Brahms - Symphony No.1 + Presentation (recording of the Century : Wilhelm Furtwängler 1951)

[@classicalmusicreference]

Album available // Furtwängler dirige Brahms - Hamburg, 27.X.1951 🎧 Qobuz (Hi-Fi) bit.ly/3GJLdEx Tidal (Hi-Fi) bit.ly/2YNPKzV 🎧 Apple Music (Lossless) apple.co/3zxWhRF Deezer (Hi-Fi) bit.ly/39XvTol 🎧 Amazon Music (Hi-Fi) amzn.to/4agjAjY Napster (Hi-Fi) bit.ly/472MCAx 🎧 Spotify (mp3) spoti.fi/48gPdIs KZbin Music (mp4) bit.ly/3XvEmFM 🎧 Pandora, Anghami, Soundcloud, QQ音乐, LineMusic 日本… Johannes Brahms (1833-1897) / Symphonie No.1 Opus 68 / Ut (C) mineur *Click to activate the English subtitles for the presentation* (00:00-01:19) 1-Un poco sostenuto - allegro (00:00) 2-Andante sostenuto (14:56) 3-Un poco allegretto e grazioso (25:03) 4-Adagio, più andante - allegro non troppo ma con brio, più allegro (30:18) - Brams - Variations on a Theme by Haydn, Op.56 by Wilhelm Furtwängler 1951: kzbin.info/www/bejne/f4rYqmCEoc-VoaM - Sinfonieorchester des Norddeutschen Rundfunks Wilhelm Furtwängler Live performance in 1951 (Hamburg) ❤ Join us on our WhatsApps fanpage (our latest album preview): bit.ly/3Mraw1r 🔊 Discover our new website: www.classicalmusicreference.com/ 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ): bit.ly/370zcMg 🔊 Follow us on Spotify: spoti.fi/3016eVr ❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page. Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr --- Wilhelm Furtwängler a dirigé toutes les œuvres symphoniques, concertantes et chorales de Brahms. Dans son livre sur Furtwängler (1941), Friedrich Herzfeld énumère les exécutions de Brahms par Furtwängler. En fait, à cette époque, Furt avait déjà dirigé 519 fois une œuvre brahmsienne et la Première symphonie arrive en première place avec 117 exécutions. Onze enregistrements de la Première symphonie ont été conservés. - L'enregistrement de Hambourg est, selon beaucoup, l'interprétation la plus fantastique de cette symphonie par Furtwängler. Le maximum est atteint partout, dans l'enregistrement de l'ingénieur du son Friedrich Schnapp, dans l'orchestre, dans l'inspiration du chef d'orchestre et jamais plus on ne trouvera de "fortissimi" comme ceux-ci. Ces archives cristallisent l'inoubliable génie à sa pleine maturité. Cette interpretation a reçu la distinction : Diapason d'or du Siècle. - Nous citons également le commentaire de Sami Habra : "J'ai personnellement donné ce CD de Furtwängler (que j'ai remasterisé pour Tahra) à Abbado, qui est parti à St. Moritz pendant ses vacances d'hiver, et m'a fait savoir comment il a passé toutes ses vacances à écouter cet enregistrement, et combien il l'a inspiré." - Brahms - Violin Concerto Op.77 / NEW MASTERING (Cent.rec.: Yehudi Menuhin, Wilhelm Furtwängler 1949): kzbin.info/www/bejne/boKVpKF4hq-Zq8k - Johannes Brahms PLAYLIST (reference recordings): kzbin.info/www/bejne/Z3WmfIB-mK2Woc0

[@leestamm3187]

One of the greatest performances of this symphony ever recorded. Superb.

[@bettinaalmasan8468]

Words can't describe the magic of this performance.

[@andrewkennaugh1065]

Bettina Almășan You just did...😊

[@filipposath]

Best performance for me

[@cedericocosantorini8013]

Your words just did.

[@Mr1300SKIPPY]

Possessing already a half dozen versions of this symphony, I just bought this recording in CD by pure curiosity, and was immediately stunned by its immense quality. A true "desert island" for any discotheque.

[@robertfreud9357]

The thing that strikes me the most about this stellar performance is that the Maestro always makes the timpani sound just right!!

[@fredwanger9337]

Absolutely extraordinary live performance. An incredible link to the not so distant past! Thank you.

[@bert-hassokemnitz8580]

Thanks ! - It´s simply so fluent, no hights ,no lows, no peaks, no holes - Wilhelm Furtwängler follows modestly the score of Johannes Brahms - thats Furtwänglers llegacy.

[@santiagodeloscaballeros3743]

Merci infiniment de partager cette merveille incomparable! Un torrent de beauté que Brahms aurait certainement aimé entendre de son vivant.Chaque fois que j'entends cette incomparable version de cette symphonie, que je possède depuis de nombreuses année, j'ai un plaisir qui m'apporte un grand bonheur et une sensation d'atteinte du merveilleux! A emporter en priorité sur l'île déserte... ou au paradis et qui serait à faire entendre dans les écoles du monde entier!

