Brahms: Concertos for Piano No. 1 & 2, Fantasia Op. 116
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Music CD Cover
Composer: Johannes BrahmsOrchestra: Berlin Philharmonic Orchestra
Edition: Music CD
Format: Import, Original recording remastered
CD Release Date: 1996-09-17
Music Label: Deutsche Grammophon
Soundtracks:
Music CD 1
- Konzert fur Klavier und Orchester Nr. 1 d-moll Op. 15: Maestoso - J. Brahms
- Konzert fur Klavier und Orchester Nr. 1 d-moll Op. 15: Adagio - J. Brahms
- Konzert fur Klavier und Orchester Nr. 1 d-moll Op. 15: Rondo. Allegro non troppo - J. Brahms
- Konzert fur Klavier und Orchester Nr. 2 B-Dur Op. 83: Allegro non troppo
- Konzert fur Klavier und Orchester Nr. 2 B-Dur Op. 83: Allegro appassionato
- Konzert fur Klavier und Orchester Nr. 2 B-Dur Op. 83: Andante
- Konzert fur Klavier und Orchester Nr. 2 B-Dur Op. 83: Allegretto grazioso
- Fantasien Op. 116: No. 1 Capriccio: Presto energico
- Fantasien Op. 116: No. 2 Intermezzo: Andante
- Fantasien Op. 116: No. 3 Capriccio: Allegro passionato
- Fantasien Op. 116: No. 4 Intermezzo: Adagio
- Fantasien Op. 116: No. 5 Intermezzo: Andante con grazia ed intimissimo sentimento
- Fantasien Op. 116: No. 6 Intermezzo: Andantino teneramente
- Fantasien Op. 116: No. 7 Capriccio: Allegro agitato
Free Music Notes for Brahms: Concertos for Piano No. 1 & 2, Fantasia Op. 116
Free Music Review: Scary
Hit: 5 Stars
Jochum said this recording was the best thing he'd ever done, but obviously impressions vary. Maybe I had the advantage of limited expectations and a personal crisis the first time I heard it, but it literally made me shudder. The opening sequence, which others here have described as "ponderous," struck me with an almost religious clarity. I found it utterly convincing - a revelation, seemingly, of the true Brahms, which I had hitherto never grasped. I was never a big fan of Brahms before; his music seemed too dense, too murky. But this recording bring out an inner life in the music; a sleeping giant seems to awaken here. I listen to Brahms differently now.
I can name perhaps four or five recordings of similar power, including Furtwangler's version of Schubert's 9th with the Berlin orchestra, Beecham's version of Sheherazade with the Royal Phil., Bernsteins' version of Mahler's 5th with (I think) the New York Phil., and Haitink's version of the Shostakovich 5th with the Royal Concertgebouw. These are all desert island recordings in my opinion. Add now Jochum and Gilels' Brahms concertos.
I recommend this recording without reservation.
Brahms: Concertos for Piano No. 1 & 2, Fantasia Op. 116 Poster
These performances mount the only serious competition as a complete set to the Leon Fleisher/George Szell versions on Sony Classical. Emil Gilels was an extraordinary virtuoso who decided to place his technical wizardry in the service of the most disciplined and demanding classical masterpieces. No piano concertos live up to this description more than the two by Brahms. Himself a pianist, Brahms placed every purely musical stumbling block that he could in front of the soloist--only audiences never notice because there's no gratuitous display at all. A performer who has not mastered these pieces doesn't necessarily miss notes; he or she just bores everyone to tears. Well, Gilels is never dull, and neither is Eugen Jochum, whose spontaneous-sounding yet sensitive accompaniments support his soloist every step of the way. --David HurwitzEmil Gilels is magisterial in these concertos, his playing volcanic and poetic at the same time. Eugen Jochum and the Berlin Philharmonic add considerable grandeur to the undertaking, spanning Brahms's long developmental arches with convincing sureness. Within the warm ambience of Berlin's Jesus-Christus-Kirche, where both concertos were recorded in June of 1972, the engineers do a good job of capturing the pianist's ringing tone. --Ted Libbey
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