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.
This is Volume 4 in Barry Douglas’s monumental project to record the complete works for solo piano by Johannes Brahms. Each volume has been released to critical acclaim, the first one, in 2012, being seen by BBC Music as ‘a triumph of Brahmsian thought, with playing that gets right to the heart of the composer’.
One might expect Andrew Manze's interpretations of Johannes Brahms' four symphonies to adhere to ideas of the movement for historically informed performance practice, due to his scholarship and dedication to authenticity in his early music performances. However, and somewhat paradoxically, he and the Helsingborg Symphony Orchestra have delivered more or less mainstream readings on modern instruments; there are no signs of late 19th century woodwind or brass timbres, and the strings play with standard vibrato. Yet Manze's historical fact finding has gone to a deeper level than just replicating instrumentation or orchestral scale, and he has found numerous clues to Brahms' intentions in the composer's transcriptions of the symphonies for two pianos, which often vary with the published orchestral scores in accentuation, tempo indications, and phrasing. These are fine points that can be discerned with careful listening and great familiarity with many other recordings of the symphonies, both conventional and historic, but they may not be the main thing listeners will consider in appreciating this set.