{"product_id":"busch-conducts-brahms-symphonies-1-2-4-et-al-1942-50-pasc570","title":"BUSCH conducts Brahms Symphonies 1, 2, 4 et al (1942-50) - PASC570","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 1\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 2\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 4\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eTragic Overture\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eNänie\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive and studio recordings, 1942-1950\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 25:36\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eDanish Radio Symphony Orchestra \u0026amp; Choir\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eVienna Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFritz Busch\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC570.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\nFritz Busch’s (1890–1951) affinity to the music of Johannes Brahms gestated\nfrom fairly early in his life, not least when he was a student at the\nCologne Conservatoire from 1906 to 1909. One of his teachers there was\nFritz Steinbach (1855–1916), a noted Brahmsian, who had closely\ncollaborated with the composer from at least 1886 and who became a kind of\nfather-figure to Busch (Busch calling his mentor “uncle” from soon after he\nhad left the Conservatoire). As Christopher Dyment, who has in detail\nstudied the early recorded performances of the Brahms symphonies in\ncomparison to those of several other conductors, wrote: “More than any\nother recording conductor he had the chance to observe and absorb the\nSteinbach method and style”,[1] and although they had their differences over stick technique, this was soon\nforgotten and Steinbach eventually became godfather to Busch’s first child,\nson Hans Peter, in 1914.\n\u003c\/p\u003e\n\u003cp\u003e\nThe close Brahmsian connection resulted in Brahms’s music featuring\nregularly in Busch’s orchestral concerts, from as early as his first\nappointment, in Bad Pyrmont, on 22 July 1909. Busch was particularly\ninterested in performing Brahms’s Symphonies Nos. 1, 2 and 4 as well as the\n‘Haydn’ Variations and the Violin Concerto, each of which works he\nconducted at least twenty times. While however renderings of neither the\nViolin Concerto nor the ‘Haydn’ Variations conducted by Busch seem to have\nsurvived, so has a performance of the First Symphony, aired on 1 February\n1942 from New York’s Carnegie Hall. This performance has survived in\nseveral collections in varying quality, including the Minneapolis Public\nLibrary and private collections in Europe and abroad, but has never before\nbeen issued on LP or CD. Christopher Dyment has stressed this performance\nto be “as remarkable as the 1931 broadcast performance of the Second\nSymphony”.\n\u003c\/p\u003e\n\u003cp\u003e\nHis earliest ascertained rendering of Symphony No. 2, in D major, took\nplace during the above-mentioned debut concert in Pyrmont. A famed\nperformance of the work, by the Saxonian Staatskapelle Dresden in Berlin on\n25 February 1931, was transmitted on radio and has been subsequently\nreleased on CD.[2] Sixteen\nyears later, in cold October 1947, Busch recorded the symphony for The\nGramophone Company Ltd. (as a short break from \u003cem\u003eMacbeth\u003c\/em\u003e\nperformances in Stockholm), the recording (which was sold out in New York\nby Christmas 1949) being hailed by the press as exceptional: “the Danish\nstrings are radiant in the first movement, the tart winds at the opening of\nthe Andante grazioso lend a piquant flavor, and the driving last movement\nis rousing. Busch’s Adagio is noteworthy for its tenderness, even at a\nfluid tempo considerably faster than Bruno Walter’s reading of that\nmovement” (Dan Davis in\u003cem\u003e Classics Today\u003c\/em\u003e). And John Gray (in the \u003cem\u003eDesign Review\u003c\/em\u003e) stated that “one is glad to note that the Danish\nset is excellent in every way, both as performance and recording.” Busch\nhad taken over the post of Principal Conductor of the Danish Radio Symphony\nOrchestra in 1937 and held this position until his death; during the war he\nhad been forced to stay away from Denmark, and Kai Flor (in the \u003cem\u003eBelingske Tidende\u003c\/em\u003e) described the performance of the symphony on 10\nOctober 1946 as Busch “embracing the symphony and penetrating it with his\nwarm musical feeling, educing strength, gentleness, grace, bright humour\nand eventually subdued mysticism from it, well into the radiant, percussive\nfestiveness of the finale. What a richness, what a beauty of thoughts, of\nfeeling, of soul! – Yes, for this we had waited for six years!” And\n‘Schap.’ in the \u003cem\u003eBørsen\u003c\/em\u003e wrote: “Under Busch’s hands all the\nsymphony’s vitality and spontaneous zest for life were released – he can\nwork with an orchestra so that it sings and sounds beautifully, and at the\nsame time clarify the overall form, as if one has the feeling of the work\njust being created.” Like Weingartner and Toscanini, Busch’s Brahms\nfeatures brisk tempos, clear textures, and firm rhythms (all, according to\nWalter Frisch, hardly to be linked with Steinbach’s performing tradition),\nbut these attributes are leavened by a warmth that sometimes eluded the\nother two conductors – the latter quality undoubtedly being imparted by\nSteinbach.\n\u003c\/p\u003e\n\u003cp\u003e\nWhile renderings of neither the Violin Concerto nor the ‘Haydn’ Variations\nconducted by Busch seem to have survived, so has a performance of the First\nSymphony, aired on 1 February 1942 from New York’s Carnegie Hall. This\nperformance has survived in several collections in varying quality,\nincluding the Minneapolis Public Library and private collections in Europe\nand abroad, but it has never before been issued on LP or CD. Christopher\nDyment stresses this performance to be “as remarkable as the 1931 broadcast\nperformance of the Second Symphony”. [3] “In his interpretation,\nmuch of the first movement and the whole of his electrifying finale for the\nmost part ring true as remarkable recreations in the spirit of his teacher\n[Steinbach]; so, too, do his broad, flexible but never inflated\u003cem\u003eAndante\u003c\/em\u003e second movement and his free-flowing but never pressurized \u003cem\u003eAllegretto\u003c\/em\u003e third movement [...] Busch’s Brahms First Symphony must\nbe counted among the prime documents available in the task of\nreconstructing the Meiningen way.” [4]\n\u003c\/p\u003e\n\u003cp\u003e\nIn September 1950 Busch conducted his last of a total of some 14\nperformances of Brahms’s Tragic Overture at the Danish Radio Concert Hall.\nGrete Busch recalls that “a golden Danish autumn” was kind of reflected in\nthe delighted and delighting concert, which apart from the Tragic Overture\nfeatured Brahms’s \u003cem\u003eNänie\u003c\/em\u003e, Op. 82 (which sadly has survived only\nincomplete and appears, in a reconstructed version, for the first time [5]), and Beethoven’s Ninth\nSymphony, the critics praising “noble lines” and “real Brahmsian\ntemperament”. (One year previously, on 6 October 1949, another Brahms\nperformance had been broadcast from Copenhagen, a famed Alto Rhapsody\nstarring English mezzo-soprano Kathleen Ferrier; [6] we are lucky that further\nto this performance also another one, dated 10 December 1950, given at the\nHuman Rights Day Declaration for the United Nations concert in New York,\nthis time starring American Marian Anderson, has survived and is available\nfor comparison with the Danish performance. [7])\n\u003c\/p\u003e\n\u003cp\u003e\nThe very same month Busch visited war-ravaged Vienna, where he made some LP\nrecordings with the Niederösterreichisches Tonkünstler-Orchester for the\nRemington label, of music by Beethoven and Haydn, where he conducted\nseveral opera performances (which were intended as a kind of signal of him\nreturning from the season 1951\/2 onwards as music director of the Vienna\nState Opera, which alas, due to his untimely death was not to happen), and\nconducted some orchestral concerts, both with the Wiener Philharmoniker and\nwith the Symphoniker. This latter concert, which was broadcast by Radio\nRot-Weiß-Rot and has survived on tape, took place at the Musikverein on 15\nOctober, featuring Beethoven’s Seventh Symphony in A, Op. 92, and Brahms’s\nFourth Symphony in E minor, Op. 98, giving us ample opportunity to admire\nBusch’s conducting. The performance combines a great sense of authority\nwith a deep understanding of the music. Harris Goldsmith describes the\nBrahms performance as “galvanic”, the whole performance having “a\nwonderfully granitic firmness of outline, with plenty of sentiment but no\ntrace of sentimentality. And, save for one or two ever-so-slightly\nidiosyncratic details (probably arising from the heat of the moment), the\nfinal Passacaglia is admirably steady.”\n\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\n\u003cb\u003eJürgen Schaarwächter\n\u003c\/b\u003e\u003c\/p\u003e\u003cdiv align=\"left\"\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/div\u003e\u003cp align=\"left\"\u003e\u003cb\u003e\nMax-Reger-Institut with BuschBrothersArchive, Karlsruhe\n\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eMaster source: BrüderBuschArchiv in the Max-Reger-Institut, Karlsruhe;\nMinneapolis Public Library; Private collection, kindly supplied by the late\nChristopher Dyment\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\nRemastering: Andrew Rose\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\nAll images courtesy of BrüderBuschArchiv in the Max-Reger-Institut,\nKarlsruhe\n\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\n\u003cdiv\u003e\n\u003cbr clear=\"all\"\u003e\n\u0026lt; width=\"33%\" size=\"1\" align=\"left\"\u0026gt;\n\u003cdiv id=\"ftn1\"\u003e\n\u003cp\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e[1]\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e\nChristopher Dyment, \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 12px;\"\u003eToscanini in Britain\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 12px;\"\u003e, Woodbridge:\nBoydell, 2012, p. 317.