Brahms: Symphonies; Piano Concertos; Violin Concerto

The sound is in fact a deal-killer here. This set came highly recommended, and I'm sure the performances are fine--but I can't really hear any detail. One reviewer described the sound as "muddy and clouded." Note: I'm listening to an Emotiva CDP through Beresford DAC into Rotel RSX-1065 (stereo) into Rectilinear IIIs. Not a world-class system, but not too shabby either. Almost every other symphonic recording I own provides more detail, more instrumental landscape, than this one. I really thought something was wrong with my system when I sat down to listen. Everything sounds "brown," with a muting of orchestral color. There's a general swelling of tones, but no sense of the intricacies that comprise them. Really a sonic disappointment. Help me out here, those who comment--am I missing something?

the brahms symphones cds are not that well recorded, the sound comes off as muddy and clouded.as i already own the symphonies in bluray, i bought the set only for the DVD, which features liza batishivili in glorious performance. it's the only way you can get this DVD.

DG should be embarrassed - one of the poorer sounding recent recordings. The performances are first rate, and of course this is a fine deal. But the quality standards of DG here are not acceptable, and thus these performances of the symphonies are so poorly recorded that they can not be recommended. Go back 20 plus years prior to this recording and you can have as good performances by Giulini on DG in far better sound. Of course, Kleiber's epic Brahms Fourth was on DG and had much better sound than what is captured here - again 20 or so years prior to this recording. Or just go back to Karajan - and maybe it was just the case of a time when the conductor could dictate to the record label the quality of sound acceptable for commercial release. One hopes that Thielemann can find better partners to work with, as his art is not being captured such that his listeners can hear how great an artist he truly is.

building a collection, haven't heard it all - but came just fine

Sets of the 4 Symphonies of Brahms abound in the catalogue, as these great planks of Romantic concert repertoire continue to move and inspire audiences worldwide-indeed they are as built into our musical DNA as the symphonies of Beethoven.Like the symphonies of Bruckner, who admired Brahms almost as much as he revered Wagner, they respond well to extremes of interpretation, from the massive architecture of Giulini through the eccentricity of Bernstein to the" lean and lithe" interpretations of Mackerras and Harnoncourt utilising the Meiningen Editions of the works. There are countless others versions in between-and then there is of course Karajan!However, one set has dominated the "First Choice" position since its release in the 1970s-Sanderling and the Dresden Staatskapelle. The warmth of the playing, the sanity of the interpretations, and the flexibility of the conducting have combined to make it a front runner in the face of very stiff competition.Recent sets from Chailly and Rattle a couple of years back divided opinion-mine was on the negative side overall-but now comes a set From the same glorious orchestra as Sanderling under its current Director-and let me assure you that it is something special.Recorded at live performances in 2011 and 2012, thankfully in the generous acoustic of the Semper Opera, the recorded sound is full, lush but not over so, and captures the glorious playing of the magnificent orchestra better than any recording from DG in recent years.I hesitate to use the word perfection, but in terms of recording and playing this comes as close as is possible.I greatly admire Thielemann's Vienna Beethoven set, and I expected more of his ultra-conservative style with Brahms, but I was utterly taken aback by the thrust and dynamism of these readings!I have recently been wallowing in sets by Maazel and the BRSO (only available from Germany though a new release is expected soon) and Svetlanov with the Swedish Radio Orchestra, both very dynamic in approach-but they take a distant second place to this new set.Thielemann takes a distinctly "classical" approach-more so than he did with the Beethoven set-but there is no sacrifice of warmth or beauty. He does not take a rigid metronomic approach, but when rubato and changes of tempo are applied, it is done subtly and effectively.The First Symphony is bold and dynamic, the Second is truly joyful, and the Third a triumph-for me the platinum performance of the set- and the Fourth is thrusting, exciting and highly dramatic in the finale.Okay, the Second could take a slightly more lyrical approach perhaps, as the approach is very redolent of Klemperer's Philharmonia account-Karajan in the 1960s is unsurpassable to my ears, though I LOVE the Giulini-and in the opening of the Fourth, no-one has ever moved me the way Karajan does again in his 1960s recording-but then again the Scherzo and Finale of the Fourth are breathtaking with Thielemann.There is warmth, humanity and an overwhelming sense of the good that lies in the human soul throughout, without exaggeration and with a sure touch to every phrase.The 3 discs are generously filled, and the 2 Overtures are very fine, particularly the Academic Festival which is indeed a festival of student bonhomie in this performance.All of the works on the CDs are among the very best-and in the case of the Third, I am tempted to suggest that it is the finest yet!No set is better recorded or played; few are as good in this respect.It does not end there-there is a bonus DVD featuring concerts of the Piano Concerti with Pollini, and the Violin Concerto with Lisa Batiashvili already released on CD in past years to great acclaim (I commend you to reviews by Santa Fe Listener).These are very well presented and can of course be played as "sound only" on the right player, which is what I propose to do in future. They are superb, all 3 though they do not displace my favourites.I am not an unreserved Thielemann admirer-there are a few recordings by him that I positively dislike-but I am taken aback by the superb conducting on this set, which is not in any sense "safe" meaning dull, and this set now becomes an absolute top recommendation-and at a bargain price too-in the UK at least!5 Glorious Stars. Stewart Crowe

