Artist: Los Angeles Philharmonic, Gustavo Dudamel
Album: Brahms: Symphony No.4
Genre: Classical
Release Date: 2014
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 44:26
Total Tracks: 4
Total Size: 752 MB

Tracklist:

01. Los Angeles Philharmonic, Gustavo Dudamel – Symphony No.4 In E Minor, Op.98 – I. Allegro non troppo (14:01)
02. Los Angeles Philharmonic, Gustavo Dudamel – Symphony No.4 In E Minor, Op.98 – II. Andante moderato (12:15)
03. Los Angeles Philharmonic, Gustavo Dudamel – Symphony No.4 In E Minor, Op.98 – III. Allegro giocoso – Poco meno presto – Tempo I (06:22)
04. Los Angeles Philharmonic, Gustavo Dudamel – Symphony No.4 In E Minor, Op.98 – IV. Allegro energico e passionato – Più allegro (11:46)

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Although his catalog lists just four symphonies, Brahms wrote several other works that come close to that genre: his First Piano Concerto was indeed planned as a symphony, and the Second (which is in four movements) has been called a symphony with piano obbligato. Although the Second and Third Symphonies were introduced in Vienna, Brahms decided to give his Fourth Symphony an out-of-town tryout. He himself conducted the premiere (in October 1885) with the Meiningen Court Orchestra, where the audience was enthusiastic. Vienna was not so receptive when the work was introduced there a few months later. As it turned out, a mere ten years after his First Symphony had been given its premiere, Brahms had written his last symphony. Two years later came the Double Concerto, whose two solo parts (violin and cello) remind us of the old sinfonia concertante form, but there were to be no more symphonies.For his final essay in symphonic form, Brahms produced a monumental work whose first movement grows from the simplest of materials, a simple rising and falling interval, out of which he develops long lines of powerfully emotional, yet unsentimental grandeur. The relentless organic development, which begins even as themes are being stated, leads to a complex interaction of motives and melodic fragments. The composer’s friend Elisabeth von Herzogenberg wrote to him of her fears that he was dwelling too much on creating intricate thematic connections that would obscure his musical communication for the untrained listener: “…one rejoices with all the excitement of an explorer or scientist on discovering the secrets of your creation! But there comes a point where a certain doubt creeps in…that its beauties are not accessible to every normal music-lover.”

“. . . an inspired and inspiring performance of Brahms’s most powerful symphonic masterpiece.“ –Amanda MacBlane, Time Out, New York