I honestly cannot understand why anyone would not love this piece. Brahms put 21 years of work into this composition, and his contemporaries loved it so much that they called it Beethoven's 10th. How can one not love this symphony?
Tanto per cominciare è pieno di beoti con nessuna sensibilità, che quindi non sarebbero in grado di apprezzare nemmeno un minuetto di Haydn. Poi Brahms è un autore complesso, richiede una certa maturità intellettuale, anche - soprattutto direi - tra chi si occupa di musica classica per saperlo apprezzare. Non si creda che una persona, appena apprende che ci ha messo anni a scriverla, subito la apprezzi come per compatire tutto il lavoro che c'è dietro.
The most riveting Brahms first I've ever heard. Furtwangler achieves a unity through all of the movements that I've never encountered in any other interpretation. The way he colors the strings is unparalleled.
+Ted Lazarus Furtwangler brings out the inner voices of the symphony and the parallel between Brahm's First and Beethoven's Third. In many ways F. was more than a musician - a philosopher, a historian, someone who understood the darkness and light that was woven into the German national character. The purists dismiss him as an eccentric, but I think he's a great conductor, perhaps the greatest when it comes to German music.
...who understood the darkness and light that was woven into the German national character. Yes indeed, the Germanic cultural nature of the great German composers is brought out authentically as no other conductor has done; there's a straightforwardness of insight that isn't going to be recaptured...
And the fact that he was a composer is essential; he spoke the same musical language and was as close in time to Brahms as Bernstein was to Ives or Boulez to Webern.
One of my favorite things in life right here. Almost supernatural. You can almost imagine the soul of Beethoven going to sleep and waking up in the body of Brahms to continue on in his work. I can't help but to keep coming back to this recording. Simply fantastic.
Well said. Indeed Brahms takes over Beethoven. Brahms first is a kind of Beet´s 10th. His fear to enter the father´s space is perceptible above all at the beginning.
Always ask myself, could Beethoven have come up with this if he was under the shadow of Beethoven the way Brahms was? And then I remember he wrote the ninth :) but still wonder...
Never understood why Brahms has to be listened to within the context of Beethoven. Beethoven's Ninth sends chills through my spine from the beginning of the first movement but Brahms encompasses my essence in a way Beethoven never did. I think they are two different souls. Brahms transcends the footsteps of Beethoven in the final movement of his first symphony and then he becomes totally free to compose his second symphony which is purely Brahms and achieves a warmth of tone that Beethoven never did.
@@benhurr8651 You make excellent points with which I fully agree. All except for one. While 'warmth of tone' was certainly not Beethoven's priority, he did equal and even sometimes even surpass that of Brahms' second symphony in places. I am thinking of the first, second and fifth movements of the 'Pastoral' symphony, the Heiliger Dankgesang of the opus 132 string quartet, the 'Mir ist so wunderbar' quartet from Fidelio, the slow movement of the 'Emperor' concerto, the Benedictus from the Missa solemnis, the 'An die ferne Geliebte', and the violin concerto.
those tympany drums in the beginning...pounding away in agony. this symphony is like the ultimate testimony of what was going through emotionally. such a magnificent piece of work ❤
This is undoubtedly one of Furtwängler's finest renditions of the Brahms 1st. The Hamburg 1951 performance is possibly even better when Furtwängler conducted an all-Brahms programme (The Haydn Variations and the Double Concerto). Both the symphony and the Variations have been issued first by the French Furtwängler Society, and again on the Tahra label. The french critics described the latter issue as the "CD of the Century". By the way, no trace of the Brahms Double Concerto has been found. Schmidt-Isserstedt, as well as the soloists (Erich Röhn and Arthur Troester) assured me that the Concerto was actually recorded twice, first on the "general probe" and again live on the next evening of that memorable concert. I had a consolation however when Schmidt-Isserstedt sent me in 1970 his performance of the Double Concerto (June 30, 1970) with the same soloists; the way those two played still makes me regret not having found the Furtwängler recording. Let us hope for a miracle!