I would first say that in a catalogue bursting with recommendable complete sets of the Brahms symphonies, this is by no means necessarily a top recommendation yet taken as a whole, it represents a superb bargain set and few tyros will be disappointed by it. Older hands will cling to sonically inferior but artistically more individual or striking interpretations, starting with Furtwängler's mighty and inimitable accounts, best heard on the Pristine re-masterings or, failing that, the EMI Références box.Regarding temperament and tempi, Thielemann is in fact closer to Furtwängler and the complete cycle recorded by Abbado between 1988 and 1991 shortly after he took the helm in Berlin. These are grand, magisterial readings in absolutely first rate sound despite being recorded live and being intermittently afflicted by coughers, especially during the quieter moments of Pollini's Piano Concerto No.1. If you want a tenser, more urgent approach, go to Toscanini or the dark horse van Zweden set on Brilliant but this DG issue simply oozes quality throughout the four symphonies, two overtures and three concertos offered here on three well-filled CDs and a dual-purpose DVD (i.e one which can be played on some CD players). I am not about to ditch my adherence to the wonderful Levine cycle and at times I do find Thielemann just a little comfortable and soft-edged but I am also aware that he is a conductor who always takes a long view and sticking with him pays dividends, as he always has a grip on the unfolding of a movement and builds inexorably to overwhelming climaxes as, for example, in the opening movement of No.1. His preparation of the return of the Big Tune at 5'05" in the Finale is masterly, but what is sometimes missing is a sense of terror or awe; Thielemann provides warmth, dignity and velvety playing from the Dresden Staatskapelle which for some will be too civilised. This is apparent in an otherwise excellent version of the "Tragic Overture" which is too refined compared with, say, Stokowski's recording made in 1977 when the conductor was an incredible 95 years old and still driving hard. The sequence of percussive chords which form the main theme needs a little more bite and attack than Thielemann gives them. However, the Academic Festival Overture is superb: riotous and genial.Having voiced a few minor reservations, I cannot deny this box set any stars on account of the standard of playing in combination with the superb concertos. Pollini is extraordinary: never a routine or unfelt phrase and immense concentration of purpose throughout. He plays both concertos from memory and seems utterly immersed in the poetry of the music. There is nothing pompous or self-regarding in his playing and although fellow reviewers have questioned whether the great pianist, being 71 years old and in frail health, has the power to deliver the big moments, I hear no lack in the thunderous chordal passage eleven minutes into the first movement of No. 1 before the reprise of the main subject - and what a lovey partnership Pollini enjoys with the cello in the Andante. The performance of No.2 is just perfect; Pollini plays with a sweep and grandeur which puts this amongst my favourite versions, along with Gilels (with Reiner), Van Cliburn (Reiner again), Richter (Leinsdorf) and Kovacevich (Davis). The DVD provides visual evidence of the empathy between Thielemann and Pollini; there is no unseemly pushing and pulling, just one sweet symbiosis.Even more striking is the brilliance of the young Georgian violinist Lisa Batiashvili; she lives and breathes the music and exhibits astounding technique as well as musicality; hers is simply the best account of this Concerto I know.Thielemann's playing of the other symphonies is all of a piece; what I have briefly observed about his interpretation of No.1 applies throughout the cycle. Nothing rivals for me the two live performances of No.1 by Karajan in the Royal Festival Hall and the last tour of Japan, but the playing here is always exquisite and there is always a sense of momentum despite the steady pulse. Thielemann really pushes the last movement of No.2 and yet also judiciously applies rubato. The mighty thrum of the lower strings over the last three minutes of the Finale is a thrilling. No.3 can be problematic for some conductors but I like Thielemann's pacy, fluid approach and No.4 emerges as a mighty edifice.This makes an excellent bargain compendium of Brahms biggest and best orchestral works; Thielemann is almost never less than wholly dependable and here he frequently provides excellence without always taking us to the brink of sublimity as Furtwängler could.