[@classicalmusicreference]

+Jacques Cramatte Furt. est extra dans cet enregistrement et dans bien d'autres :-) merci !

[@ljiljanastanic9076]

Ohh...how I love Brahm s music!Today I WILL LISTEN AGAIN ALL HIS WONDERFUL SYMPHONIES!All versions with my favorite conductor Furtwangler!

[@Dr.Rimawi]

This is not only music but also Philosophy From the conductor of the century

[@samihabra658]

You must be joking about the Abbado version ! I personally gave this Furtwängler CD (which I remastered for Tahra) to Abbado, who went off to St. Moritz on his winter holiday, and let me know how he spent his whole vacation listening to this recording, and how much it inspired him. Yours, Sami Habra

[@classicalmusicreference]

Sami Habra, quel plaisir de vous lire, en effet je remarque que votre nom apparait souvent sur les cds Tahra que je possède. Vous travaillez également en étroite collaboration avec la Société Furtwangler. J'ai connu le regretté Philippe Leduc. Continuez-vous toujours votre travail de remastering et vos conférences ?

[@thorenjohn]

Fascinating! The Abbado Deutsche Grammophon recordings of the Brahms symphonies are the only ones I find of comparable artistry to Furtwangler's. Now I know why :-)

[@johannesockeghem6299]

This is unbelievable! I've never ever heard such a impressive and nice live performance of Brahms 1st...Furtwängler was a true servant to the music

[@pinintra]

Karajan is nothing

[@eddihaskell]

Furtwangler understands the soul of the music.

[@JunHanh2gether4ever]

The best version I ve ever heard as if I hear this work for the 1st time.

[@paulfreeman4900]

Sounds like he is speaking German in music, honest, generous, huge!! Harsh at times, poetic in others. He understands Brahms AND Goethe and Schiller. The ending of the slow movement is sublime.

[@ljiljanastanic9076]

Absolutely fascinate me this performans!!!What a gorgeus talent of Maestro Furtvangler💙💙💙💙💙💙💙💙💙💙

[@ljiljanastanic9076]

Magnificent,sublime performance!!!

[@PaulJones-oj4kr]

Fantastic. His tempo is tremendous.

[@timothytikker1147]

Tempi, you mean: the tempo is actually quite fluid, buoyant, ever subject to adjustment for optimal expressive effect.

[@notaire2]

Großartige live Aufführung dieser perfekt konstruierten Sinfonie mit gut harmonisierten und perfekt synchronisierten Töne aller Instrumente. Der unvergleichliche Maestro dirigiert das perfekt trainierte Orchester im inspirierenden Tempo mit dramatischer Dynamik. Furtwängler macht alles ideal!

[@derya7603]

Only live music, and that rarely, can reach such altitudes of greatness. It is the unspeakable, mystical presence of something unknown that makes it so majestic

[@cbzigmund]

The audience?

[@ransomcoates546]

Charles Zigmund The ‘mystical presence’ was Furt. Orchestra members who played under him all describe the otherworldliness he projected just by walking to the podium.

[@carloscepeda3372]

Maravillosa versión, gracias

[@mrrkdino]

Incredible performance. We'll never get music making in this style today alas.

[@urlicht]

Unica fantastica ineguagliabile interpretazione del grande Maestro ! Bisogna solo inchinarsi devotamente a tanto genio !

[@renato45222]

Ogni singola battuta assume un nuovo e meraviglioso significato. Capolavoro di Johannes Brahms, ma anche capolavoro ri-creativo di Wilhelm Furtwangler.

[@bachopinbee5991]

That was a hell of sounds! I almost cried for the whole first 2 movements...poor me

[@derya7603]

What makes Furtwängler so special is that he addionally acts almost as an audio engineer which blends low frequencies into the mix in such perfection.

[@classicalmusicreference]

Indeed, it attaches great importance to bass, the fundamental structure of harmony :-)

[@princeandrey]

Listening during a thunderstorm, first movement, loud! Just right.

[@nicolascouton5408]

C'est juste absolument extraordinaire...

[@juanramongarcia8955]

El conjunto enorme de los músicos y los interpretes germanos, con Bruno Walter, Furtwaengler y Otto Klemperer a la cabeza. dirgiendo a Bach, a Mozart, a Haynd, a Beethoven, a Bramhs, a Schumann, a Schubert, a Wagner, a Bruckner, a Mahler... Ese tesoro incomparable que ilumina a la Humanidad en lo más digno de si misma.

[@joedeegan3870]

Furtwangler seems to inspire the orchestra to play expressively and with passion. Music under Furtwangler is a living breathing thing. I enjoyed this performance which I have never heard before.

