The symphonies of Johannes Brahms form a curious
quartet. The First may not be “Beethoven’s Tenth”, as Hans von Bülow dubbed it,
but it’s a journey of epic proportions all the same. The Second may have been
Brahms’ most inspired symphony, but I have always found it the least memorable.
The Third, by turns wistful and grand, may be the most unjustly underrated
symphonic work by a major composer in the standard repertoire. The Fourth is a
perfect masterpiece. For once, Johannes let his hair down and surpassed
himself.
Karajan conducted the symphonies for more than 50
years, from the 1930s to 1988, though by no means equally often. The First was
his greatest favourite (143 performances), followed closely by the Second (134
performances). The Third and the Fourth managed only 50 and 61 performances,
respectively. He recorded them as a set on three occasions, always with the
Berlin Philharmonic for DG, in 1963-64, in 1977-78, and in 1987-88. The
difference in the sound is considerable, and though Karajan was genetically
incapable of playing Brahms badly, at least one set fails to reach the greatest
artistic heights.
The 60s set is splendid. Unlike Karajan’s first take
of Beethoven’s symphonies, which is overrated for historical reasons, this one
really is one of the Brahmsian summits of his recorded legacy. The sound is sumptuous
and spacious, remarkable for its age and little dated by modern standards;
occasionally there is a slight shrillness in the strings and the brass, but
nothing to make fuss about. Add to this the compelling musicianship, as
exciting as a live concert or even a dress rehearsal, and you have a
no-brainer. Essential set for Karajan and Brahms aficionados alike. The First
is the superstar. It may be the finest Karajan ever did. There is a sense of
spontaneity he didn’t always achieve in this elusive work. From the arresting
opening (one of the greatest in the symphonic repertoire) to the sweeping
conclusion, it flows as smoothly as it almost never does.
The only problem with this set is that it’s not
available as a set. I don’t know about old editions, but the new remasters are
spread on three different CDs. The Second and the Third are collected together.
The First is coupled with Schumann’s First from 1971 in Originals series. The Fourth can be found on the Karajan: The Music, The Legend twofer
(CD+DVD) or, if you don’t mind the repetition or the trouble of acquiring it,
the Japanese edition of the Third and the Fourth. DG really should consider re-issuing
these recordings as a handsome set. They deserve it. They sure have earned it. 
The 70s set is strange. Interpretation-wise, the unbridled
approach, so exhilarating in the 60s, has degenerated into questionable
histrionics and tense, debilitating urgency. Occasionally, as in the finale of
the Fourth for instance, this is refreshing. But for the most part it is plain
awkward. It might benefit Tchaikovsky, Richard Strauss or even Beethoven, but
certainly not a timid creature like the good old Johannes. Worse than that, the
late analogue sound is dreadful. I wonder how it was approved for release. Flat,
harsh, arid and right-up-your-face, it is nearly unlistenable. The strings and
the brass have a metallic edge that grates on the ear. In short, it is the
epitome of “manipulated”, “doctored”, etc. sound. I don’t mind it’s artificial;
every recording is. I just don’t think the music is well served by it.
Ironically enough, this is most easily available set.
It has been released on two or three discs (together with the Tragic Overture and
the Haydn Variations) countless times, including in the so-called “Karajan
Symphony Edition”. Avoid it anyway.
The 80s set is magnificent. I suspect I am not even
in the minority here. I am probably the only person in the world who considers
this set Karajan’s best. But as my favourite writer says: “Nor does it greatly
disturb me to discover that my judgement is at variance with that of the
majority. I have a certain confidence in my instinct.” If I am forced to choose
between them, I will be very sorry to part with the 60s set, but I will not
hesitate to do so.
The digital set has not a single weakness. The sound
is stupendous, almost as rich and sensuous as the one from the 60s, but with
marked improvement in terms of clarity and dynamics. The interpretations have
matured and mellowed. They are slower and weightier, too. The near-hysteria of
the 70s is toned down and there is a polish absent in the 60s set. Yet there is
nothing slack or slick, nothing pretentious or soporific, in these
performances. On the contrary, the dramatic intensity is shattering; the brass
and the timpani are more prominent, often to a great effect, and the strings,
though less lush than in the 60s, boast unheard-of commitment and precision.
Just listen to the development in the first movement, or to whole finale, of the
Third. The First may not be quite up to the landmark from 60s, but neither is
much inferior to it. The Fourth is the superstar. It is by far the finest
Karajan ever did. Note the stunning finale of the first movement where he
creates something that must be heard to be believed. The trombones in the
finale for once don’t blare, and the effect is chilling. In case you wondered,
the good old Johannes does thrive on subtlety and sensitivity.
Getting this set as a set isn’t easy, either. The old
1991 edition is very nice, on three discs and including the Tragic Overture and
the Haydn Variations (both from 1983). It’s been out of print for ages but cheap
second-hand copies can still be found (for example, here).
There once was a Japanese version of this set, but it must by now be even
scarcer and considerably more expensive than the original. Fairly recently, in
2001, DG released, for the first time ever, the four symphonies squeezed on two
CDs in their DUO series. For some obscure reason, this is not available on the Amazons.
If you search hard enough online, you may still find it reasonably priced. Look
for a green cover with the young Johannes on it.
Miscellaneous recordings. Karajan first recorded the
First in 1943 with the Concertgebouw. Richard Osborne has gone as far as
suggesting that this is the finest of his six studio recordings. He must have
smoked something really strong! The Philharmonia years yielded recordings of
the First (1952), the Second (1955) and the Fourth (1955). Only the Second,
recorded in marvellously vivid early stereo, can stand comparison with the Berlin
Video recordings. The first two symphonies from the
digital set have been released on DVD. How much they overlap with the audio
versions is debatable, but the performances are terrific all the same; no
quibbles about the sound or the picture. If we are to believe John Hunt,
Karajan’s most conscientious discographer, the Third and the Fourth were also
recorded on video. Why they have never been released is an enduring mystery. The
Unitel DVD that was released in 2008 for Karajan’s Centenary collects
incandescent live performances with the Berlin Philharmonic from 1973. Very
much worth seeing and hearing!
Bottom line. Depending on your personal preferences
in terms of sound and vision, the choice is between the 60s and the 80s set. The
old set is rightly and lavishly praised. I don’t really know why the digital one
has had such a bad press. The 70s set is for Karajan collectors only. Even if
you happen to like the interpretation, the sound alone disqualifies it. The one
set that everybody must avoid is the
travesty in Karajan The Collection
which collects the first three symphonies from the 80s and the Fourth from the
70s. The difference in the sound alone is jarring and very, very unpleasant. From
the miscellaneous recordings, only the Second with Philharmonia is really
indispensable.
 |
| The set to be avoided! |