Really pleased with this set at an amazing price as well. Ever since getting Thieleman's set of the Beethoven Symphonies some years ago, I've been waiting for him to record the Brahms symphonies and I have not been disappointed. The DVD of the Violin and Piano concertos is just an amazing bonus. Recording first rate.

Pollini and Brahms a perfect conjugation

Questo cofanetto presenta tre CD, contenenti le quattro sinfonie e le due ouvertures (Accademica e Tragica) di Brahms dirette da Christian Thielemann alla guida della Staatskapelle di Dresda, e un DVD contenente, sempre di Brahms, i due concerti per piano e il concerto per violino, solisti Maurizio Pollini e Lisa Batiashvili, ovviamente accompagnati sempre da Thielemann con la Dresden; le registrazioni sono avvenute dal vivo, nella sede della Staatskapelle, nel biennio 2011-2013.I giudizi non sono stati unanimi, prevalendo generalmente i consensi di pubblico e critica, ma essendoci anche una agguerrita minoranza di ascoltatori, fra cui valenti recensori che scrivono su Amazon, cui non è proprio piaciuta la direzione di Thielemann.In particolare ci si lamenta della dinamica seguita dal direttore berlinese, che sarebbe innanzitutto non coerente tra le diverse sinfonie e nell'ambito della stessa sinfonia ed inoltre troppo personale, superando anche le pur originali interpretazioni di direttori del passato di scuola tedesca (fra cui, in primis, Furtwaengler, Jochum, Karajan) che peraltro possedevano maggior entusiasmo e calore nell'affrontare queste partiture.Ora - nel condividere parzialmente questa visione - ritengo peraltro che le maggiori licenze siano state prese da Thielemann soprattutto nella prima sinfonia, dove in effetti i tempi sono molto dilatati, salvo un'improvvisa accelerazione finale: sembra quasi che il direttore sia ogni volta sul punto di sviluppare una melodia, salvo rallentare immediatamente il tema affrontato per soffermarsi su frammenti particolari, perdendo così di vista la linea principale e inevitabilmente la continuità del percorso musicale (e ciò può effettivamente irritare l'ascoltatore che si aspetta finalmente un punto d'arrivo, mentre il direttore continua a compiacersi di se stesso: non a caso, e giustamente, siffatto atteggiamento è stato definito "edonistico").Mi sembra però che le cose migliorino progressivamente nelle ulteriori sinfonie, fino a giungere all'esecuzione della quarta, che ritengo assolutamente corretta anche nell'agogica, oltre che ovviamente nel suono.E qui arriviamo ad un indiscusso pregio di queste esecuzioni, vale a dire il suono, che - grazie alla prestazione notevolissima della Staatskapelle di Dresda, che non fa che eseguire alla lettera i desiderata di Thielemann - è sempre morbido ed accattivante, a mio parere allo stesso livello di quello a suo tempo sfoggiato da Karajan con i Berliner Philarmoniker.Mi sembra che l'interpretazione di Thielemann, volutamente solenne e poco dinamica, non risponda tanto (o forse non solo) ad un bisogno edonistico, ma piuttosto intenda mettere in evidenza gli aspetti più intimi, a tratti addirittura mistici, che evidentemente il direttore ritiene siano contenuti nelle pagine di Brahms.D'altra parte - se si passa ad interpretazioni più vicine nel tempo a quelle di Thielemann - non trovo esempi particolarmente esaltanti e anche le incisioni di Claudio Abbado, che ritengo le migliori fra le edizioni moderne, non sono così accattivanti come quelle dei grandi direttori del passato.Discorso parzialmente diverso vale per i concerti: pur nell'ambito della solita dinamica, anche qui poco brillante, perseguita da Thielemann, abbiamo comunque ottime prestazioni da parte di Pollini, più riflessivo che in precedenti esecuzioni, probabilmente anche per assecondare la concertazione voluta dal direttore e costretto a cedere in punto di tecnica, soprattutto nel temibile secondo concerto, rispetto ad altre sue esecuzioni di qualche anno addietro (con Abbado e con Bohm): comunque, fatto salvi Gilels e Backaus, non vedo altri interpreti che possano stare al pari di Pollini.Infine il concerto per violino, probabilmente il meno convincente se paragonato a quelli eseguiti da "mostri sacri" del passato, in particolare Menuhin, Heifetz e Milstein, ma non tale da sfigurare se invece i contendenti si chiamano Mutter o Mullova.In conclusione, dunque, una interpretazione di Brahms da parte di Thielemann che non si accetta immediatamente e certo non va diritta al cuore, ma che - risentita più volte a mente libera - offre molti spunti di approfondimento (evidentemente mai sviscerati in passato) e che, grazie al bellissimo suono, risulta alla fine convincente.

