Composer: Johannes Brahms
Works: Symphony No. 2 in D Major, Op. 73; Symphony No. 4 in E Minor, Op. 98
Performers: Concertgebouw Orchestra of Amsterdam, Willem Mengelberg
Recording: Recorded 4/4/40 and 30/11/38, in the Concertgebouw, Amsterdam, Holland
Label: NAXOS Historical 8.110158
Johannes Brahms, a titan of the Romantic era, composed his symphonies amidst a milieu that both revered and scrutinized the legacy of Beethoven. The Second Symphony, completed in 1877, is often celebrated as the composer’s most buoyant work, offering an expansive canvas of lyrical beauty and rhythmic vitality. In contrast, the Fourth Symphony, finalized in 1885, embodies a more profound philosophical introspection, culminating in a passacaglia finale that captures the weight of human experience. This Naxos issue presents two historical recordings under the baton of Willem Mengelberg, a conductor whose long tenure with the Concertgebouw Orchestra profoundly shaped the ensemble’s sound.
Mengelberg’s interpretation of the Second Symphony is imbued with a palpable urgency, manifesting a sinewy energy that eschews the temptation to linger excessively over its lyrical passages. The Concertgebouw strings, renowned for their rich timbre, deliver a velvety warmth, particularly in the first movement’s opening theme, where the violins soar gracefully against the plush backdrop of cellos and basses. This performance exhibits an athletic quality, as noted by Ian Julier in the liner notes, which captures Brahms’ intent without sacrificing the lyrical essence. While Mengelberg’s pacing may not reach the electrifying heights of Toscanini’s 1952 account, it possesses a distinctive character that fully engages the listener from the outset to the rousing coda.
Turning to the Fourth Symphony, recorded approximately a year and a half earlier, the sonic landscape reveals itself to be slightly more compact due to the Telefunken engineers’ closer microphone placements. However, this proximity serves to enhance the clarity of inner voices, illuminating the intricate counterpoint that Brahms so masterfully wove into his score. Mengelberg’s reading is marked by a vigorous drive that complements the work’s dramatic tension. The first movement unfolds with a compelling sense of momentum, while the third movement, with its poignant theme, showcases the orchestra’s ability to convey deep emotion without sentimentality. The performance culminates in a fiery interpretation of the passacaglia, where Mengelberg’s command of dynamics and phrasing truly shines, capturing the essence of Brahms’ marking of energico e passionato.
The sound quality of these historical recordings is commendable, despite the inevitable blemishes of age. Ward Marston’s transfer efforts have yielded a listening experience that respects the original acoustical environment of the Concertgebouw, allowing the listener to appreciate the orchestral colors and textures with surprising clarity. While there may be instances of congestion during climactic moments, the overall fidelity allows Mengelberg’s interpretive choices to resonate effectively. This Naxos release stands as a testament to the legacy of both conductor and orchestra, illuminating their long-standing partnership that dates back to 1895.
The current disc is an essential acquisition for those seeking to deepen their understanding of Brahms through the lens of historical performance. As a distinguished addition to the pantheon of Brahms symphonic recordings, it not only showcases Mengelberg’s dynamic interpretations but also highlights Naxos’ commitment to preserving and promoting significant performances from the past. The combination of engaging interpretations and remarkable sound quality makes this offering a compelling invitation to both seasoned collectors and newcomers alike.
