|
Site review by Polly Nomial January 1, 2007
|
Performance: Sonics (MC): |
This is, surprisingly for all the Beethoven & Mahler symphonies on SACD, the only complete set of Brahms' four symphonies. Unlike many sets issued these days, there are no "fillers" in the form of his shorter orchestral works (or other more imaginative approaches that one could envisage) - which makes this set comparatively expensive in the world of today (SA-CD or not).
On disc 1, we are given an expansive and highly intense account of the first symphony. The exposition repeat is observed but the unrelenting detail that Bychkov demands ensures that this does not become an organic part of the structure but rather jumps out at the listener in a less than entirely convincing manner. The intense feeling that the concentration on accents gives, somewhat subsides in the middle two movements but this is far removed from the serenity and flights of fantasy that more successful accounts can conjure from the material. Unlike the many enjoyable performances I have heard of this symphony (both in concert and on disc), there is little joy to be found in the finale; the notes are simply presented in far too much of a matter-of-fact style to put a smile on ones face. In the end, the unrelenting intensity means that the drama becomes diminished through a lack of contrast.
On disc 2, the situation is fortunately very different - with Bychkov seemingly overcome by the pastoral beauty present; the dark clouds lurking are of course billowing but here there is the contrast in expressive terms that so eluded the performance of the first symphony. Again, the exposition repeat of the first movement is observed but here it is woven neatly into the fabric of the work. The troubled slow movement is eloquently played without being forced and the scherzo is playful in a way that one might think impossible after the first symphony. The finale is performed with great vigour and a sense of joy that is altogether quite uplifting.
On disc 3, the final two symphonies are combined in a generously filled disc, which are helpfully separated by a 25 second pause; if only more companies could follow this example from Avie. Opening with the powerful chords that proclaim Brahms' 3rd symphony, the mood quickly relaxes in the sunnier music yet regains the forward thrusting motion inherent in the complex cross-rhythms. The elegiac slow movement is tenderly and lovingly played before the third movement is eloquently performed. The whispering start to the finale quickly gives way to an explosion of sound that makes one appreciate Hans Richters tag of Brahms' Eroica to this work - marvellous stuff. The coda is well handled, with a pleasing relaxation that reminds one of the turbulence that has preceded this moment of hard-won calm. The great fourth symphony is powerfully played but suffers (although not as much) like the first symphony from a relentless emphasis on the accents in the first movement. The soulful slow movement is played straight but not in a boring way and the lively scherzo is given a performance full of zest. The finale is one of those towering variation movements that (coincidentally?) have been included in major composers last completed symphonic works (Beethoven and Mahler are but two others). Whilst this is not the white-hot experience that some conductors have made of this score, Bychkov keeps the momentum going until he builds up to a thunderous finale.
Throughout the sound is beautifully clear - one would never guess that it had been taped from concerts over a period of 2 years. The WDR Sinfonieorchester Köln plays marvellously throughout (except when goaded into excess).
All in all, largely recommendable with the second and third symphonies perhaps being the most enjoyable, the first the least. I'm sure that in the future, other accounts will displace individual symphonies but for now there is little option if one is a big Brahms fan.
|
Copyright © 2007 John Broggio and SA-CD.net
|
|
|
|
Review by stvnharr November 13, 2005 (10 of 10 found this review helpful)
|
Performance: Sonics (S): |
I really like this set of the Brahms symphonies. The sound and the playing remind me a whole lot of my favorite rbcd versions of these, Abbado/Berlin, early 90’s on DGG. The Avie recording engineers have done just a superb job with the orchestra sound. In each symphony the sound is wide and deep, with the strings sounding akin to that heard in a concert hall.
For some reason there really aren’t a lot of sacd comparisons to make for these symphonies. First and foremost I’ll go to the First symphony and the Naxos release. The opening minute is all that is needed for comparison. The Naxos is two dimensional with the tympani very loud and banging, sound coming from the center, and drowning out most of the strings. Once the rest of the movement gets going there is a sheen, or digital harshness, or something giving the overall sound an unnatural quality. And while I liked the performance, I never found the sound to improve over the awful beginning.
The Bychov First is none of the above. The opening is just wonderful. The tympani are in the rear, behind the first violins, with the strings in the foreground and sounding natural. The overall sound is very wide and three dimensional throughout. The tempo is perhaps a little slow, but I seemed to not really notice until I looked at the timing on the booklet.
I have both the Vonk/Pentatone and Jansons/RCO Seconds. I find all three versions to be quite good, both performance and sound wise.
I have both LSOLive discs of the Third and the Fourth, and though I do like them, the sound on the Avie is preferable to the LSO, and that also makes the performance a bit preferable to me as well.
This is a really nice set, well worth it’s purchase.
|
Was this review helpful to you?
|
|
|
|
Review by audio-grubi February 20, 2005 (9 of 12 found this review helpful)
|
Performance: Sonics: |
The present reception by balance engineer Christoph Gronarz and digital editor Walter Platte of the WDR (West German broadcasting, Cologne) possesses a full and pleasantly “warm” sound with simultaneously good three-dimensional illustration of the recording room (Cologne philharmonic).
In the direct comparison to the reception of the first symphony in C minor, op. 68 by Marin Alsop and the LPO (NAXOS 6.110077 [SACD], 5.110077 [DVD-Audio]) the somewhat higher sweep-noise is noticeable however. Still the recording sounds somewhat more “brightly” and, in my opinion, the strings especially sound somewhat more "nervous", than in the NAXOS recording made by Tim Handley (producer and engineer).
The individual orchestra-parts are more clearly to be hear in the recording by Marin Alsop and the LPO and the strings sound here wonderfully relaxed and pleasantly "silky".
One note once the kettledrum at the beginning, that clearly and exactly comes in Marin Alsops reception from the middle of the orchestra and practically exclusively loud and clear from the center speaker while it sounds in the reception by Semyon Bychkov essentially less clearly and loudly and it’s not to locate as exactly as in the NAXOS recording.
Marin Alsops chosen tempi are somewhat faster and her interpretation altogether somewhat more lively and exciting in my opinion, than those of Semyon Bychkov.
Possibly, this is the influence of her former teacher Leonard Bernstein to owe.
I guess Brahms' symphonies need such a more powerful interpretation.
The also very nimbly and with temper interpreted both overtures are welcome encores and reminds me strongly at the interpretations by Leoanard Bernstein and James Levine.
Altogether, I prefer the recording and interpretation of the first symphony by Marin Alsop and the LPO in comparison to that by Semyon Bychkov and the WDR symphony-orchestra Cologne.
But I prefer the reception of the third symphony in F major, op. 90 by Semyon Bychkov to that by Bernhard Haitink and the LSO (LSO Live, LSO 0544) however. The softer and less direct sound pleases much more to me, than that “dry” illustration in the LSO live-reception.
Also the spatial illustration suffers, because in the LSO Live recording the dimensions are not assessable to me. Possibly also a consequence of the relinquishment of the use of the center speaker in this reception (like in all LSO Live recordings which I posses).
Respecting the interpretive-differences between both receptions, I notice the somewhat faster tempi by Semyom Bychkov in the “allegro con brio” (Bychkov: 13’00’’, Haitink: 14’24’’).
I have not listen the interpretation of the Symphony No.4 by Bernard Haitink and the LSO (LSO0547) until yet.
|
Was this review helpful to you?
|
|
|