Sets of the 4 Symphonies of Brahms abound in the catalogue, as these great planks of Romantic concert repertoire continue to move and inspire audiences worldwide-indeed they are as built into our musical DNA as the symphonies of Beethoven.Like the symphonies of Bruckner, who admired Brahms almost as much as he revered Wagner, they respond well to extremes of interpretation, from the massive architecture of Giulini through the eccentricity of Bernstein to the" lean and lithe" interpretations of Mackerras and Harnoncourt utilising the Meiningen Editions of the works. There are countless others versions in between-and then there is of course Karajan!However, one set has dominated the "First Choice" position since its release in the 1970s-Sanderling and the Dresden Staatskapelle. The warmth of the playing, the sanity of the interpretations, and the flexibility of the conducting have combined to make it a front runner in the face of very stiff competition.Recent sets from Chailly and Rattle a couple of years back divided opinion-mine was on the negative side overall-but now comes a set From the same glorious orchestra as Sanderling under its current Director-and let me assure you that it is something special.Recorded at live performances in 2011 and 2012, thankfully in the generous acoustic of the Semper Opera, the recorded sound is full, lush but not over so, and captures the glorious playing of the magnificent orchestra better than any recording from DG in recent years.I hesitate to use the word perfection, but in terms of recording and playing this comes as close as is possible.I greatly admire Thielemann's Vienna Beethoven set, and I expected more of his ultra-conservative style with Brahms, but I was utterly taken aback by the thrust and dynamism of these readings!I have recently been wallowing in sets by Maazel and the BRSO (only available from Germany though a new release is expected soon) and Svetlanov with the Swedish Radio Orchestra, both very dynamic in approach-but they take a distant second place to this new set.Thielemann takes a distinctly "classical" approach-more so than he did with the Beethoven set-but there is no sacrifice of warmth or beauty. He does not take a rigid metronomic approach, but when rubato and changes of tempo are applied, it is done subtly and effectively.The First Symphony is bold and dynamic, the Second is truly joyful, and the Third a triumph-for me the platinum performance of the set- and the Fourth is thrusting, exciting and highly dramatic in the finale.Okay, the Second could take a slightly more lyrical approach perhaps, as the approach is very redolent of Klemperer's Philharmonia account-Karajan in the 1960s is unsurpassable to my ears, though I LOVE the Giulini-and in the opening of the Fourth, no-one has ever moved me the way Karajan does again in his 1960s recording-but then again the Scherzo and Finale of the Fourth are breathtaking with Thielemann.There is warmth, humanity and an overwhelming sense of the good that lies in the human soul throughout, without exaggeration and with a sure touch to every phrase.The 3 discs are generously filled, and the 2 Overtures are very fine, particularly the Academic Festival which is indeed a festival of student bonhomie in this performance.All of the works on the CDs are among the very best-and in the case of the Third, I am tempted to suggest that it is the finest yet!No set is better recorded or played; few are as good in this respect.It does not end there-there is a bonus DVD featuring concerts of the Piano Concerti with Pollini, and the Violin Concerto with Lisa Batiashvili already released on CD in past years to great acclaim (I commend you to reviews by Santa Fe Listener).These are very well presented and can of course be played as "sound only" on the right player, which is what I propose to do in future. They are superb, all 3 though they do not displace my favourites.I am not an unreserved Thielemann admirer-there are a few recordings by him that I positively dislike-but I am taken aback by the superb conducting on this set, which is not in any sense "safe" meaning dull, and this set now becomes an absolute top recommendation-and at a bargain price too!5 Glorious Stars. Stewart Crowe

