Customer Reviews

Brahms: Symphony No. 1 / Serenade No. 2 (Bernstein Century)

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I am at the NY Phil/Bernstein wing at Rhapsody and have been downloading and sampling Bernstein's music. There must be enough to fill more than an entire DVD. This morning I listened to much of "American Masters," "Harold in Italy," Bizet's "Carmen Suite" and am now listening to Brahms Symphony 1. It has been an enjoyable Saturday morning!

Bernstein covered much of the orchestral standards plus many of the great 20th century composers. I have listened occiasionally to the Brahms symphonies by other conductors but I am by no stretch an expert on them. That being said, my reaction to hearning Bernstein's rendition for the first time, as with much of his music, is "wow, that sounds good." This basic reaction that I have, before getting to the nit picky analysis, explains much of Bernstein's success. The bottom line for millions of listeneers has been, "wow, that sounds good." As usual, the playing by the orchestra, especially the strings, is sweet and this remastered recording, engineering wise, sounds wonderful. Bernstein's passion comes thru loud and clear.

Bernstein has been one of my favorites since I first started listening to classical back in the 70s. I have just about worn out his gatefold double Copland lp.

The late 50s thru the 60s were a golden age for many great American orchestras. If all we had to listen to were George Szell and the CO, Munch and Boston, Bernstein, Reiner and an the CSO, and Ormandy and the great Philadelphia Orchestra we would not go to bed hungry!

In its 24-bit remastering (the same one is used for both the Bernstein Century and Royal Edition issues) this 1960 Brahms First sounds warm and expansive. Bernstein was a passionate Brahmsian, and he grew more so. By 1976, when he recorded the symphony again in Vienna, every bar throbbed with emotion and every phrase was clung to for dear life. That latter style has attracted much criticism, but I think it may prove to be greater than this fine recording, because we are so lacking in conductors with Bernstein's passionate conviction.

Leaving that aside, there's charisma aplenty here. Bernstein conducts Brahms with the same commitment he brings to Mahler, and the nY Phil. plays its heart out, especially the first violin and horn, whose solos are inspiring. Tempos are all in the standard range, a minute faster than usual in every movement compared with Muti, Chailly, Jochum, and similar traditionalists. For me, if I set apart Furtwangler, Bernstein ranks with Karajan as the preeminent Brahms conductor, and that holds true for either the New York or Vienna cycle.

The filler here is the Serenade #2, recorded in less good sound at Avery Fisher Hall in 1966 (the symphony comes from Manhattan Center). Since it's scored without violins, this work can seem a bit melancholy and subdued. Rather than overcome that mood with his usual ebullience, Bernstein accentuates it--this is one of the more inward, quiet versions I've heard.

Although sound quality purists might prefer Bernstein's later interpretation on Deustche Grammophon with the Vienna Philharmonic, others may find Bernstein's earlier recording with the New York Philharmonic far more exemplary. Bernstein's earlier interpretation is far less idiosyncratic than his later version; here he opts for brisk tempi with a performance that is as emotionally stirring as any I've heard from the likes of Haitink, Harnoncourt, Masur, or Sanderling. It may be the best recording of Brahms' 1st symphony from the 1960's, not including Szell's classic interpretation with the Cleveland Orchestra (Unfortunately I have not yet heard Szell's Brahms, but it is reputed to be one of the few in which a premier symphony orchestra plays Brahms' scores as though they were chamber music.). Bernstein's interpretation of Brahms' 1st Symphony is coupled with a fine performance of Serenade Number 2. Although I remain a fan of Bernstein's later Brahms cycle, this earlier version of Brahms' 1st symphony is undoubtedly much better.

The last movement begins magnificently, about as good an interpretation as there is. But then Lenny lets his wayward ego loose and ruins the rest of the movement completely with erratic tempi, fast and then slow and then fast again, so that the whole stately structure of the music is lost. Poor Lenny got it and then promptly lost it. Maybe he was too young. This is from 1960.

Dynamic tempo changes are frequently misinterpreted as demonstrating profound musical understanding and expression. The fact that the orchestral performers in this recording are confused as to what the tempo is, frequently from bar to bar, and sometimes with the bar, is indicative of the fact that the musicians and the listener have little musical idea as to what Bernstein is trying to communicate. As a musician who played under Bernstein, I recognise the hair-raising concentration this form of performance-fear instils upon an orchestra. Some like the wonderfully focused eratic white-knuckle ride that ensues, whilst others do not.

Bernstein has, as usual, captured the special nature of Brahms' music with his conducting. It's sad that Brahms was so underrated by most of his contemporaries. If only he hadn't been born at the same time as other "greats".

The pacing and dynamic interpretation of Brahms Symphony No.1 is exquisite, with sublte tension infused. Their is fine balance here, polished yet warm.

The Serenade No. 2 is soft and silky played, and a fine addition to this recording.