\n\u003c\/span\u003e\u003c\/p\u003e\n\n\u003c\/div\u003e\n\u003cdiv id=\"ftn2\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e[2]\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e\nProfil Hänssler PH07032 and Guild Historical GHCD 2371, released in\n2008 and 2011 respectively, from dissimilar source material.\n\u003c\/span\u003e\u003c\/p\u003e\n\n\u003c\/div\u003e\n\u003cdiv id=\"ftn3\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e[3]\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e\nChristopher Dyment, \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 12px;\"\u003eConducting the Brahms Symphonies: From Brahms to Boult\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 12px;\"\u003e,\nWoodbridge: Boydell, 2016, p. 142.\n\u003c\/span\u003e\u003c\/p\u003e\n\n\u003c\/div\u003e\n\u003cdiv id=\"ftn4\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e[4]\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e\nIbid., p. 200f.\n\u003c\/span\u003e\u003c\/p\u003e\n\n\u003c\/div\u003e\n\u003cdiv id=\"ftn5\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e[5]\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e\nThe \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 12px;\"\u003eNänie\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 12px;\"\u003e was kindly edited by Andrew Rose, using short\namendments from another performance, recorded in 1954 under Carl\nSchuricht.\n\u003c\/span\u003e\u003c\/p\u003e\n\n\u003c\/div\u003e\n\u003cdiv id=\"ftn6\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e[6]\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e\nDanacord DACOCD 301, released in 1998.\n\u003c\/span\u003e\u003c\/p\u003e\n\n\u003c\/div\u003e\n\u003cdiv id=\"ftn7\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e[7]\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e\nGuild Historical GHCD 2354, released in 2009.\n\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eFritz Busch conducts Brahms\u003c\/b\u003e in New York, Copenhagen \u0026amp; Vienna\u003c\/span\u003e \u003cbr\u003e(1942, 1947 \u0026amp; 1950)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 12px;\"\u003eDisc One\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBRAHMS  \u003c\/b\u003eSymphony No. 1 in C minor, Op. 68\u003cbr\u003e1. 1st mvt. - Un poco sostenuto - Allegro  (13:23)\u003cbr\u003e2. 2nd mvt. - Andante sostenuto  (10:25)\u003cbr\u003e3. 3rd mvt. - Un poco allegretto e grazioso  (4:48)\u003cbr\u003e4. 4th mvt. - Adagio - Allegro non troppo, ma con brio  (16:32)\u003cbr\u003e\u003cb\u003e New York Philharmonic-Symphony  Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eCarnegie Hall, New York, 1 February 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e5. \u003cb\u003eBRAHMS \u003c\/b\u003eTragic Overture, Op. 81  (13:07)\u003cbr\u003e6. \u003cb\u003eBRAHMS \u003c\/b\u003eNänie, Op. 82  (14:43)\u003cbr\u003e\u003cb\u003eStatsradiofoniens Kor\u003cbr\u003eStatsradiofoniens Symfoniorkester\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eDanish Radio Concert Hall, Copenhagen, 7 September 1950\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 12px;\"\u003eDisc Two\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBRAHMS  \u003c\/b\u003eSymphony No. 2 in D major, Op. 73\u003cbr\u003e1. 1st mvt. - Allegro non troppo  (13:18)\u003cbr\u003e2. 2nd mvt. - Adagio non troppo  (8:40)\u003cbr\u003e3. 3rd mvt. - Allegretto grazioso (quasi andantino)  (4:45)\u003cbr\u003e4. 4th mvt. - Allegro con spirito  (8:10)\u003cbr\u003e\u003cb\u003eStatsradiofoniens Symfoniorkester\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eDanish Radio Concert Hall, Copenhagen, 20\/21 October 1947\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBRAHMS  \u003c\/b\u003eSymphony No. 4 in E minor, Op. 98\u003cbr\u003e5. 1st mvt. - Allegro non troppo  (11:02)\u003cbr\u003e6. 2nd mvt. - Andante moderato  (10:57)\u003cbr\u003e7. 3rd mvt. - Allegro giocoso  (5:55)\u003cbr\u003e8. 4th mvt. - Allegro energico e passionato  (9:53)\u003cbr\u003e\u003cb\u003eWiener Symphoniker \u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMusikverein, Vienna, 15 October 1950\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cspan style=\"font-size: 17px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eFritz Busch\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eCover artwork based on a photograph of Fritz Busch in 1950\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eSpecial thanks to Dr. Jürgen Schaarwächter\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eProduced in co-operation with the Max-Reger-Institut\/BuschBrothersArchive, Karlsruhe, Germany\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eTotal duration:  \u003cb\u003e2hr 25:36 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