Cofanetto imperdibile. Grande esecuzione ed ottima qualità audio. Il rippaggio a 48/24 del concerto per violino evidenzia una migliore qualità audio. Raccomandatissimo!!!

Se lo regalé a una persona muy entendida y con una gran discoteca de música clásica. Le ha encantado y me ha comentado que, de las sinfonías de Brahms, este disco tiene algunas de las mejores versiones que ha escuchado.

僕にとって、この全集の価値はＤＶＤのおまけの方でした。シンフォニーの方は後になるにつれて演奏の質はよくなっていくものの、第１番などはテンポひとつとってもどうしてここで動かすんだろうかと思う場面がしきりにあり好きにはなれないでいます。それに比べると協奏曲の方は良かった。ポリーニは決して好きなピアニストじゃないんですが、ここでは威風堂々とした雰囲気で老獪さを発揮し、バティアシュヴィリも曲に雰囲気がピッタリ合っているようです。ティーレマンもこの３曲の方が、合ってるような気がします。

Brahms con i migliori interpreti possibili: Pollini, Batiasshvili, Thieleman e la sua Staatskapelle. Una delle migliori edizioni delle sinfonie, a mio giudizio. Eccezionali i concerti.

If you like your Brahms big and beautiful, then this is it!Following on from the tradition of Furtwängler and Karajan, this is music making of the highest order.The Staatskapelle Dresden are in top form and Thielemann is the best there is.All performances are from live performances and all the better for that.This set is a must.