Danke Chiungying Huang, dass sich wenigsten einer hier mal zu Ehren von Herrn Furtwängler, der sich selbstlos als Deutscher verstanden und deshalb die 12 falschen Jahre bis zum bitteren Ende nicht nur ausgehalten, sondern für seine Landsleute mit der größten, schönsten Musik gestaltet hat, also einer wie Sie, sich in Brahms', Beethovens, Schuberts, Furtwänglers Muttersprache äußert. Danke. Danke.
Hearing Furtwangler's interpretations always feels to me like hearing a piece for the first time. So full of vitality and perfectly balanced. Perfect attention to detail.
I was weaned on the Karl Bohm rendition now I find it hard to tell it apart from F's effort. These are REAL GERMANS playing REAL GERMAN MUSIC without a trace of Wagnerian Nazi racist anti-semitism!
can you imagine someone who says they diDN't love this fantastic performance? The detail that comes across on such an old recording - they really had something going back then you don't hear that much anymore. how about the crescendos on the arpeggios in the andante - the balance, the tempi, everything. wonderful.
for about 40 years I heard the symphonies in Lps I had from Furtwangler, to listen sie now brings me so many good memories about sie, the greatest Brahms ever recorded..
Great recording, thanks for posting. It's interesting to listen to the continuity of certain performance characteristics of this work between different conductors. Furtwangler, Karajan, Jochum, and Abbado were all unique, but they all seem to understand some key things about Brahms' music, especially this work. Again, this is a legendary performance, thanks for posting.
This recording is fantastic indeed. I have it for ages but Furtwängler's recording of this symphony in Hamburg in 1951 is even better (yes it is possible!). In addition, Furtwängler has recorded the last movement of this symphony in January 1945 in Berlin, which is the height of the interpretation of this symphony. Enjoy...
Hamburg concert, together with the Haydn Variations is so touching in its courage and musicality, it is my musical leading star since a while. Great you like it too:-)
This performance/recording is outstanding, after more than 60 years, no less...and preferable to virtually anything of this wonderful symphony that I've ever heard; that for the longest time, I thought that Brahm's First reigned supreme over any other first, but then I started hearing other 'firsts', and though I was impressed, namely with Mahler's First, I've come back to my original decision that this is my favorite of ALL first symphonies...Thank You!...
Only one "allargando" in 23:03 is enough. This Furtwängler version is better than Toscanini. In my taste. That moment is my favorite in this symphony. Too many conductors do this part fastly. There are a rich harmonies, colors, feelings, and all "disappear" in fast tempo. Bravo, Furtwängler!
When Furtwängler dies the conductor Karl Böhm asked: Who conduct now the Brahms 4? There exist a Brahms 1 with Furtwängler and the NDR, the timpanist at this recording is realy exciting. Furtwängler was the very best Brahms-conductor. Listen the 3rd Sympohony of Brahms with him and the BPO, nobody could conduct the Coda of the piece like him.
Furtwangler furthers the compositional power of Brahms by reigning in the vast intellectual leaps made in an ordered series of extended development as opposed to mere episodic and disconnected tableaus of other conductors.
The change in tempo is based on the inner emotion of the music. This is truly extraordinary I've never heard anyone who could do this, expressing the very essence of the music. It's not about planning, it's simply the music.
@David Preposterous theory, vis a vis. On the very face of it. But the musicianship was much higher. The older musicians were closer to the nineteenth century traditions--it was all-enveloping for them--and they were imbued with a fastuditiousness that simply doesn't exist anymore.
I find that question fundamental, first, there is only one microphone, then I have the feeling that the sound ideals of the instruments differed very widely, with a lot of nuances, the pallete was larger, therefor there was more space for anything.
Dear Andres, Thank you for your interest in Furtwängler. I agree with you that the 1954 Bayreuth 9th is possibly better than1951. Unfortunately, I have never been able to find a good quality recording of 1954. However, let us keep in mind the historical importance of 1951 played for the re-opening of the Bayreuth theater. On the other hand, the 1954 Lucerne recording with the Philharmonia Orchestra, which I remastered for the Tahra label and which earned me the Gramophone award in 1995 in London, renders in a vivid way the same abysmal depths which can be sensed (with some imagination) in the Bayreuth 1954. Again, thank you.
Unfortunately, time is money - nowadays more than ever. The rehearsal time they got back then was probably ten times what the Berlin Philharmonics would get today...
