Brahms, Concerto for Violin, Cello and Orchestra in A minor, op. 102

Between 1981 and 1984, Leonard Bernstein recorded nearly all of Brahms’s orchestral works with the Vienna Philharmonic Orchestra to honor the 150th anniversary of the composer’s birth in 1983. Today, the cycle is considered as a landmark in the interpretation of Brahms’ music. For Bernstein, Brahms was “a true Romantic, containing his passions in classical garb”, but also a “North-German classicist swept away to Vienna, and fired by Danubian, Carpathian and gypsy passions”. Bearing this dualism in mind, Bernstein and the Vienna Philharmonic have underscored both the classicism and romanticism, the dramatic intensity and the sober restraint of Brahms’s music. The venue was Vienna’s Musikvereinssaal, where two of Brahms’s symphonies were premiered and where Brahms himself conducted. For the concertos, Bernstein enlisted the services of some of the finest Brahms interpreters of the time: the violinist Gidon Kremer, the cellist Misha Maisky and the pianist Krystian Zimerman.

Brahms, Serenade No.2 in A major, op.16

Between 1981 and 1984, Leonard Bernstein recorded nearly all of Brahms’s orchestral works with the Vienna Philharmonic Orchestra to honor the 150th anniversary of the composer’s birth in 1983. Today, the cycle is considered as a landmark in the interpretation of Brahms’ music. For Bernstein, Brahms was “a true Romantic, containing his passions in classical garb”, but also a “North-German classicist swept away to Vienna, and fired by Danubian, Carpathian and gypsy passions”. Bearing this dualism in mind, Bernstein and the Vienna Philharmonic have underscored both the classicism and romanticism, the dramatic intensity and the sober restraint of Brahms’s music. The venue was Vienna’s Musikvereinssaal, where two of Brahms’s symphonies were premiered and where Brahms himself conducted. For the concertos, Bernstein enlisted the services of some of the finest Brahms interpreters of the time: the violinist Gidon Kremer, the cellist Misha Maisky and the pianist Krystian Zimerman.

Introduction to Brahms, Concerto for Violin, Cello and Orchestra in A minor, op.102

This dignified work, Brahms’s last orchestral score, seems to have been composed in part with the intention of bringing about a reconciliation between Brahms himself and his old friend, the violinist Joseph Joachim. The two had had a falling out at the time of Joachim’s divorce. Brahms wrote various musical reminiscences of their friendship into the music but also looked to the past by referring to a tradition of ensemble composition that had reached its apex back in the 18th century: that of the concerto grosso, which had climaxed in Bach’s Brandenburg Concertos, and the sinfonia concertante tradition, whose landmarks include Mozart’s works in this genre. The Double Concerto has taken longer to achieve popularity and is still more rarely played the other Brahms concertos. This is perhaps partly because two soloists must share the limelight – and because there is little limelight to share, Brahms having written difficult yet not outwardly dazzling virtuoso parts. Between 1981 and 1984, Leonard Bernstein recorded nearly all of Brahms’s orchestral works with the Vienna Philharmonic Orchestra to honor the 150th anniversary of the composer’s birth in 1983. Today, the cycle is considered as a landmark in the interpretation of Brahms’ music. Bernstein and the Vienna Philharmonic have underscored both the classicism and romanticism, the dramatic intensity and the sober restraint of Brahms’s music. The venue was Vienna’s Musikvereinssaal, where two of Brahms’s symphonies were premiered and where Brahms himself conducted. In his introductions, Bernstein speaks with an eloquence and conviction that go far beyond the opening words to a traditional concert performance. With his stimulating theories on Brahms and his music, Bernstein prompts viewers to listen to the music with an open mind. The soloists in this recording are violinist Gidon Kremer and cellist Mischa Maisky.