ティーレマンは、演奏の質は違うもののクレンペラー、モントゥー、K・クライバー、晩年のクーベリック同様、第二ヴァイオリンを右に置く正統楽器配置が好い。モノラル録音時代に考案され20世紀後半の主流となった、弦楽器を高音部から低音部へと、左から右へと展開するストコフスキー・シフトは、第一ヴァイオリンと第二ヴァイオリンの対位旋律を全く無視しているのでどうも気に入らず、上記指揮者の演奏を主に聴き漁っている私にとっては、このセットは嬉しい。ストコフスキー・シフト以前の作曲家は、第二ヴァイオリン右で、第一ヴァイオリンとの対位旋律を念頭に作曲し、更にクーベリックの言うように、“左右に高音域の弦楽器の音の壁を作ることで音の厚み奥行きを持たせる”ことを当然として作曲していたのだから、ブラームス以前の音楽では、正統配置は必須条件。最近は、正統配置が見直されてきつつあり、採用する指揮者が増えてきているのは嬉しい限り。余談から入ったが、演奏自体は交響曲第二番、交響曲四番、両ピアノ協奏曲一番が気に入っている。交響曲三番、ヴァイオリン協奏曲も好い。何よりも、DVDで、70を迎える頃のポリーニの矍鑠とした演奏が映像でも見られるのが素晴らしい。ピアノ協奏曲２曲のCDも出ているが、CD2枚分と変わらない値段ですこのセットが買えるのだから、文句の付け所がない。映像が邪魔なら、目をつぶって聴くもよし。ポリーニにとっても、ブラームスのピアノ協奏曲は、思い入れがあるようで、確か、3度目の録音。（4度目かも？）若い頃のベーム、中年のアバドとの共演に比べて聴くも好し。技巧で言えば、既にポリーニは随分以前に頂点を超えている。技巧を楽しむのであれば、“ベーム共演盤”“アバド共演盤”の方に高い評価がされるのであろう。しかし、心ある聴衆は思い出してください。“バックハウス最後の演奏会”が、未だに、心ある聴衆に認められているのは何故か。この演奏会の彼の技巧は既に、“プロ演奏家”というには程遠い。寧ろ、素人以下とも言えよう。しかし、“少し休みを！”と聴衆に請うて、それでも尚且つ、演奏を続けようとした音楽への想い。“円熟”は技巧ではない。技巧を超えた所に、音楽の真髄があると言っては言い過ぎだろうか？ポリーニのブラームスへの溢れぬばかりの思いをこの演奏に感じるのは、私だけであろうか・・そうであっても、同じく老いてきた私にとっては、若き頃の“鬼気迫る”如き名演の数々を、想起しながら聞くこの演奏は、至宝である。このセットでは、ピアノ協奏曲第一番が一押し。このDVDはライヴなので、スタジオ録音にはない緊張感もあり、ちょっとした間の取り方にも、ショパンコンクールでルービンシュタインを唸らせた若き頃を彷彿とさせる感動があり、何度聞いても飽きない。この大曲は、生演奏だと第三楽章では少しダレるように感じることが多いのだが、編集なしの生演奏で最後まで緊張感を緩めず弾き続けるポリーニにもオケにも惹きつけられる。演奏終了後に、“続けて第2番も弾こうか”とでも言いそうな小柄な老巨匠の姿が見られるのもDVDならでは。老いた小さな身体にどれだけの音楽が満ちているのか・・・演奏後のポリーニとティーレマンが互いに視線を交えての微笑みには、ポリーニへの敬意とティーレマンへの信頼が感じられるのもまたDVDならでは。ポリーニの話に偏ってしまったが、手元に置いておきたいセットである。輸入盤だからなのだが、このセットが４０００円以下というのは信じられない安さでもある。