[@philiprutter1]

I NEVER thought of Brahms as writing "passionate" music - before hearing Furtwängler's work. But now - it's blindingly clear- passionate is the word for Brahms. Incidentally, Joe Deegan- it was your comment somewhere on a performance of Beethoven 5, with a link to Furtwängler's 1947 performance, that introduced me to this genius. I'm - passionately grateful. :-)

[@joedeegan3870]

Thanks Philip. Someone once called him a Mystic. Seems to fit. I think he had some great teachers too.

[@joedeegan3870]

The 1947 Vienna Philharmonic Performance of Brahms First Symphony is also of interest.

[@augustomachete1715]

Very true. All of his works seem to be tight, that is, the orchestra seems to be playing together.

[@ulfwernernielsen6708]

Joe Deegan I agree. It was his only studio recording of the Brahms first.

[@JoseMedina-sv8uy]

Excellent, thanks for sharing this masterpiece. Greetings from Mexico.

[@alvarogarciabarbosa3199]

Furtwängler hace un énfasis grandioso en los inicios... escuchen su versión de la quinta de Beethoven: tempo menos rápido en las cuatro notas del destino. Aquí en la 1a de Brahms su estilo espectacular en el sostenuto. Un despliegue grandioso de los metales y los timbales... una percusión soberbia. Grandísimo Furtwängler!! Sumado a unas grabaciones casi inimitables por perfectas. Gracias!!! Grandioso!!

[@marionkiker1125]

Listen to the building of tension around the 9:30 mark of first movement. Thrillingly immediate!

[@DateTwoRelate]

I must say it's refreshing hearing a rendition like this. It's quite different from the many "pop song" recordings of the symphony I simply assumed were the standard.

[@christianschuster4184]

Furtwängler war meiner (deutschen) Generation (1948) für lange Zeit suspekt, war er doch zu sehr in Nazi-Deutschland verwickelt. Zumal galt er als verstaubt, eine Verkörperung der Schwere, Representant einer zu Ende gegangenen dunklen Ära. Wir hörten Karajan, der frisch und jung das Alte uberwandt. Schön, dass ich jetzt nach so vielen Jahren die tiefe Kraft dieser Interpretationen heraus hören kann und dankbar zu schätzen weiß, dass Musikfreunde sich die Mühe machen, uns allen diese Schätze hier zugänglich machen. Mit großer Dankbarkeit! Furtwängler was suspicious of my German generation (1948) for a long time, because he was too involved in Nazi Germany. Especially since it was considered dusty, an embodiment of gravity, representative of an dark era that had come to an end. We heard Karajan, fresh and young overcoming the old. It's great that, after so many years, I can now hear the deep power of these interpretations and thankfully appreciate that music lovers make the effort to make these treasures accessible to all of us here. With great gratitude! Furtwängler s'est longtemps méfié de ma génération (1948), car il était trop impliqué dans l'Allemagne nazie. D'autant plus qu'il était considéré comme poussiéreux, une incarnation de la gravité, représentative d'une époque qui venait de s'achever. Nous avons entendu Karajan, frais et jeune, surmonter l'ancien. C'est formidable qu'après tant d'années, je puisse maintenant entendre la puissance profonde de ces interprétations et apprécier heureusement que les mélomanes fassent l'effort de rendre ces trésors accessibles à nous tous ici. Avec beaucoup de gratitude!

[@eugeniaerkrath9702]

Ich stimme mit Ihnen ein. Ich bin aus den 60ern und kannte nur Karajans Auftritte. Später lernte ich mit meinem Deutschlehrer Furtwängler kennen, aber nur in Worten. Jetzt ist es über das Web möglich, seine wunderbaren Klänge zu kennen!

[@concertatore7865]

Interessant. Karajan war NSDAP Mitglied. Furtwängler niemals.

[@tomaxi007]

Wussten Sie, dass Karajan unter dem 3. Reich erst die Möglichkeit Karriere zu machen gehabt hatte und Furtwängler vor der Machtübergreifung der Nazis schon eine Größe war und die Nazis ihn nur mißbrauchten, er seine Ämter niederlegte, nachdem er keinen Hindemidth mehr aufführen durfte? Es war ein ständiger Kampf in der Höhle des Löwen. Karajan wurde von Göring protegiert und gegen Furtwängler, nachdem dieser von Schweden nach einer Konzertreise zurückkam, vor die Nase gesetzt. Hatte aber trotz seiner “Frische” keine Chance die Tiefe des Majestros jemals zu erreichen. Furtwängler sagte einmal über Karajan:” warum ist er so eitel, er kann doch was.” Das sagt schon alles über die beiden Charaktere aus.

[@daviddavies9788]

This performance came top in the BBC's Building a Library comparison of recordings broadcast in May this year, a verdict I fully agree with.

[@edwardhoward5525]

Fully agree. i felt I had never heard the work before once I had heard this.

[@b1i2l336]

A colossal musical achievement, but I do wish the recorded sound were better.

