Brilliant Classics have here produced a further iteration of
a mainstay of its catalogue. This set of Brahms’ symphonies
first surfaced in 2003 when it was given a mixed reception by
my MusicWeb International reviewer colleague Michael
Cookson. It was more enthusiastically received by Christopher
Howell on its second appearance in 2007. These issues included
the 11 Choral Preludes, Op.122, which are not included here.
The present third incarnation would suggest that the cycle has
sustained its reputation as an extraordinarily good bargain
edition.
I find Jaap van Zweden’s direct, unfussy way with Brahms very
refreshing. His robust manner and reluctance to pull tempi about
result in a rugged immediacy which serves the music very well.
Currently Music Director of the Dallas Symphony Orchestra, van
Zweden was only around forty when these recordings were made,
having already become the youngest concertmaster in the history
of the Concertgebouw Orchestra in 1979, when he was only 18
years old.
I was already aware of his way with Brahms from his single super-bargain
CD of Brahms’ Third and Fourth Symphonies. So impressed by the
drive and swing he brought to them, I jumped at the chance of
hearing him conduct all four. His manner is similar to that
of the young James Levine in the recently issued RCA bargain
box which includes his recordings of the Brahms symphonies made
in the late 1970s and early 1980s with the Chicago Symphony.
Van Zweden’s two orchestras might not have the same sumptuous
sheen on the strings or the benefit of the extraordinarily rich
and vividly re-mastered 24-bit analogue sound given to Levine,
but neither is the sound or playing second-rate. Furthermore,
Van Zweden secures an excellent balance between strings and
wind, allowing more detail to emerge. His tempi, timings and
temperament are all very similar to Levine’s with the exception
of the opening movements of the Second and the Third. He takes
the repeat in the former but not in the latter. Neither Van
Zweden nor Levine gives us the repeat in the first movement
of the First. Both conductors nonetheless manage to convince
the listener with their interpretations of allegro and
both are clearly aware that only one of the slow movements is
actually marked adagio. Even that marking is qualified
by non troppo, hence there is a free-flowing quality
to the second movements in all four symphonies. In his 2003
review, Michael Cookson complains:
"The 1999 Hilversum recording of the Second Symphony has
a better orchestral balance but it suffers from a languid and
inert first movement. Clocking in at twenty-one minutes; several
times it nearly grinds to a halt."
I wonder if this objection is the result of not having realised
that van Zweden takes the repeat; his timing is in fact identical
to Abbado's lauded Berlin account and is, to my ears, similarly
lyrical and tender. The observation of the repeat lends a sense
of pastoral clam and “heavenly length”.
The propulsive qualities of the sostenuto opening of
the First are again very similar to Levine. In fact van Zweden
gets the pace just right for the allegro opening of every
symphony, supplying that special sense of Brahmsian urgency
which makes a kind of nervy expectation throb through every
bar. It’s a pity that there is a sudden diminution in volume
after 26 seconds – a minor blot, presumably a sound-engineering
accident. The Scherzo is fleet but the introduction to the Finale
lacks some of the weight and sense of foreboding achieved by
Karajan in his wonderful, live 1988 recording at the Royal Festival
Hall with the BPO – still my favourite performance. The Big
Tune is broad and spacious.
There is no great necessity to dissect van Zweden’s treatment
of each movement in every symphony as his interpretations really
are all of a piece. However, notable successes include the Allegro
non troppo of the Second Symphony which sings here with
no sagging of the pulse. Van Zweden nicely differentiates it
from the following adagio by hinting at a brooding melancholy
beneath the bucolic calm. The Third benefits from his avoiding
too much sleepiness in the allegro and he confers a yearning
beauty upon the grim little Scherzo. The Fourth is characterised
by an appropriately heroic determination. This is combined with
the lyricism demanded by the profusion of Brahms’ profligate
and prodigal melodic invention. The horns opening the andante
are superb, but so much of the orchestral playing here is
remarkable given that neither orchestra is necessarily considered
to be front rank.
Excellent and informative notes written by Bernard Jacobson
are provided. Timing errors in the original issue have obviously
been rectified.
There are many recommendable recordings, not least by Karajan,
Bernstein, Toscanini or, more recently, digital sets by Abbado
and Rattle, but Van Zweden’s vision of these four great pillars
of the repertoire is wholly cohesive and persuasive. As an exceptionally
attractive and affordable introduction to Brahms’ symphonies,
this boxed set from Brilliant Classics could hardly be bettered.
Ralph Moore
Netherlands Philharmonic Orchestra/Jaap van Zweden 
