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Brahms: The Four Symphonies; Piano Quartet No. 1 (Orch. Schoenberg)
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Brahms: The Four Symphonies; Piano Quartet No. 1 (Orch. Schoenberg)
Current price: $41.99
Barnes and Noble
Brahms: The Four Symphonies; Piano Quartet No. 1 (Orch. Schoenberg)
Current price: $41.99
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This is the debut recording with the
Luzerner Sinfonieorchester
by conductor
Michael Sanderling
, who recently ascended to the orchestra's podium as of 2023 when the album appeared. A set of
Brahms
symphonies, a crowded marketplace slot in the extreme, might seem a bold move in these circumstances, but nobody can accuse
Sanderling
of merely retreading others' steps. His
is broad, slow, and detailed, seemingly opening the works into an expanded view. One attraction here, and one that could well bring buyers to the set on its own, is the rare
Arnold Schoenberg
orchestration of
'
Piano Quartet No. 1 in G minor, Op. 25
, that concludes the album. Although all the melodic material in the work is
', the work is quite characteristic of
Schoenberg
in its rich, brash orchestration.
, in explaining why he made this version of a
chamber work, said, "It is always very badly played, because the better the pianist, the louder he plays, and you hear nothing from the strings. I wanted once to hear everything, and this I achieved." That statement might serve as well as a general characterization of
's symphony treatments here. All of his tempos are well on the slow side. The
Symphony No. 4 in E minor, Op. 98
, clocks in at well over 46 minutes, perhaps six minutes slower than average for the work. The rest are similarly measured, with exposition repeats adding to the overall heft.
fills the spaces with orchestral detail. Sample the opening movement of the
Symphony No. 1 in C minor, Op. 68
, where the slow introduction is atomized into small gestures that do, in his reading, have their parts to play in the music that follows. However, the big tunes, in this symphony's finale and elsewhere, lose some of their impact; the long line is not quite long enough to sustain them.
is probably at his best in the
Symphony No. 3 in F major, Op. 90
, with its compact thematic blocks in which he finds unsuspected layers. This new
, also benefiting from the spacious acoustic of the new Orchesterhaus Luzerner Sinfonieorchester, certainly commands attention. ~ James Manheim
Luzerner Sinfonieorchester
by conductor
Michael Sanderling
, who recently ascended to the orchestra's podium as of 2023 when the album appeared. A set of
Brahms
symphonies, a crowded marketplace slot in the extreme, might seem a bold move in these circumstances, but nobody can accuse
Sanderling
of merely retreading others' steps. His
is broad, slow, and detailed, seemingly opening the works into an expanded view. One attraction here, and one that could well bring buyers to the set on its own, is the rare
Arnold Schoenberg
orchestration of
'
Piano Quartet No. 1 in G minor, Op. 25
, that concludes the album. Although all the melodic material in the work is
', the work is quite characteristic of
Schoenberg
in its rich, brash orchestration.
, in explaining why he made this version of a
chamber work, said, "It is always very badly played, because the better the pianist, the louder he plays, and you hear nothing from the strings. I wanted once to hear everything, and this I achieved." That statement might serve as well as a general characterization of
's symphony treatments here. All of his tempos are well on the slow side. The
Symphony No. 4 in E minor, Op. 98
, clocks in at well over 46 minutes, perhaps six minutes slower than average for the work. The rest are similarly measured, with exposition repeats adding to the overall heft.
fills the spaces with orchestral detail. Sample the opening movement of the
Symphony No. 1 in C minor, Op. 68
, where the slow introduction is atomized into small gestures that do, in his reading, have their parts to play in the music that follows. However, the big tunes, in this symphony's finale and elsewhere, lose some of their impact; the long line is not quite long enough to sustain them.
is probably at his best in the
Symphony No. 3 in F major, Op. 90
, with its compact thematic blocks in which he finds unsuspected layers. This new
, also benefiting from the spacious acoustic of the new Orchesterhaus Luzerner Sinfonieorchester, certainly commands attention. ~ James Manheim
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