[@philiprutter1]

Personally - it's the 1st and 4th movements that really haunt me. I dream it. After hearing this performance.

[@gayathriparthasarathy9099]

First yes, Fourth oh mannn it is beautifully rendered here.

[@marionkiker1125]

The VERY BEST Brahms 1st. PERIOD.

[@Anguillacat]

Fantastic! Thank you!

[@gracielamoreschi650]

gracias!!!!! excelencia absoluta!!!!! brahms!!!!!!!! gracias por vuestra solidaridad, desde mendoza argentina

[@carloscepeda3372]

Ay Don Guillermo, que impulso en la primera parte del 1er movimiento, como ataca la percusión, muy interesante su visión, una de las mejores interpretaciones de W. Furtwangler, ya sin el sinsentido de la guerra, Me gusta y mucho, a veces la compato con Abbado y no hay color, y mira que Abbado era un gran maestro

[@JohnBicknell]

Sorry Mr WF, after hearing the final movement all is forgiven. Tremendous, not a dull moment.

[@ulfwernernielsen6708]

Fabulous performance. After I heard Furtwaengler I nearly can't hear the Brahms first by other conductors .

[@marionkiker1125]

Agreed Ulf, no other conductor even comes close to this performance.

[@t0mcc]

Kleiber, Szell

[@murraybowles3799]

Klemperer

[@michaelstearnes1526]

​@@t0mccAlso Van Beinum from the same year.

[@ulfwernernielsen6708]

Since I wrote the first comment, I have found another performance which fascinates me as well as this one. It is by Leonard Bernstein, not with the Wiener Philharmoniker but with the Israel Philharmonic Orchestra. It is also on you tube. I wish everyone a great pleasure.

[@richiebcarric31]

Some say this would or could have been Beethovens 10th and Brahms wrote this with the towering spirit of LvB looking over his shoulder..No matter...Big composer, big work requires the best of a big conductor...and this is it.

[@meyerbeer13]

No because at the end of his life Beethoven got simpler, and you can see that in the 9th symphony. He never would have gone to the 2nd viennese school, but actually Schubert was already writing works that prefigure Mahler.

[@msotil]

The beginning of the fourth movement is a Swiss theme played by some distant alphorn (or alpenhorn) that Brahms had heard and taken down on his notebook some 10 years earlier while walking up Mount Rigi, near Lucerne, Switzerland. The Swiss Broadcasting Corp has a recording of the original alpenhorn theme.

[@classicalmusicreference]

Thank you for this information

[@cbzigmund]

Thank you.

[@msotil]

@@cbzigmund kzbin.info/www/bejne/a5WuY5-Ifa1koMk

[@BalbirSingh-tt8rv]

A very impressive recording.

[@aguedarojas7653]

Sencillamente la música más bella de la vida!!. Sin comparación

[@duwir5959]

the timpanist was great !!! Furtwängler has many great Brahms 1, but I like these above all others. In the NDR orchestra are members of the Berlin Philh, wo has change the Orchestra after the war (1. cello, 1.violin).

[@martinstaber9172]

The timpani is totally integrated into the music and he must have injoyed every time he hit his instrument; exhausted but happy, happy, happy!

[@MedievalRichard]

Splendid.

[@raulgarat5860]

Genio total. Versión de culto !!!

[@cmtg2701]

It would have been more impressive to hear this wonderful performance live in 1951.

[@eduardogironas]

22:19 to 23:13 was a beautiful discovery. Pure romanticism.

[@truBador2]

Yeah, I know what R. Schumann said about this being Beethoven's 10th. It was meant as a superlative compliment. But it is nothing like Beethoven. This is a truly great performance that makes Brahms' turgid music engrossing instead of the other possibility, overwrought. Today we have another great Brahms conductor in Gustavo Dudamel.

[@robbydyer4500]

Schumann was't alive. You're thinking of Hans von Bülow.

[@truBador2]

Schumann wasn't alive when?

[@robbydyer4500]

When the symphony was completed. The initial sketches date from the highly productive period shortly after his tragic madness/death, and it was decades before Brahms finished the work (the finale was his biggest hurdle). It was Bülow who initially dubbed it "The Tenth," although Brahms hated that association himself.

[@princeandrey]

@@robbydyer4500 As he said, when such was the comparison regarding his First Symphony: "Any ass can see that!"

[@robbydyer4500]

@@princeandrey Regarding the "Ode to Joy"-like theme in the Finale, indeed. 😃

[@marciarijfkogelrijfkogel4587]

Der beste Dirigent

[@133352mm]

BPO版も素晴らしいが、これもまた凄い。感動した。魂がゆすぶられました！

[@AALavdas]

Amazing. Never heard this one before - it's one of the best recordings of the 1st. Quite dark, of course - and clearly there are also other ways to see this symphony. But it is none the less amazing...

