Gewandhausorchester Leipzig, Kurt Masur - Brahms: Complete Orchestral Works (1983)
BAND/ARTIST: Gewandhausorchester Leipzig, Kurt Masur, Misha Dichter, Salvatore Accardo, Heinrich Schiff
- Title: Brahms: Complete Orchestral Works
- Year Of Release: 1983
- Label: Universal Music Australia Pty. Ltd.
- Genre: Classical
- Quality: flac lossless (tracks)
- Total Time: 08:22:51
- Total Size: 2.2 gb
- WebSite: Album Preview
Tracklist
01. Brahms: Symphony No. 1 in C Minor, Op. 68-1. Un poco sostenuto-Allegro-Meno allegro
02. Brahms: Symphony No. 1 in C Minor, Op. 68-2. Andante sostenuto
03. Brahms: Symphony No. 1 in C Minor, Op. 68-3. Un poco allegretto e grazioso
04. Brahms: Symphony No. 1 in C Minor, Op. 68-4. Adagio-Piu andante-Allegro non troppo, ma con brio-Piu allegro
05. Brahms: Variations on a Theme by Haydn, Op. 56a
06. Brahms: Symphony No. 2 in D Major, Op. 73-1. Allegro non troppo
07. Brahms: Symphony No. 2 in D Major, Op. 73-2. Adagio non troppo-L'istesso tempo, ma grazioso
08. Brahms: Symphony No. 2 in D Major, Op. 73-3. Allegretto grazioso (Quasi andantino)-Presto ma non assai
09. Brahms: Symphony No. 2 in D Major, Op. 73-4. Allegro con spirito
10. Brahms: Symphony No. 3 in F Major, Op. 90-1. Allegro con brio-Un poco sostenuto-Tempo I
11. Brahms: Symphony No. 3 in F Major, Op. 90-2. Andante
12. Brahms: Symphony No. 3 in F Major, Op. 90-3. Poco allegretto
13. Brahms: Symphony No. 3 in F Major, Op. 90-4. Allegro
14. Brahms: Symphony No. 4 in E Minor, Op. 98-1. Allegro non troppo
15. Brahms: Symphony No. 4 in E Minor, Op. 98-2. Andante moderato
16. Brahms: Symphony No. 4 in E Minor, Op. 98-3. Allegro giocoso-Poco meno presto-Tempo I
17. Brahms: Symphony No. 4 in E Minor, Op. 98-4. Allegro energico e passionato-Più allegro
18. Brahms: Academic Festival Overture, Op. 80
19. Brahms: Tragic Overture, Op. 81
20. Brahms: Violin Concerto in D Major, Op. 77-1. Allegro non troppo
21. Brahms: Violin Concerto in D Major, Op. 77-2. Adagio
22. Brahms: Violin Concerto in D Major, Op. 77-3. Allegro giocoso, ma non troppo vivace-Poco più presto
23. Brahms: Concerto for Violin and Cello in A Minor, Op. 102-1. Allegro
24. Brahms: Concerto for Violin and Cello in A Minor, Op. 102-2. Andante
25. Brahms: Concerto for Violin and Cello in A Minor, Op. 102-3. Vivace non troppo-Poco meno allegro-Tempo I
26. Brahms: Piano Concerto No. 1 in D Minor, Op. 15-1. Maestoso-Poco più moderato
27. Brahms: Piano Concerto No. 1 in D Minor, Op. 15-2. Adagio
28. Brahms: Piano Concerto No. 1 in D Minor, Op. 15-3. Rondo (Allegro non troppo)
29. Brahms: Piano Concerto No. 2 in B-Flat Major, Op. 83-1. Allegro non troppo
30. Brahms: Piano Concerto No. 2 in B-Flat Major, Op. 83-2. Allegro appassionato
31. Brahms: Piano Concerto No. 2 in B-Flat Major, Op. 83-3. Andante-Più adagio
32. Brahms: Piano Concerto No. 2 in B-Flat Major, Op. 83-4. Allegretto grazioso-Un poco più presto
33. Brahms: Serenade No. 1 in D Major, Op. 11-1. Allegro molto
34. Brahms: Serenade No. 1 in D Major, Op. 11-2. Scherzo (Allegro non troppo)-Trio (Poco più moto)
35. Brahms: Serenade No. 1 in D Major, Op. 11-3. Adagio non troppo
36. Brahms: Serenade No. 1 in D Major, Op. 11-4. Menuetto I-II
37. Brahms: Serenade No. 1 in D Major, Op. 11-5. Scherzo (Allegro)
38. Brahms: Serenade No. 1 in D Major, Op. 11-6. Rondo (Allegro)
39. Brahms: Serenade No. 2 in A Major, Op. 16-1. Allegro moderato
40. Brahms: Serenade No. 2 in A Major, Op. 16-2. Scherzo (Vivace)
41. Brahms: Serenade No. 2 in A Major, Op. 16-3. Adagio non troppo
42. Brahms: Serenade No. 2 in A Major, Op. 16-4. Quasi menuetto-Trio
43. Brahms: Serenade No. 2 in A Major, Op. 16-5. Rondo (Allegro)
44. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 1 in G Minor
45. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 2 in D Minor
46. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 3 in F Major
47. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 4 in F-Sharp Minor
48. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 5 in G Minor
49. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 6 in D-Flat Major
50. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 7 in A Major
51. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 8 in A Minor
52. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 9 in E Minor
53. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 10 in E Major
54. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 11 in A Minor
55. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 12 in D Minor
56. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 13 in D Major
57. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 14 in D Minor
58. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 15 in B-Flat Major
59. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 16 in F Minor / Major
60. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 17 in F-Sharp Minor
61. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 18 in D Major
62. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 19 in B Minor
63. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 20 in E Minor
64. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 21 in E Minor
Kurt Masur’s burnished readings of Brahms’s orchestral music with the Gewandhausorchester Leipzig, issued as a Limited Edition box with Original Jackets.
Hardly less than with its founder, Felix Mendelssohn, the Leipzig Gewandhaus grew up with Brahms conducting and playing. For a sense of heritage, the orchestra boasts a Brahms tradition second to none. In the words of Kurt Masur, their Kapellmeister for over a quarter of a century, ‘if they play Brahms, you can say it’s still authentic’. Eloquence has compiled the Brahms recordings they made together between 1973 and 1981 for both the East-German Eterna label and Philips.
Together they form the most comprehensive documentation yet issued of a musical relationship between composer, conductor and ensemble that was uniformly distinguished by deep understanding and affection. From the keyboard lion’s roaring of the First Piano Concerto to the rage and reconciliation of the Third Symphony and the mellow reflections of the Double Concerto, Masur and the Leipzigers present Brahms in the round.
The bedrock of that sound is a strong, unified string section with a density of timbre that supplies all the required weight for the post-Beethovenian drama of the First and Fourth symphonies. Masur maintained a narrow, brightly illuminated palette of wind tone-colours that lends a ruddy glow to the more pastoral tones of the Second as well as the rustic orchestrations of the Hungarian Dances and the oboe-led slow movement of the Violin Concerto. The 1978 recording of the concerto finds its soloist Salvatore Accardo on his most honeyed and alluring form, contrastingly partnered in the Double Concerto by the gruffer, more outspoken tones of the cellist Heinrich Schiff. Masur and the Gewandhaus made several recordings of the piano concertos; Eloquence returns to the earliest and least-familiar of them, made with the American pianist Misha Dichter in 1977 when he was a peerless exponent of Liszt, in performances that grab the listener by the scruff of the neck and never let go. ‘A first movement notable for its flowing pace and characterful orchestral colouring ... The second movement features the beautifully burnished sound of the Leipzig horns, followed by the strings’ deep, rich sonority toward the end ... The finale is another example of gorgeous orchestral sound.’ - Classics Today, July 2005 (Symphony No.4)
‘Misha Dichter plays the First Concerto with fierce concentration and lyric grace finely blended. Helped by first rate support from Masur and the Gewandhaus Orchestra, the impression his reading gives is one of long musical vistas finely focused.’ - Gramophone, September 1980 (Piano Concerto No.1)