Not always. WF travelled to NYC in 1925 and gave the NY premiere of Stravinsky's Rite of Spring with the NYPO with only five rehearsals. There were no dancers involved, but considering the trouble Monteaux and Stravinsky had rehearsing and performing the Rite world premiere in 1913, I think the velocity of achievement speaks for itself.
The best interpretation ever in terms of dramatism and beauty of the sound really. Furtwangler with the Berliner Philharmonic Orchestra is the perfect match for this repertoire really. The interpretation of Mravinsky with the Philharmonic Leningrader Orchestra is another alternative though with a quite interesting russian touch in this germanic repertoire.
I agree. I once listened to this and perceived the interweaving of harmonies in the first movement which I likened at the time to a war zone - it was quite dramatic and breathtaking. Have been trying to recapture the effect but now perceive it differently but still very impactful and emotional. Definitely my favourite interpretation.
A very great Furtwängler Schubert 8, introduced to me many years ago by Henry Fogel on his radio program, also has the date of Feb. 10, 1952, and it also took place in the Titania Palast. So it must have been yoked to this Brahms 1 on the program. What a concert! Surprising that both have never been released together (at least as far as I have ever seen) on one cd. Thanks very much for this post, shellac1925. The only recording I had heard of this performance was on an old Virtuoso cd, whose sonics, as I recall, were not nearly as good as this.
Gregory Weis Good old Henry! He was the station manager of WONO-FM in Syracuse NY (a commercial station -- can you believe there was once such a thing ?); Jim Schweda did a record collector program part time, and Karen Hushagen (later Washington DC public radio program hostess) was the station secretary. How time flies !!!
I am ASHAMED! I harshly maligned Furt for his Coriolan performance, but when I hear this FLAWLESS Brahms #1, I feel deeply ashamed of my ignorance. I'm sure the MAESTRO will forgive me though, when he sees my reply to Matthias Hoffmann below
Is this a remastered audio? What source is this from? Mine is from the big Furtwängler collection ("The Legacy", 107 CDs) and it doesn't sound that good. Thanks for uploading.
Yes I can imagine someone who did not love it: Olin Downes, the music critic for the New York Times. Around 1922, Furtwangler lead the NY Philharmonic. Downes at first praised his Brahms' 1st. Later, he lead the drive to get Furtwangler out of the U.S. Why, I do not know. Furtwangler's opening is gut-wrenching like no other. I cannot help but think of Newtown Ct, when listening.
I can't find anything that shows him to anything but a supporter of Jews, a staunch anti-Nazi in the face of possible death, and one who stayed in his country for much of a horrible ordeal only to save the culture and people around him. If you have a different story to share, I'm all ears.
A semi-historical-fiction film, "Taking Sides [Wiki article, IMDB entry available]," has been made depicting Fu's post-war de-Nazification process. It is pitched to the general public by making it slightly dis-satisfying to Fu lovers, Fu haters and sticklers for historical accuracy. The film you have in mind has yet to be made. A friend of mine once suggested I should put some of the primary source material in a packet and pitch it to Oliver Stone.
I've heard many recordings of the same works by both Toscanini and Furtwängler. In my view, Toscanini was a good mechanic whose performances were technically well articulated but not often moving. In contrast, Furtwängler was an artist many of whose performances I find to be quite moving.
...and the hand of each individual employee at RU-vid should be shaken for doing his or her bit to orient the collective aural nervous system of the entire world.
I know this was 2 months ago but i just wanted to let you know Furty was actually very well known for having VERY few rehearsals. He barely talked during rehearsals and was known to start up again while talking sometimes. He just had it inside of him and with his energy they knew what to do. He once had to do a Rite of Spring in the 30's i think with the New York Phil(A PREMIER) with only 2 rehearsals. Needless to say it was insane i'm sure lol orchestras back then could barely play it.
AnonBot You are very much mistaken in your assumption about symphony musicians in Furtwangler's day. One of my teachers played in Pittsburgh under Reiner; he said that the orchestra musicians used to go out for drinks and socialize after performances, holding earnest conversations about their performances. The craft of orchestra playing was a tradition passed down by what amounted to apprenticeship, and they CARED about it. It was a calling.