[@4980cbs]

Sadly it is very difficult today to hear a performance of this level, maybe impossible. Nowadays the conductors are too prone to effectism , superficiality and vacuity.

[@joedeegan3870]

Recording has the drawback that the critics can pick a performance apart. This has intimidated many performers. Hopefully they will overcome it. Furtwangler was musically mature before recording, considered the real Performance to be the live one, not the recording.

[@eirini1501]

You have right, i totally agree with you!

[@fgiord8fgg]

another great performance of a masterpiece marred by commercial interruptions by you tube to make a stinking buck.do they ever have enough?

[@classicalmusicreference]

you can click ahead on the yellow dots to be quiet.

[@cbzigmund]

Pony up the subscription price and listen commercial free. Where can you find every great work and every conductor, soloist and orchestra worth hearing in one place? Well worth it. You never have to buy another CD.

[@perfectblue8443]

You can do different yes. But you can't do better than this.

[@aguedarojas7653]

Bellisimo!!

[@charliekilebonpound8319]

It is in art that is the Divine…. Thanks

[@samihabra658]

Yes pour les conférences ! Aussi, le prochain CD SWF sera le concert de Stockholm 25.9.50 : Haydn 94 - En Saga - Don Juan (R. Strauss) Yours, Sami Habra

[@sylvaincombier880]

Vous etes le vrai Sami Habra ? Est-ce possible ? celui qui brisait les disques de Lily Pons ? Quelle constance ! En prenant de l'âge je deviens beaucoup plus tolérant, j'aime même Knap....

[@TimonofBath]

Astonishing performance. 42' 26" to 43' 22"

[@Matthan678]

Why is this performance interrupted by some fucking ad for Gaviscon?

[@arteguey]

Klemperer is my favorite conductor but I must admitt that - like horse races - in Brahms 1st, Furtwängler wins by a nose...

[@manuelcerqueranogales1307]

Para mi gusto la mejor interpretación del maestro.

[@leroyjones6958]

Very unrushed pace. My first Furtwangler record was a $2 discount cutout I found in 1976. I always find myself coming back to his versions. He seems to draw out what the composer intended.

[@furrybear57]

My first Toscanini record was a $1.99 discount cutout i found in 1976 (Wagner excerpts with Melchior and Traubel).....followed by my first Furtwangler LP a few months later for $3.99 (also Wagner excerpts but with Flagstad on the Seraphim label). ah, those were the days.

[@Rafacrt]

Is this the recording of the century of Brahm's 1st or just "the" recording of the century?

[@classicalmusicreference]

Wilhelm Furtwängler conducted all symphonic, concertante and choral works of Brahms. In his book about Furtwängler (1941), Friedrich Herzfeld lists Furtwängler's performances of Brahms. In fact, by that time, Furt had already conducted 519 times a Brahmsian work with the First symphony at the first place with 117 performances. Eleven recordings of the First symphony have survived. Hambourg recording, according to many, this is Furtwängler's most fantastic performance of this symphony. The maximum is attained everywhere, in the recording by the sound engineer Friedrich Schnapp, in the orchestra, in the conductor's inspiration and never again are to be found fortissimi as these.This archive crystallizes the unforgettable genius at his full maturity.

[@alexreik424]

neither

[@theonesaracen6289]

@@classicalmusicreference hi, just wondering what you mean by unrepeatable fortissimi? Is it a certain style of the conductor?

[@j-mharari3374]

....et quel orchestre !... refondé par Hans Schmidt-Isserstedt après la guerre; Fritz Busch, qui l'avait aussi dirigé en 1951 ( peu avant sa mort, dans la 4° de Schumann ) , le qualifiait de "meilleur orchestre d'Allemagne de l'Ouest " ...

[@albertocuadros8504]

Uno de los mejores directores alemanes la novena sinfonía de Bethoven en el cumpleaños de Hitler es magistral.

[@ecwinston]

Too many ads and in the middle of phrases

[@MultiRedskins12]

The Furtwangler Final is worked. It’s an Op 68 special.

[@Fritz_Maisenbacher]

Oh my god oh my God ....

[@piperhillfan5485]

Your "god" makes and lets priests violate kids. Doesn't that disgust you and other bigots ? But no, you are such a bad lot of hypocrites...

[@target9972]

@@piperhillfan5485 He might be also the creator of this music, do you know the opposite?

[@aaronjohns3997]

Beautiful - listen to Weingartner's and Szell's for more traditional Brahms 1; Klemperer for a comparable roar with a slower tempi.

[@classicalmusicreference]

Yes very good interpreters. We are soon publishing the complete Van Beinum :-)

[@jefolson6989]

Unlikel as it sounds, my favorite Brahms 1 is a live recording with the LSO under .....Stokowski! I had to be tricked into listening using a game of GUESS THE CONDUCTOR , since had I known I would have dismissed it. My opinion of Stokowski hasnt changed regarding other music, but this performance transcended the conductor the orchestra and even the composer. Tempi are perfect, phrasing is illuminating and the orchestra play with a rythmic precision ive never experienced andhis lacking in Furtwangler ..most performances, especially the 4th mvmt. Listen to it. DO IT NOW!

