The Brahms Symphonies on Record

As with Beethoven, the four Brahms symphonies are very well represented on record. The choices are daunting. So take this list as a broad recommendation, some of my own favorites out of a seemingly- endless treasure chest. I’m going to limit my coverage here to complete sets of the symphonies, except to recommend one truly stellar performance of the First.

James Levine, Vienna Philharmonic (DGG via ArkivMusic.com)

The Levine/Vienna set was only in print for a short time and is now available via ArkivMusic.com’s “ArkivCD” reprint program. It’s a magical set of performances, mostly live, capturing the unique sound world of the great hall in Vienna’s Musikverein. The synergy between conductor and orchestra is palpable; it’s almost like being there.

Carlo Maria Giulini, Vienna Philharmonic (DGG, now Newton)

The fine folks at Newton Classics have given us a reprint of this glorious Brahms cycle, from Giulini near the end of his career. Magisterial, autumnal musicianship combined with Brahms’ own orchestra playing at its highest level of commitment.

Simon Rattle, Berlin Philharmonic (EMI)

Rattle’s new set of the Brahms symphonies may be his finest achievement yet with the Berlin Philharmonic. The playing is flawless, as you would expect, but Rattle’s measured and compassionate leadership is also notable. Among its advantages is a truly exemplary Third, one of the trickiest of the Brahms symphonies to pull off.

Christoph von Dohnanyi, Cleveland Orchestra (Warner Classics)

What a gorgeous sound this orchestra can produce! Sensitively recorded, imaginatively led, and played exquisitely by a great American orchestra. What’s not to love?

Bernard Haitink, Royal Concertgebouw Orchestra (Decca)

Now available in a 7-CD set that includes the concertos and shorter orchestral works, Haitink’s Brahms cycle with the peerless Amsterdam orchestra is a recorded legacy to treasure. Absolute integrity combined with a lack of superfluous drama, but never dull or predictable.

Symphony No. 1: Iván Fischer, Budapest Festival Orchestra

A recent outing from the glorious BFO, this Brahms First is both breathtakingly modern and wonderfully old-fashioned, all at once. Its sonics are exemplary, the orchestra is radiant, and this occasionally ponderous work comes flying out into the room without a trace of undue heaviness. But the BFO also applies some discreet string portamento (sliding from note to note) to their performance, a 19th-century practice that Brahms would have taken for granted, but which was viewed as poor taste during most of the 20th century. Done right, however, portamento is a wonderful thing and belongs back in the orchestral lexicon—as this performance should make abundantly clear.