Brahms: Symphony No. 1

Performing with: Swedish Chamber Orchestra

Album of the Month – May 2013
Fono Forum

Dausgaard secures superbly incisive playing from the Swedish Chamber Orchestra. Dausgaard favours swift tempos, especially in the outer movements…[His] penchant for disjunctive phrasing, and his keen attention to inner detail, undoubtedly makes this performance a very stimulating experience.
BBC Music Magazine



A weighty symphony, swaying Viennese waltzes and fiery Hungarian dances make up the colourful programme when Thomas Dausgaard and his Swedish Chamber Orchestra engage with Johannes Brahms in Opening Doors, the team’s acclaimed series of Romantic orchestral composers. Johannes Brahms was only twenty years old when Robert Schumann hailed him as one whose genius gave rise to the greatest symphonic hopes. It is therefore striking that he didn’t complete his First Symphony until more than twenty years later, in 1876 – even though the earliest sketches for it date back to 1855. Brahms – who once said that he constantly heard the ‘giant’ Beethoven ‘marching behind him’ – had such a deep respect for what his great predecessor had achieved with the genre that he for a long time doubted that he would ever be able to write a symphony of his own – by the time he did, it must have been gratifying to him that it was hailed as ‘Beethoven’s Tenth’. While working on the symphony, Brahms composed his Op.52, the cycle Liebeslieder-Walzer ‘for piano four-hands (and song ad libitum)’. He kept the forces as flexible as possible: the waltzes were performable with or without voices; if used, the vocal parts could be sung either by soloists or by a choir. Even so, he was soon asked for another version, for choir and orchestra. Brahms initially rejected this idea, but finally agreed to make a partial orchestration: selecting eight of the Op.52 waltzes, he supplemented them with an early version of one of the not yet published Neue Liebeslieder-Walzer, Op.65. Around the same time, he was asked to orchestrate another collection of dances composed for piano four-hands: his first set of Hungarian Dances, which had quickly become a great hit. It took him four years to comply with this wish, and even then he only accepted to orchestrate three of the dances, leaving the field open for various other arrangers (including Dvořák) to satisfy the demand for more.


Johannes Brahms

Symphony No. 1 in C minor, Op. 68

1. I. Un poco sostenuto – Allegro 15:10
2. II. Andante sostenuto 8:46
3. III. Un poco Allegretto e grazioso 4:35
4. IV. Adagio – Più Andante – Allegro non troppo, ma con brio 16:29

5. Rede Mädchen, allzuliebes, Op. 52 No. 1 1:06
6. Am Gesteine rauscht die Flut, Op. 52 No. 2 0:42
7. Wie des Abends schöne Röte, Op. 52 No. 4 0:43
8. Ein kleiner, hübscher Vogel nahm den Flug, Op. 52 No. 6 2:31
9. Die grüne Hopfenranke, Op. 52 No. 5 1:26
10. Nagen am Herzen fühl ich Gift in mir, Op. 65 No. 9 1:11
11. Nein, es ist nicht zuszukommen, Op. 52 No. 11 0:52
12. Wenn so lind dein Auge mir, Op. 52 No. 8 1:23
13. Am Donaustrande, da steht ein Haus, Op. 52 No. 9 2:06

Hungarian Dances
14. Hungarian Dance No. 1 3:08
15. Hungarian Dance No. 3 2:08
16.Hungarian Dance No. 10 2:11