[@sebastientraglia1351]

The theme of the allegro from the 4th movement (35:20) is quite reminiscent of Beethoven's Ode to joy, isn't it?

[@bevaconme]

no offense intended, but when this resemblance was pointed out to brahms, he said, "das kennt jeder esel."

[@philiprutter1]

I love it. Where did you pick up this historical gem?

[@bevaconme]

i'm not sure where I first read it (in English), but it may have originated in max kalbeck's brahms biography, viz.: Brahms konnte unglaublich grob werden, wenn ihm jemand zu verstehen gab, er habe Beethoven »kopiert«. Einer Exzellenz, die sich viel auf ihre musikalische Bildung zu gute tat und nach einer Probe derc-moll-Symphonie zu deren Schöpfer sagte: »Es ist merkwürdig, wie das C-Dur-Thema in Ihrem Finale dem Freudenthema der ›Neunten‹ ähnelt«, erwiderte er: »Jawohl, und noch merkwürdiger ist, daß das jeder Esel gleich hört.«

[@philiprutter1]

Wonderful! Slightly different from your original quote- Daß würde Ich ubersetzen wie: "Indeed, and what is more amazing is that every donkey hears it the same way!" One has to wonder if Brahms prepared that snappy comeback from long need- or if it just popped out. Wonderful, either way. Esel carries more force than donkey; but the English alternatives are too forceful for polite reparteé; I think. :-) Danke sehr!

[@bevaconme]

bitte sehr.

[@antoniocucumazzo387]

W.F the best!

[@jamescho3171]

Does anyone have Frantz Konwischny’s Brahms Symphony No.1?

[@Felipe.Taboada.]

The 1952 version by furtwängler is even better, do you think so?

[@classicalmusicreference]

Furtwängler had already conducted 519 times a Brahmsian work with the First symphony at the first place with 117 performances. Eleven recordings of the First symphony have survived. Hambourg recording, according to many, this is Furtwängler's most fantastic performance of this symphony. The maximum is attained everywhere, in the recording by the sound engineer Friedrich Schnapp, in the orchestra, in the conductor's inspiration and never again are to be found fortissimi as these.This archive crystallizes the unforgettable genius at his full maturity.

[@Felipe.Taboada.]

@@classicalmusicreference i mean the february 10th version in 1952. kzbin.info/www/bejne/q3jIqYV-mpeceM0

[@Felipe.Taboada.]

@@classicalmusicreference I have them both anyway furtwangler is the best brahms conductor ever

[@mrinman7407]

Nooo

[@antoninopirrone2541]

❤️💕💕💕

[@jamesmalone9276]

epic

[@johannesvonnishizumi2456]

La portada del Album esta en español, jeje

[@dahlavibez5726]

omg 5 ads to just hear the start of this again

[@musicola7371]

If you use KZbin regularly, pay the extortion for Premium and you will not have to write anymore comments about ads interrupting your viewing pleasure.

[@dahlavibez5726]

@@musicola7371 Or just be patience and express either will do

[@peterheisler4648]

The greatest Furtwaengler Brahms 1st.

[@cbzigmund]

A great rendering with a world-shattering tympanist. Unfortunately the beautiful violin solo counterpoint obligatto near the end the second movement is too faint to hear properly. Fans should hear a modern well-recorded performance to hear that. One of Brahms’ most inspired moments.

[@nihilistlemon1995]

I like more modern sound , for me Bohm and Berlin in the 50ths is the century recording 😗

[@上田進-r2g]

ヨハネス・ブラームス 交響曲第１番 ウィーンフィルハーモニー交響楽団演奏ヴィルヘルム・フルトヴェングラー指揮大賛辞 何度聴いても、厭きる事のない、音楽の泉が、このブラームスに１番であります。ブラームスが、ベートーヴェンの高き精神を、引き継ぎ、敢然と戦い、創り上げた傑作であります。音楽の歴史の秘話であります。この事が、音楽の大切である事を、指し示したのです 擱 筆

[@上田進-r2g]

ブ ラ ー ム ス の交響曲第１番は音楽史上空前の傑作芸術であり、孤高の交響曲であります。 ブ ラ ー ム ス 22歳から構想して44歳の22年に及ぶ 渾 身 の 大 曲 であります。ハンスフォン・ビューローをして、ベ ー ト ー ヴ ェ ン の第10交響曲ではあるまいかと言わしめた。音楽の歴史の内でも稀にしかない、傑 作 であります。ベ ー ト ー ヴ ェ ン の流れを汲む不屈の魂を感じさせる名曲であります。初演はブ ラ ー ム ス 自身がウイーンで指揮を執り、此処には、ベ ー ト ー ヴ ェ ン の第９合唱交響曲の香りがある。雄 大 で 荘 厳 な曲想と、明暗の限りない変化、そして宗教的な宗教的な集結は、音楽の 法 悦 境を描いている、そして聴衆から大喝采を浴びた最初の交響曲であります。 己の､精神の集中に務め、聴く事こそ 最 重 要 であると 思 慮 するのであります。 擱 筆