Nein, diese Zusammenstellung ist natürlich keine remasterte Wiederveröffentlichung alter Mitschnitte, sie sind aktuell. Aber kennen Sie das Gefühl: Sie haben eine alte Aufnahme, die sie lieben, und dann wird diese remastered wiederveröffentlicht? Plötzlich ist der Schleier weg, Sie hören musikalische Strukturen, die vorher verborgen waren, und Ihre Lieblingsaufnahme entfaltet eine ungekannte Strahlkraft?Ich liebe diese Momente, alte Schätze neu zu entdecken, und in gewisser Weise ist es so bei diesem Brahms. Der Unterschied ist lediglich, daß hier nicht alte Aufnahmen Christian Thielemanns mit der Staatskapelle Dresden und den Solisten Maurizio Pollini (Klavier) sowie Lisa Batiashvili (Violine) remastered wurden. Es sind vielmehr Brahms Werke selbst, die unter der grenzenlosen Spielfreude der Musiker in neuem Glanz erstrahlen. Hier greift Thielemanns Fähigkeit vollends, die musikalischen Strukturen aufzudecken und sie farbenprächtig leuchten zu lassen.Exkurs: Ungewöhnliche VeröffentlichungsstrategieDie Deutsche Grammophon bündelt nun erstmals alle Werke, die im Rahmen des Dresdner Brahms-Zyklus' aufgeführt wurden, nachdem diese mit Ausnahme beider Ouvertüren bereits zuvor in quasi drei Etappen erschienen sind. Es begann 2011 mit separaten DG-Alben: zunächst das Klavierkonzert Nr. 1, dann das Violinkonzert und schließlich das Klavierkonzert Nr. 2. Noch vor dem letzten Konzert veröffentlichte C major Ende 2013 die Sinfonien auf DVD/Blu-Ray inklusive einer einstündigen Dokumentation "Discovering Brahms". Und jetzt, einige Monate später, erscheinen mit dieser Box die Sinfonien (nun auch) und (erstmals überhaupt) die Ouvertüren auf CD mitsamt einer DVD, die die Filmmitschnitte der Konzerte beinhaltet.Das ist eine durchaus interessante Strategie! Sie läßt die Veröffentlichungen von Ton- und Bildaufzeichnungen über Kreuz laufen, so daß der Musikliebhaber am Ende – vorausgesetzt er hat alle Erscheinungen erworben – mit Ausnahme beider Ouvertüren alle Werke zweifach vorliegen hat. Er kann damit letztlich zwischen den Medien wählen. An sich finde ich den Ansatz interessant, aber auch verwirrend. Letztlich hätten es zwei Editionen, die jeweils ausschließlich Bild oder Ton abdecken, auch getan. Da zuvor nicht über diese Strategie informiert wurde, geht es schnell ins Geld, will man alle Aufnahmen genießen.Die DG-Box ist übrigens eine platzsparende Pappbox, die das Begleitheft und die CDs/DVD in Pappschubern birgt. Fast schon minimalistisch möchte man die Veröffentlichung nennen – zumindest optisch.Die Sinfonien, Konzerte und OuvertürenSie konnten es den vorigen Absätzen entnehmen: Ich tappte im Dunkeln und begann, mir die Aufnahmen beim jeweiligen Erscheinen zuzulegen. Daher habe ich bis auf die Ouvertüren und das Live-Violinkonzert (siehe unten) bereits alle Interpretationen besprochen. An dieser Stelle möchte ich einen kleinen Überblick geben, dabei prägnante, bereits abgegebene Bewertungen zusammenfassen und zugleich auf die kompletten Originalrezensionen verweisen, falls Sie sich weitergehend informieren wollen:I. Die Sinfonien Nr. 1-4,  ursprüngliche Veröffentlichung  auf DVD/Blu-ray, 5/5 SterneThielemanns "Brahms-Sinfonien, mit einem geistesverwandten Klangkörper interpretiert, verbinden viele Elemente [...]: feurig und geschmeidig [...], gewaltig [...], farbenfroh und menschlich [...], aber auch tiefempfunden, energisch und essentiell [...]. Ein solcher Brahms mit einem virtuos spielenden Orchester in bestem Klanggewand – was will der Brahms-Liebhaber mehr? [...] Sinfonien von berührender Intensität und homogener Vielfalt [...]."II. Das Klavierkonzert Nr. 1,  ursprüngliche Veröffentlichung  auf CD, 4/5 Sterne"Vielleicht ist es die Anlage des Werks an sich, die die Protagonisten im Konzert nicht so ganz zusammenfinden läßt. Dennoch höre ich die Einspielung gern, bieten doch die einzelnen Teile, Orchester und Klavier, einen faszinierenden Brahms. Nur leider zu einem Guß wollen oder können die Beteiligten ihn nicht verschmelzen."III. Das Klavierkonzert Nr. 2,  ursprüngliche Veröffentlichung  auf CD, 5/5 Sterne"Die Interpretation besticht durch eine fließende Brillanz und lyrische Schönheit, die außergewöhnlich sind. Was das erste so komplexe Klavierkonzert noch nicht vermochte, das versöhnliche zweite schafft es endlich. Es vereint die beiden großen Interpreten, Pollini und Thielemann samt seiner grandiosen Staatskapelle, zu einem überzeugenden Ganzen."IV. Das Violinkonzert,  Studio-Veröffentlichung  auf CD, 5/5 SterneDie vorliegende Live-Aufzeichnung (April 2013) und der ein dreiviertel Jahr zuvor entstandene Studio-Mitschnitt (Juni 2012) sind nahezu identisch. Zwar sagt mir die Live-Fassung eine Nuance mehr zu, aber große Unterschiede gibt es nicht. Daher möchte ich hier genauso aus der CD-Veröffentlichung zitieren:Die Einspielung des Konzerts ist "[...] äußerst gelungen: Soloinstrument und Orchester finden sofort zueinander, letzteres trägt Batiashvili regelrecht durch das Werk. Die Künstlerin zeigt dabei ein sehr hohes Maß an Virtuosität und Gefühl. Die Interpretation ist allerdings keine nach dem Format der Furtwängler-Menuhin-Aufnahme von 1949. Wer eine solch monumentale Schwere sucht, wird sie hier nicht finden."V. Die OuvertürenEndlich! Die Akademische Festouvertüre ist eine meiner absoluten Lieblingskompositionen aus der Feder Brahms'. Und die Musiker treffen hier die Kern des Stücks, wie man es kaum besser tun könnte: Es lebt das Heitere, Beschwingte, verbunden mit einem euphorischen Drang nach vorn. Fesselnd monumental findet man sie bei  Klemperer , mitreißend rasant bei  Walter , aber eine "perfekte" Festouvertüre gibt es nur hier. "Tragischer" wird es bei der gleichnamigen Ouvertüre. Bei ihr entfaltet sich die musikalische Anlage in ganzer Breite, so daß das Werk mich erstmals tatsächlich lockt. Andere Einspielungen lassen es einfach nur schwer erscheinen, aber in Dresden erklingt die "Tragische Ouvertüre" plötzlich transparent, und ihre Geheimnisse werden hingebungsvoll offenbart.Abschließende WorteBereue ich es, letztlich alle Veröffentlichungen des Brahms-Zyklus gekauft zu haben? Nein! Ich höre diese fast ausnahmslos großartigen Interpretationen ebenso gern, wie ich das Zusammenspiel des Dirigenten mit seiner Kapelle sehe. Aber ich hätte dennoch eine durchsichtigere Verkaufsstrategie bevorzugt, bei der ich nicht erst am Ende erfahre, woran ich seit nahezu drei Jahren bin.Eckdaten der Konzert-DVDLaufzeit: 147 MinutenBild: 16:9, NTSC, FarbeAudio: PCM Stereo, dts 5.1Menü: Englisch(Das Begleitheft ist in englischer, deutscher und französischer Sprache.) ursprüngliche Veröffentlichungursprüngliche Veröffentlichungursprüngliche VeröffentlichungStudio-VeröffentlichungKlempererWalter