Introduction to Brahms, Symphony No.1 in C minor, op.68

“I shall never write a symphony! You have no idea how it makes one feel to hear the thunderous step of a giant like him always behind you!”, wrote Johannes Brahms to a friend in the early 1870s. He had long felt overwhelmed and creatively blocked by Beethoven’s symphonic legacy. Though he had been working on a symphony since the 1850s, he completed the score of the First Symphony only in 1876. The work cannot deny the influence of Brahms’s great predecessor, and particularly the final theme shows an obvious similarity to the “Ode to Joy” theme of Beethoven’s Ninth. While the outer movements frequently unfurl impressively concentrated masses of sound, the two middle movements are more succinct and transparently orchestrated. The four movements are also linked by motivic and harmonic relationships which, however, are more subliminal than blatantly obvious. Between 1981 and 1984, Leonard Bernstein recorded nearly all of Brahms’s orchestral works with the Vienna Philharmonic Orchestra to honor the 150th anniversary of the composer’s birth in 1983. Today, the cycle is considered as a landmark in the interpretation of Brahms’ music. Bernstein and the Vienna Philharmonic have underscored both the classicism and romanticism, the dramatic intensity and the sober restraint of Brahms’s music. The venue was Vienna’s Musikvereinssaal, where two of Brahms’s symphonies were premiered and where Brahms himself conducted. In his introductions, Bernstein speaks with an eloquence and conviction that go far beyond the opening words to a traditional concert performance. With his stimulating theories on Brahms and his music, Bernstein prompts viewers to listen to the music with an open mind.

Brahms, Violin Concerto in D major, op. 77

Between 1981 and 1984, Leonard Bernstein recorded nearly all of Brahms’s orchestral works with the Vienna Philharmonic Orchestra to honor the 150th anniversary of the composer’s birth in 1983. Today, the cycle is considered as a landmark in the interpretation of Brahms’ music. For Bernstein, Brahms was “a true Romantic, containing his passions in classical garb”, but also a “North-German classicist swept away to Vienna, and fired by Danubian, Carpathian and gypsy passions”. Bearing this dualism in mind, Bernstein and the Vienna Philharmonic have underscored both the classicism and romanticism, the dramatic intensity and the sober restraint of Brahms’s music. The venue was Vienna’s Musikvereinssaal, where two of Brahms’s symphonies were premiered and where Brahms himself conducted. For the concertos, Bernstein enlisted the services of some of the finest Brahms interpreters of the time: the violinist Gidon Kremer, the cellist Misha Maisky and the pianist Krystian Zimerman.

Brahms, Academic Festival Overture in C minor, op.80

Between 1981 and 1984, Leonard Bernstein recorded nearly all of Brahms’s orchestral works with the Vienna Philharmonic Orchestra to honor the 150th anniversary of the composer’s birth in 1983. Today, the cycle is considered as a landmark in the interpretation of Brahms’ music. For Bernstein, Brahms was “a true Romantic, containing his passions in classical garb”, but also a “North-German classicist swept away to Vienna, and fired by Danubian, Carpathian and gypsy passions”. Bearing this dualism in mind, Bernstein and the Vienna Philharmonic have underscored both the classicism and romanticism, the dramatic intensity and the sober restraint of Brahms’s music. The venue was Vienna’s Musikvereinssaal, where two of Brahms’s symphonies were premiered and where Brahms himself conducted. For the concertos, Bernstein enlisted the services of some of the finest Brahms interpreters of the time: the violinist Gidon Kremer, the cellist Misha Maisky and the pianist Krystian Zimerman.

Brahms, Tragic Overture in D minor, op.81

Between 1981 and 1984, Leonard Bernstein recorded nearly all of Brahms’s orchestral works with the Vienna Philharmonic Orchestra to honor the 150th anniversary of the composer’s birth in 1983. Today, the cycle is considered as a landmark in the interpretation of Brahms’ music. For Bernstein, Brahms was “a true Romantic, containing his passions in classical garb”, but also a “North-German classicist swept away to Vienna, and fired by Danubian, Carpathian and gypsy passions”. Bearing this dualism in mind, Bernstein and the Vienna Philharmonic have underscored both the classicism and romanticism, the dramatic intensity and the sober restraint of Brahms’s music. The venue was Vienna’s Musikvereinssaal, where two of Brahms’s symphonies were premiered and where Brahms himself conducted. For the concertos, Bernstein enlisted the services of some of the finest Brahms interpreters of the time: the violinist Gidon Kremer, the cellist Misha Maisky and the pianist Krystian Zimerman.