[@classicalmusicreference]

ご意見ありがとうございます

[@上田進-r2g]

@@classicalmusicreference 様へのお便りであります。 ブラームスを聴く歓びを､満喫したのであります。然も、フルトヴェングラーの指揮に寄るものであります。フルトヴェングラーの愛した箴言｢すべて単純なものは偉大である｣ の言葉を信じ、その事を確信した今、喩え難き人生の意味と価値を享受したのであります。私の、拙文をお読み下さいまして、誠に有難とう御座いました。 擱 筆

[@j-mharari3374]

Il ne faudrait pas oublier la prise de son de Friedrich Schnapp, preneur de son à la Radio de Hambourg, et que Furtwaengler admirait car " il ne faisait rien " = son naturel, pas de trafficotages,...et un seul ( ? ) micro je crois.

[@mikedaniels3009]

Dear me, what doomsday music is THIS???

[@peterheisler4648]

The best Furtwaengler Brahms 1st.

[@marcmailly8176]

Kolossal. "la puissance titanesque de la conception est à nulle autre pareille dans la cité hanséatique en cet automne 1951. Quiconque a entendu le déluge sonore de l'introduction du premier mouvement n'en guérira point. Ce martèlement de timbales initial souvent à peine audible, ici en déflagration inouïe, suivi de roulements colossaux qui ne font jamais saturer la bande - Schapps connaissait la dynamique parfois délirante du grand Furt -, l'ampleur de la restitution sonore, l'atmosphère tellurique, les cordes en flot immersif, l'orchestre au bord d'une rupture de plaques tectoniques ne connaissent aucun équivalent dans la discographie. Ce souffle venu des profondeurs, résolu quarante-sept minutes plus tard dans la lumière déchirant le tissu orchestral, ce déchaînement élémentaire abattant des montagnes compte parmi les moments les plus fort gravés sur bande. Inutile de préciser qu'on n'en ressort pas indemne, au risque de trouver fade toute fréquentation de l'œuvre en salle." (Classica)

[@nihilistlemon1995]

Une suggestion : vous connaissiez la version de Kertesz avec la philarmonie de Vienne ? Bon ca n'a rien avoir avec la version de Furtwangler , je vous previens tout de suite lol . Deezer :www.deezer.com/album/6398034? youtube aussi kzbin.info/aero/PLusvwRonlFwboMGWhZW6ZvdLoXqnqH--f .

[@classicalmusicreference]

En effet rien à voir :-) Il y a beaucoup de très bonne versions, voici je pense n'avoir rien oublié le haut haut du panier : Brahms Symphonies 1-4 1-4 Furtwangler 1-4 Knapperstbusch 1-4 Van Beinum 1-4 Mengelberg 1-4 Boult 1-4 Jochum (première version DG)

[@nihilistlemon1995]

Classical Music/ /Reference Recording Arg je ne les connais pas tous. Je vais en écouter ce soir.

[@nihilistlemon1995]

@@classicalmusicreference alors pour la réponse tardive , je pense que Jochum deuxième est meilleur , déjà à la prise de son, mais en plus la LPO joue mieux que les berlinois après seconde guerre mondiale. Donc oui au passage abbado avec berlin est au dessus 😝

[@mikedaniels3009]

Wängelt mir ja den Furt fort und den Glenn Miller her. In my younger years i tried to get kicks out of such depressive, dark classical heavy metal. Nowadays it bores me to no end and i long for Glenn Miller and Gershwin. Cheers, all the same.

[@tomaxi007]

Das ist eine andere Welt. Die Welt des Überschwangs, des “positiven” Denkens, nicht des Nachdenkens. Klassische Musik ist eine Musik aus dem Verstand zum Gefühl und Jazz ist eine Musik aus dem Blut zu den Beinen.

[@maquina7002]

41:59

[@peterhelbich3334]

music is the language of god

[@kristenforster3662]

Which?

