished to be capable of reminding us in his musical manner that Brahms played piano in the waterfront establishments of Hamburg. Now those musical patrons were neither typically noble-born, nor replete with necessities much beyond those of working-class survival. These recordings are classics, and have merited praise since their first release. Mention must also be made of alto Christa Ludwig's Alto Rhapsody, along with the burnished Viennese sounds of the male chorus that accompanies her. Sorrow, regret, and transcendently spiritualized resignation go hand in hand in her performance of this odd work. Brahms said himself that he believe it to be one of the best things he had ever prayed. Hearing all, surely we agree. Get this set now. With the marketing kids running the show, it can just as easily disappear from the catalogue as it so quickly arrived. Highly, highly recommended.

While rehearsing Brahms' second symphony with London Symphony Orchestra in 1973,Karl Böhm became very satisfied with the development Londoners shown at one point and said "We will show Karajan how to play Brahms!".Even if they did not in the concert of that rehearsal,with this set recorded 3-5 years later Maestro Böhm shown not only Karajan but every other living conductor how to do Brahms.

Böhm's way with Brahms is not by any means usual.In the usual way conductors either choose to be genial or to be powerful and dramatic.Böhm somehow manages to be both.His interpretations flow confidently and genially but when the moments a listener asks for tension comes,intensity grows higher then wildest expectations,as high as Szell.It is an enigma to me how he can be this intense and powerful with quite slower tempos than intense Brahms conductors like Karajan, Szell or Toscanini.

Performances are quite expressive with glorious playing from Wiener Philharmoniker.They always sound wonderful but when Böhm is on the podium, his stamp on the orchestras sound is undeniable.They also play with passion and engagement for the conductor who is possibly their favourite at the time.Only a great orchestra like themselves can handle the challenges of masterful balances Böhm asks for like the one in the opening of the third.

So in all,brilliant performances by Böhm who seem to have an idea about how to play every single bar with the support of magnificent Wiener Philharmoniker. Böhm was trained in German kapellmeister tradition so many of those ideas are quite familiar to the experienced listener but he has enough personal touches here an there and you will never hear a better conducted and executed traditional Brahms elsewhere.

The 1970's and the early 1980's were a time when several conductors recorded distinguished versions of Brahms' symphony cycle; most notable of these are those from Karajan, Haitink, Bernstein, and especially Sanderling. Although the finest remains Sanderling's exceptionally warm, brilliant recordings with the Dresden Staatskapelle, a close second has to be Karl Bohm's distinguished recordings with the Vienna Philharmonic. This splendid cycle includes the best version I have yet heard of Brahms' 1st Symphony (though a close second may be Kurt Masur's Teldec recording with the New York Philharmonic). Bohm's account of the 4th Symphony is among the darkest, most brooding I have heard, only eclipsed by Carlos Kleiber's definitive account with the Vienna Philharmonic that was digitally recorded only a few years later. I disagree with a previous reviewer who contends that Bohm's tempi tend to be slow, especially in the 2nd Symphony. After listening to several distinguished accounts from the likes of Bernstein, Harnoncourt and Masur, I find that Bohm's tempi are among the swiftest, only surpassed in speed by Masur. Unfortunately the 2nd Symphony is the only "failure" in this set; yet it is a failure only when you compare it against distinguished recordings made by Haitink, Harnoncourt, Masur, and especially Bernstein. The sound quality is exceptionally warm and rich for late analogue recordings. And of course, at this price, Bohm's Brahms Symphony cycle must certainly should be regarded a steal. Fans of Karl Bohm and the Vienna Philharmonic won't be disappointed with this impressive CD set.

Often a listing of classic performances will leave off Bohm. This is a shame and you will miss out if you do so. You can find great perfromances by Bohm & the Vienna Philharmonic of Richard Strauss, Bruckner, Beethoven, Mozart, Brahms, Schubert, etc. Bohm was associated with the Vienna Phil from before WWII until his death in the early 1980s. Bohm was one of the Great Conductors & Opera Conductors of the last century.

These performances are typical. They are well played, conducted, and recorded and are a joy to listen to.

