A Crop of Recordings XXI: Brahms, Pierné, and Mahler
It’s good to have Brahms symphonies from the Boston Symphony once again. They sound right, with caveats. A full cycle hasn’t been a reliable tradition since Koussevitzky. Charles Munch recorded only three of the symphonies on LP in Boston. Erich Leinsdorf did produce as set, but Seiji Ozawa recorded merely the First in 1977 for DGG, and Bernard Haitink’s Philips CDs from the early nineties disappeared pretty much as soon as they were released. There were no BSO Brahms symphonies released by James Levine with the orchestra during his tenure. The Boston Symphony has always been a European-leaning ensemble, less “Hollywood” in sonority than the Philadelphia Orchestra and minimally “Broadway” in energy compared with the New York Philharmonic. Symphony Hall’s burnished acoustic, a byproduct of sonic archery from its cupids in alcoves, its high ceilings and a pliant wooden floor, is a conspirator in this and ideally suited for Brahms.