[@alirezaseyyed-ahmadian7743]

Absolument merveilleuse, mais seulement dans les mouvements extérieurs. Désolé! :-p

[@classicalmusicreference]

Que Wilhelm FURTWÄNGLER (1886-1954) soit arrivé en tête du vote de nos lecteurs est à la fois un peu surprenant et pas étonnant du tout. Un peu surprenant car il a disparu depuis plus de soixante-deux ans, que très peu d’entre nous ont eu la chance de l’entendre en concert et que tout ce que l’on peut connaître de lui procède d’enregistrements monophoniques qui ne sont pas d’une qualité technique aux normes actuelles. C’est donc que ‘’Furt’’ est resté un mythe. Pour d’excellentes raisons, et c’est là que le suffrage populaire n’est pas vraiment étonnant. Furtwängler nous vient tout droit du XIXe siècle. Fils d’un archéologue spécialisé dans la Grèce antique, consciemment ou non, il a certainement vécu de l’intérieur cette croyance mythique que l’Allemagne succédait à la Grèce, porteuse d’un message idéaliste, à la fois dionysiaque et apollinien. Ce qu’il nous donne a entendre, ce n’est pas un passé restauré, ‘’historiquement informé’’, c’est le produit sonore d’une sensibilité et d’une pensée profondément ancrée dans l’ère romantique, dans le temps de Wagner, de Brahms, de Bruckner. L’oeuvre serait un être organique dont l’interprète, agissant à la manière d’un prophète inspiré et comme en transe, ferait ressortir et ressentir les forces telluriques qui la travaillent. Rien de plus antimoderne que cette conception idéaliste. Voilà pourquoi, quand on écoute une interprétation de Furtwängler, on ressent une émotion différente. Furtwängler n’aimait pas fragmenter une prise de son, quels que soient les défauts. C’est dans le flux de l’interprétation directe et intégrale qui’il manifeste sa présence, sachant tenir les forces orchestrales en bride jusqu’à les faire exploser au paroxysme de l’oeuvre. Lors de la la session d’enregistrement de la quatrième de Schumann et après un certain nombre d’intérruptions par les ingénieurs du son, Furtwängler se mit en colère et interpella la régie : ‘’ Je ne tolérerai plus aucune interruption ! Je vais lever ma baguette et diriger cette symphonie d’un bout à l’autre, sans répit. A la première intervention de vos ingénieurs, j’arrête tout et je renonce définitivement à cet enregistrement. Veuillez régler vos machines une fois pour toutes ! ‘’ Cette enregistrement s’avéra un des plus grands enregistrement jamais réalisé. Au pupitre, il fut un chef charismatique. Quand il conduisait, quelque chose de spécial se produisait. On ne sait pas quoi exactement car sa direction n’avait rien de précis et tenait plutôt de l’action d’un chaman. Son repertoire, essentiellement la tradition allemande, de Bach à Hindemith soutenait son approche idéaliste, profonde et hautement personnel. Et, même lorsqu’il sort de sa sphère et part en excursion avec Ravel, Tchaïkovski ou Verdi, il les aimante, les ‘’furtwänglérise’’. Un vieux prince Russe fera ce commentaire : ‘’ Ce Berlinois né en Allemagne a mieux compris l’âme slave que n’importe quel Russe que j’ai entendu.’’ Reconnaître la suprématie du grand Furt, c’est donc reconnaître qu’après lui, quelque chose s’est perdu... Source : Classica (Avril 2017) / Livret Tahra (Sami Habra)

[@ireadoldmagazines7966]

Brahms really should have saved his openings for the end and hacked away at them to find the motivic heart and put that at the beginning. He was too much of a perfectionist for the beginning of his symphonies and this lead to the criticism (and I believe self-criticism) that he burned out his musical ideas before he got to the end. Think, it's like writing a story. The idea comes about for it, and you immediately know the beginning and the end but to write that all in the beginning of the piece completely would destroy the tension. But tuck foreshadowing of the end without a clear definition-- tuck that in the beginning; now that is tension!

[@marcelobarrosolacombe1408]

non plus ultra

[@FFnopal]

Que ingenuidad y falta de sentido común de los anunciantes que intercalan comerciales interrumpiendo a la música. ¿Deveras creen que correremos a comprar sus productos nada más por la única razón de que lo anuncian interrumpiendo una sinfonía de Brahms? Todo lo contrario, señores. Con perdón de todos los demás, a los anunciantes debo decirles que son bastante estúpidos

[@JohnBicknell]

Very atmospheric, but that slow down in the second group, no, no!

[@gayathriparthasarathy9099]

I wonder which edition he got this tempo from?

[@TJFNYC212]

It's terrific but lacks the snap of Abbado in the last movement. Abbado's is the BEST EVER! in opinion.

[@curt0571]

🤤

[@gayathriparthasarathy9099]

Brahms is not about snap, but I understand your point: it is crisp and beautiful. But this has depth and space. Each unique in his own interpretation.

[@Opoczynski]

Recording of the century? Reference recording? Whose opinions are these? Senseless arrogance. I disagree.

[@dvorakslavenskiples]

In your opinion, what is the reference recording of this symphony?

[@debwagner7505]

Jacob Opper: Comsensus @BBC

[@Opoczynski]

@@dvorakslavenskiples There is none. Every great conductor has his/her own way with the score. Examples: Klemp, Bernstein, Bohm, are just a few examples and are great in their own way.

[@Opoczynski]

@@debwagner7505 I don't consent. Sorry.