Reposted on demand, now with FF links
The Giulini/CSO performance of the Brahms 4th is, in my opinion, the finest, and certainly my undeniable favorite, of all time. I like the tempos, the playing, the artist’s concept, and the dark, melancholy Brahms sound that CMG inevitably evinces from whatever orchestra he is leading. The CSO was a great instrument, period, and certainly a great one for him. But truthfully I have not heard him conduct a Brahms symphony with an orchestra that did not sound like the best Brahms orchestra.
# Composer: Johannes Brahms
# Orchestra: Chicago Symphony Orchestra
# Conductor: Carlo Maria Giulini
# Vinyl (1969)
# Number of Discs: 1
# Format: Flac
# Label: EMI
# DR-Analysis: DR 13
# ASIN CD: B0002VEQFM
# Size: 812 MB
# Scan: yes
# Server: FileFactory
This rip is from 2011
As with Verdi, CMG was a master conductor of Brahms. And he got the most from his orchestras. They bought into his vision. I believe him to have been among the top three or four most insightful interpreters and communicators of Brahms in the 20th century. I am not alone in that. That takes in a lot of territory and some very great conductors. Since I am in my late 60’s, that takes in some very great ones. But such was Giulini’s stature. All one needs to do is listen to his recorded three cycles of Brahms Symphonies and the many additional single recordings out there, like this one with the CSO, about which I am so fond. There is no doubt in my mind that this one is the finest recorded performance of all time. That takes in some great performances, not to mention CMG’s own great farewell performance with the Vienna Philharmonic in the early 90’s.Since this is certainly one of the great recorded performances of all time for the Brahms 4th, it is helpful to know what Giulini thought in general as he approached conducting Brahms. “In music everything is important, every note is important for everybody. But in Brahms, the hundred percent participation, the total intensity of every note is, I think, particularly and absolutely fundamental. At a given moment what we hear is the line that leads the composition. But this is the physiognomy of a face — the nose, the mouth, the eyes. Then there is something which is very important, and that is what is inside this. And this interior body, with the bones and the nerves and the blood — this is really something that I should say in Brahms, perhaps more than in other composers, needs to be absolutely a part of the physiognomy of the line. It is not only a harmonic or rhythmic element; it really participates one hundred percent in the life of the line, in all dimensions at once…For me, it is important to have the time to express this dimension in the espressivo way, and the dramatic way,and also dynamically. There should never be the impression that the tempo is set with an eye to just one effect — a very fast tempo, for instance, just for a virtuoso or a fortissimo effect. There must always be not only a musical but a dramatic reason. I should never make a tempo fast in Brahms purely for a technical reason.” (Jacobson, Bernard. Conductors on Conducting. Columbia Publishing Co, Frenchtown, NJ, 1979, pp. 216-217 — sorry I do not have the formating necessary in this Amazon space to present that footnote in appropriate English style.)What you have just read is Carlo Maria Giulini’s artistic approach to the symphonic music of Johannes Brahms. It holds true in this performance as well as his farewell symphony cycle with the Vienna Philharmonic, which by the way is a clinic on interpreting and playing Brahms. Bernard Jacobson, recorder of CMG’s statement, referenced this very performance on EMI with the Chicago Symphony Orchestra, calling him in 1979, “one of the great Brahmsians of our day.” At that time CMG had not done cycle 2 with the Los Angeles Philharmonic or cycle 3 with the Vienna Philharmonic. His Brahms conducting is a legend. And his thinking about Brahms profound in its totality.
I do not know a better representation of CMG’s Brahms than this recording of the Fourth.
Analyzed folder: /96kJB_Sy4Giu/96k Brahms Sy4 Giulini
DR Peak RMS Filename
DR13 -1.13 dB -18.81 dB A1 Brahms – Symphony No. 4 In E Minor, Op. 98 – Allegro Non Troppo.wav
DR14 -1.34 dB -21.52 dB A2 Brahms – Symphony No. 4 In E Minor, Op. 98 – Andante Molto.wav
DR13 -0.86 dB -18.28 dB B1 Brahms – Symphony No. 4 In E Minor, Op. 98 – Allegro Giocoso.wav
DR14 -1.06 dB -19.54 dB B2 Brahms – Symphony No. 4 In E Minor, Op. 98 – Allegro Energico E Passionato.wav
Number of files: 4
Official DR value: DR13
- RCM: Okki Nokki (L’art du son, Clearaudio’s Diamond Cleaner)
- TT: Clearaudio Champion Level II
- Cartridge: Sumiko Blue Point Evo III
- Phono amp: Pro-Ject Phono Box II
- Pre Amp: Unison Research Unico Pre (Tube)
- Finals: Opera Consonance 9.9 Mono (Tube)
- Speakers: Dali Helikon 400
- Connections: MIT Terminator, Audioquest Emerald, Audioquest Quartz
- Software: iZotope RX Advanced v2.02, Adobe Audition CS 5.5, Twisted Wave 1.9
- Light de-Clicking with ClickRepair, significant clicks manually removing, no De-Noising
If You hear some clicks and pops here and there, Who cares?
Id rather have a few light anomalies instead of destroying the music. Enjoy the music, not the ticks & pops.
- DR-Analisys before converting to Flac
- Converting Wave -> Flac: Twisted Wave 1.9
- Artwork: Sony Alpha 350, Epson Perfection V750 Pro, Photoshop CS 5.5
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