Kleiner Brahms Esoteric

This recording represents a slice of a vanished world: pianist Nelly Akopian-Tamarina studied in Moscow in the 1950s and 1960s, and her teacher was Alexander Goldenweiser, a friend of Scriabin and Rachmaninov, and a carrier of traditions stretching well back into the 19th century. Her career was interrupted by disfavor with Soviet authorities in the 1970s, but has been resumed in her old age with compelling results.

One of Brahms' earliest musical jobs (besides playing piano in whorehouses) was directing a choral society. This introduced him to the music of the Renaissance and the Baroque, which sparked his antiquarian enthusiasms, in particular his first-hand encounters with the choral music of Bach. Choral music became an important part of Brahms' output – to his art, to his career (Ein deutsches Requiem propelled him to European notice), and to his income. Brahms may have directed much of his choral music to the then-lucrative amateur market, but he also produced plenty for crack choirs and without much reasonable hope for financial reward – again, Ein deutsches Requiem a good example. Like the Requiem, some of these works even became popular.

After Igor Levit, Christian Thielemann, and the Vienna Philharmonic performed Brahms’ First Piano Concerto at Vienna’s famous Musikverein in April 2024 the Viennese newspaper The Standard wrote: “During these fifty minutes, an irresistible dose of emotion was conveyed – but at the same time the sophisticated structure of Brahms’ masterpiece remained crystal clear.” Four months earlier after their performance of the Second Piano Concerto, the Austrian newspaper Die Presse had declared that “Igor Levit sets a new gold standard for Brahms.”

This is the second volume in the Mandelring Quartet's series of Audite recordings of the string quartets of Brahms coupled with string quartets of his lesser known contemporaries. The earlier volume coupled Brahms' C minor quartet with Friedrich Gernsheim's A minor quartet, the later volume coupled Brahms' A minor quartet with Felix Otto Dessoff's F major quartet, and this volume joins Brahms' B flat major quartet with Heinrich von Herzogenberg's G minor quartet.

GRAMOPHONE Magazine Editor's Choice - October 2015.The Artemis Quartet pairs Brahms’ intense first quartet with his lighter-spirited third quartet, both works that the Artemis’ cellist, Eckart Runge, describes as “remarkable and multi-faceted”. He says that “Brahms marries a Romantic spirit with the structure and forms of Classicism. There is an almost symphonic approach in the writing, but at the same time the quartets are imbued with a sense of warmth, immediacy, friendship and love that is interwoven with a more spiritual, timeless beauty”.

Pianists Martha Argerich and Nelson Freire are stupendous virtuosos, and there's nothing in this recording of their 2009 Salzburg recital of staggeringly difficult works they cannot play. They know each other so well as old duo piano partners that their playing is stunning in its unity, but their distinctive individuality also comes across. What's most impressive about this recital is how completely Argerich and Freire have made this music their own. Brahms' Haydn Variations sound freer and fresher, more playful, and more profound than ever. Rachmaninov's Symphonic Dances are thrillingly rhapsodic, rapturous, and dramatic. Schubert's Grand Rondeau is more lyrical, intimate, and graceful than usual, and Ravel's La Valse more ecstatic and apocalyptically over-the-top frightening than in any comparable recordings, including Argerich's own earlier releases. Captured in wonderfully clear yet wholly present digital sound, the performances on this disc will be compulsory listening for anyone who loves music, any music.

Mullova and Anderszewski have thought through every detail of their interpretations - these are performances of exceptionally wide expressive range, from passionate ardor to the dark and turgid to the touchingly melancholic. Mullova and Anderszewski give a wonderful impression of having thought through every detail of their interpretations. Throughout the three sonatas I was impressed, not just by the way they do everything Brahms asks for, but by their evident personal involvement in the music.

After his highly variable Mahler cycle, it’s very good to be able to report that David Zinman is back in top form for Brahms. For the most part, these are splendid performances, beautifully played and recorded. The very opening of the First symphony sets the tone: rich, emphatic, but not exaggerated. Textures are clear, bass lines unusually audible. Zinman handles some of Brahms’ most intransigent bits of orchestration, such as the opening of the Third symphony, with its perpetually syncopated accompaniment, with effortless mastery. The inner movements of all four symphonies are without exception perfectly paced, including the slow movements of the Second and Fourth symphonies.