There is truly something special about the relationship between this conductor and this orchestra...Bohm has always had a special way with this music. Never does he allow technique overshadow the beauty and opulence of this composer's writing. The opening of Symphony No. 4 is breatheless in it's beauty and this sets the mood for the entire interpretation. The Vienna Phil has always sounded great but here it is UNBELIEVEABLE!! Take note of the wonderful way with the shaping of phrases. Never pushy or hard-driven, we have here Brahm's done in a way that is entirely devoid of sentimentality or glossy technique.

No. 1 was done by Bohm years ealier in Berlin and this 70s performance is very fine but with a more mellow cast. The octaves in the opening strings are incredible. The Vienna horns shine magnificently through this interpretation of the C minor unlike any other.

As for symphony No. 2 and 3 they are given incredibly warm and stylish readings. Bohm does not plow over the music with a heavy hand(Szell is too detached)...this is Brahms that is Alive and Majestic. The recorded sound is Excellent!

These performances are excellent, first rate renditions of music many of us love more than we can say. I admit, I didn't expect that much. I was rather biased against Bohm because of his Nazi history (Google it if you want to know more). But I also knew of Bohm's long association with the Wiener Philharmoniker, that the VPO knew he must be OK, and I knew there must be something to these performances and this relationship with a very great orchestra. I love that orchestra, and I love their renditions with my favorite Brahms' conductor, Carlo Maria Guilini, whom, most of us will admit, is himself no slouch on Brahms. I rate these performances right up there with Guilini's.

In my judgment, Bohm's is far more authentic Brahms than von Karajan's Berlin performances. In my opinion, Bohm is a better conductor on Brahms than either von Karajan or Furtwangler. In fact, let me say it. Judging by these performances, I rate Bohm on the highest level. Better than Klemperer? Better than Berstein? Better than Haitink? Barbirolli? Jochum? Those guys were really good. But Bohm is on a par with Giulini for me on Brahms. That is the highest level. I am pleased to find another conductor that truly "gets" Brahms. And an orchestra that does too!

Bohm deserves praise for these performances. These are great performances played by a great orchestra. Bohm generally sketches a wide palette without doodling, allows the Philharmonic to wax eloquently and naturally on music they love, and gives generous and obvious definition to music he obviously loves too. In fact, as I listened to the 2nd and 3rd and 4th symphonies, I couldn't detect too much difference from the Giulini Philharmonia or Wiener Philharmoniker renditions in my library. What excellent performances. Again, thanks to DG for releasing this joy to Brahms lovers. What a pleasure to hear a Brahms lover conduct this music.

Friends, there aren't too many this good. I would rush to order them at wonderful prices from Amazon today. There aren't too many like this.

Karl Bohm fell into an unusual gap between the traditional reliable Kapellmeister and the genuinely great conductor. He was thoroughly immersed in German tradition, of course, and on that score this set of Brahms symphonies cannot be faulted. If you want the feeling of a very good night at the Vienna Phil., here you go. The orchestra plays beautifully, the sonics are warm and inviting, the interpretations move confidently along. For many listeners this constitutes all that the music has to offer.

But there's no real greatness to be heard. Greatness in interpretation implies insight, personal engagement, and fresh imagination. Bohm rarely rose to that level, but as someone who rarely buys his recordings, I msut say that in these works he does feel enaged. The abrupt, impersonal style often associated with Bohm isn't evident. There's also plenty of energy -- the reviewers who mention slow tempos are off base, or else they haven't experienced Celibidache and Klemperer. Those two maestros offer something highly personal in Brahms. So does Toscanini, whose swift, lean, fierce way with this composer remains an eye-opener. But if I run through the list of great Brahmsians, among whom I would include Karajan, Bernstein and Bruno Walter, the ultimate in conviciton and inspiration remains Furtwangler.

That said, this is one of Bohm's most appealing efforts, and I would place it considerably ahead of sets from Muti, Chailly, Jochumn, Sawallisch, late Haitink, and Abbado. For repeated listening, it ranks in my mind with Haitink's first set with the Concertgebouw on Philips and Bernstein's early cycle with the NY Phil. on Sony. As far as bargain prie goes, this one is hrd to beat.