After Bach, I think the compositional style of Johannes Brahms must be the most individually recognisable - at least in respect of his mature works; less so in the case of earlier compositions like the string sextets. However, these Piano Quartets are chock-full of typically Brahmsian melody and harmonic invention so that almost from the first bar, we readily are able to establish the composer's identity. Another reviewer has mentioned the density of Brahms's writing. Nowhere is this more evident than in these works which have absolutely no fat or padding on them; every note has a particular purpose within the structure of the whole. Nevertheless, in most of these quartets, Brahms does hint at the exposition of a subject which might become one of his grand melodic set-pieces but after only a passing nod at development, the idea fizzles out. But before we can sense any disappointment, we are caught up in his next scheme. This is so very characteristic of this great composer. The Beaux Arts Trio, ably augmented by Walter Trampler's viola, play to their customarily high standard with the recordings (from 1973) also being good.
The steady increase in recordings of his music has now established Suk as one of the great musical poets of the early 20th century. Too much is made of his affinities with his teacher and father-in-law, Dvorák; for his own part, Dvorák never imposed his personality on his pupils and Suk's mature music owes him little more than a respect for craft and an extraordinarily well developed ear for orchestral colour. His affinities in the five-movement A Summer's Tale, completed in 1909 – a magnificent successor to his profound Asrael Symphony – reflect Debussy and parallel the music of his friend Sibelius and Holst, but underpinning the musical language is a profound originality energising both form and timbre.
Mackerras's recording joins a select band: Šejna's vintage performance on Supraphon and Pešek's inspired rendition with the Royal Liverpool Philharmonic; his is an equal to them both and the Czech Philharmonic's playing is both aspiring and inspiring.
Recorded in 1992 when the pianist was 77 years old, this disc of Chopin's complete etudes played by Earl Wild is truly awe-inspiring.
With this two-disc set of the piano quartets, Nicholas Angelich proves conclusively that he is the best Brahms pianist of his generation. His previous Brahms recordings – a 2005 disc of the violin sonatas with Renaud Capuçon, a 2006 solo collection featuring the Paganini Variations, a 2007 solo collection of the late piano works, and a 2008 disc of the First Piano Concerto with Paavo Järvi leading the Frankfurt Radio Symphony – showed his skill in a variety of settings.