I waited to write a review on these discs. After reading rave reviews, I expected much better. But I had great difficulty in finding an interest in this interpretation. I excluded from this indifference the blurb very enlightening and informative Peter Korfmacher, which seems to have worked extensively with the chief, he often cites, in order to understand his approach. Also useful are the passionate alternative fragments or movements ultimately not retained by Brahms, the 1st and 4th Symphonies (that of the first, the Andante, is placed in the CD 3, because there was not enough room to put a result of the symphony).
In short, after a feeling of boredom explaining a first rejection response, I switched to a more balanced judgment. But even after waiting enough, I am not reached the stage of passionate interest in this interpretation, whose flagship nevertheless seems to be the fourth. I approfondirai may not be enough, because I rather want to hear other versions thereof.
Other leaders have sought to alleviate Brahms, Doráti for example. This has mostly managed to remove her weight to make the one, pretty and meaningless, with a sort of droll grace. He, like Chailly, using fast tempi. I think there is more to hear in the Brahms Chailly than in Doráti. However, Van Beinum unfortunately neglected by Universal, perhaps because Haitink integral with the same orchestra had forgotten, associated speed, enthusiasm, passion and instrumental transparency. Despite taking a mono or stereo sound of the 50s, the instrumental details are as readable in the Dutch chef than in Italian. Overall, the comparison is unfortunately overwhelming for him.
Despite efforts to remove fat to this music with traditions of interpretation had coated, instrumental complexity remains, Brahms will never Mendelssohn. We must accept a certain thickness, a binder needed continuity. I also feel that Chailly has taken away to the music of Brahms and more muscle than fat density; but it is especially true in comparison to Van Beinum. At times, I think the game pearl "French" Marguerite Long (Piano): efforts to shorten the notes, and there it also leads us to the old instruments, which panting. It is certain that it promotes the perception of instrumental details, especially as the technique has not annihilated the clarity of efforts by artificial reverb.
The best of this integral is probably the grace of certain phrases, which must also soloists Gewandhaus. But this version is probably better for some of its details than for all. This is certainly the impression I warn every time I listened to a symphony or two. But, in conclusion, lighten Brahms, is a waste of time. Please note that it is not necessary to add the bechamel.