encore une fois on confirme le talent du chef dans ce superbe coffret qui releve en cd l'integrale des symphonies et ouvertures et dans les dvd l'integrale des concertos avec notamment deux live tres emouvants de pollini qui malgré toutes les critiques conserve une technique parfaite et une emotion intacte

このセットは、ブラームスの交響曲全集がＣＤで収録されており、同梱のＤＶＤにはブラームスのピアと協奏曲１番＆２番と同ヴァイオリン協奏曲が収録されています。初めは、ブラームスの交響曲を主目的に購入したのですが、ＤＶＤの演奏（音も映像も）がとても素晴らしいです。何度も鑑賞してしまいました。

ブラームスの全集というと、みんなが録音していてゲロが出るほど発売されている。この全集も、良い部類に入るけれども、他の全集と較べて、そんなにリードしているとは思えない。何故、コメントを載せたかというと、付属のDVDが素晴らしいからだ。ポリーニや、バティアシビリの演奏風景が見られるからだ。普段、外国からの演奏家のコンサートに行くと、結構高いものについてしまうが、このDVDで最高のアングルで、映像が見られる。ポリーニの指裁きや、バティアシビリの弓使いが、手に取るように見られる。これが、とても良かった。普通、DVDを買うと3000円位してしまうが、付属のDVDでこれだけ内容の良いものが付いているのは、実に嬉しい。