‘The suave tonal opulence and technical brilliance of both Accardo and Schiff are unquestionably impressive in the Brahms Double Concerto.’ - Fanfare, September/October 1980 (Double Concerto)
01. Brahms: Symphony No. 1 in C Minor, Op. 68-1. Un poco sostenuto-Allegro-Meno allegro
02. Brahms: Symphony No. 1 in C Minor, Op. 68-2. Andante sostenuto
03. Brahms: Symphony No. 1 in C Minor, Op. 68-3. Un poco allegretto e grazioso
04. Brahms: Symphony No. 1 in C Minor, Op. 68-4. Adagio-Piu andante-Allegro non troppo, ma con brio-Piu allegro
05. Brahms: Variations on a Theme by Haydn, Op. 56a
06. Brahms: Symphony No. 2 in D Major, Op. 73-1. Allegro non troppo
07. Brahms: Symphony No. 2 in D Major, Op. 73-2. Adagio non troppo-L'istesso tempo, ma grazioso
08. Brahms: Symphony No. 2 in D Major, Op. 73-3. Allegretto grazioso (Quasi andantino)-Presto ma non assai
09. Brahms: Symphony No. 2 in D Major, Op. 73-4. Allegro con spirito
10. Brahms: Symphony No. 3 in F Major, Op. 90-1. Allegro con brio-Un poco sostenuto-Tempo I
11. Brahms: Symphony No. 3 in F Major, Op. 90-2. Andante
12. Brahms: Symphony No. 3 in F Major, Op. 90-3. Poco allegretto
13. Brahms: Symphony No. 3 in F Major, Op. 90-4. Allegro
14. Brahms: Symphony No. 4 in E Minor, Op. 98-1. Allegro non troppo
15. Brahms: Symphony No. 4 in E Minor, Op. 98-2. Andante moderato
16. Brahms: Symphony No. 4 in E Minor, Op. 98-3. Allegro giocoso-Poco meno presto-Tempo I
17. Brahms: Symphony No. 4 in E Minor, Op. 98-4. Allegro energico e passionato-Più allegro
18. Brahms: Academic Festival Overture, Op. 80
19. Brahms: Tragic Overture, Op. 81
20. Brahms: Violin Concerto in D Major, Op. 77-1. Allegro non troppo
21. Brahms: Violin Concerto in D Major, Op. 77-2. Adagio
22. Brahms: Violin Concerto in D Major, Op. 77-3. Allegro giocoso, ma non troppo vivace-Poco più presto
23. Brahms: Concerto for Violin and Cello in A Minor, Op. 102-1. Allegro
24. Brahms: Concerto for Violin and Cello in A Minor, Op. 102-2. Andante
25. Brahms: Concerto for Violin and Cello in A Minor, Op. 102-3. Vivace non troppo-Poco meno allegro-Tempo I
26. Brahms: Piano Concerto No. 1 in D Minor, Op. 15-1. Maestoso-Poco più moderato
27. Brahms: Piano Concerto No. 1 in D Minor, Op. 15-2. Adagio
28. Brahms: Piano Concerto No. 1 in D Minor, Op. 15-3. Rondo (Allegro non troppo)
29. Brahms: Piano Concerto No. 2 in B-Flat Major, Op. 83-1. Allegro non troppo
30. Brahms: Piano Concerto No. 2 in B-Flat Major, Op. 83-2. Allegro appassionato
31. Brahms: Piano Concerto No. 2 in B-Flat Major, Op. 83-3. Andante-Più adagio
32. Brahms: Piano Concerto No. 2 in B-Flat Major, Op. 83-4. Allegretto grazioso-Un poco più presto
33. Brahms: Serenade No. 1 in D Major, Op. 11-1. Allegro molto
34. Brahms: Serenade No. 1 in D Major, Op. 11-2. Scherzo (Allegro non troppo)-Trio (Poco più moto)
35. Brahms: Serenade No. 1 in D Major, Op. 11-3. Adagio non troppo
36. Brahms: Serenade No. 1 in D Major, Op. 11-4. Menuetto I-II
37. Brahms: Serenade No. 1 in D Major, Op. 11-5. Scherzo (Allegro)
38. Brahms: Serenade No. 1 in D Major, Op. 11-6. Rondo (Allegro)
39. Brahms: Serenade No. 2 in A Major, Op. 16-1. Allegro moderato
40. Brahms: Serenade No. 2 in A Major, Op. 16-2. Scherzo (Vivace)
41. Brahms: Serenade No. 2 in A Major, Op. 16-3. Adagio non troppo
42. Brahms: Serenade No. 2 in A Major, Op. 16-4. Quasi menuetto-Trio
43. Brahms: Serenade No. 2 in A Major, Op. 16-5. Rondo (Allegro)
44. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 1 in G Minor
45. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 2 in D Minor
46. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 3 in F Major
47. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 4 in F-Sharp Minor
48. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 5 in G Minor
49. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 6 in D-Flat Major
50. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 7 in A Major
51. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 8 in A Minor
52. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 9 in E Minor
53. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 10 in E Major
54. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 11 in A Minor
55. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 12 in D Minor
56. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 13 in D Major
57. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 14 in D Minor
58. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 15 in B-Flat Major
59. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 16 in F Minor / Major
60. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 17 in F-Sharp Minor
61. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 18 in D Major
62. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 19 in B Minor
63. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 20 in E Minor
64. Brahms: 21 Hungarian Dances, WoO 1-Orchestral Version-No. 21 in E Minor
Kurt Masur’s burnished readings of Brahms’s orchestral music with the Gewandhausorchester Leipzig, issued as a Limited Edition box with Original Jackets.
Hardly less than with its founder, Felix Mendelssohn, the Leipzig Gewandhaus grew up with Brahms conducting and playing. For a sense of heritage, the orchestra boasts a Brahms tradition second to none. In the words of Kurt Masur, their Kapellmeister for over a quarter of a century, ‘if they play Brahms, you can say it’s still authentic’. Eloquence has compiled the Brahms recordings they made together between 1973 and 1981 for both the East-German Eterna label and Philips.
Together they form the most comprehensive documentation yet issued of a musical relationship between composer, conductor and ensemble that was uniformly distinguished by deep understanding and affection. From the keyboard lion’s roaring of the First Piano Concerto to the rage and reconciliation of the Third Symphony and the mellow reflections of the Double Concerto, Masur and the Leipzigers present Brahms in the round.
The bedrock of that sound is a strong, unified string section with a density of timbre that supplies all the required weight for the post-Beethovenian drama of the First and Fourth symphonies. Masur maintained a narrow, brightly illuminated palette of wind tone-colours that lends a ruddy glow to the more pastoral tones of the Second as well as the rustic orchestrations of the Hungarian Dances and the oboe-led slow movement of the Violin Concerto. The 1978 recording of the concerto finds its soloist Salvatore Accardo on his most honeyed and alluring form, contrastingly partnered in the Double Concerto by the gruffer, more outspoken tones of the cellist Heinrich Schiff. Masur and the Gewandhaus made several recordings of the piano concertos; Eloquence returns to the earliest and least-familiar of them, made with the American pianist Misha Dichter in 1977 when he was a peerless exponent of Liszt, in performances that grab the listener by the scruff of the neck and never let go. ‘A first movement notable for its flowing pace and characterful orchestral colouring ... The second movement features the beautifully burnished sound of the Leipzig horns, followed by the strings’ deep, rich sonority toward the end ... The finale is another example of gorgeous orchestral sound.’ - Classics Today, July 2005 (Symphony No.4)
‘Misha Dichter plays the First Concerto with fierce concentration and lyric grace finely blended. Helped by first rate support from Masur and the Gewandhaus Orchestra, the impression his reading gives is one of long musical vistas finely focused.’ - Gramophone, September 1980 (Piano Concerto No.1)
‘The suave tonal opulence and technical brilliance of both Accardo and Schiff are unquestionably impressive in the Brahms Double Concerto.’ - Fanfare, September/October 1980 (Double Concerto)
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