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Guggenheim 03.16.2017

Evidence of performance practice in Brahmss Serenade No. 1

Brahmss Serenade No. 1 Op. 11, originally written for a nonet but then destroyed and

recomposed for large orchestra (fr groes Orchester), is his first attempt at purely symphonic writing.

He had composed his first Piano Concerto in early 1858 preceding the composition of the orchestral

version of the Serenade for a year. In correspondence with Joseph Joachim on December 8th 1859

Brahms writes: I need the paper to convert the first Serenade into a symphony, at long last. I realize

that this work is a sort of a hybrid creature, neither this nor that. I had such beautiful, grand ideas for

my first symphony, and now!-1 Brahms knew the explorative nature of this work. He didnt name it

a symphony after all, waiting for a better opportunity to name a piece a symphony. However, the

extent of the work is symphonic and as such is that we can try to translate all that was written and

recorded about his symphonies into the Serenade in D major.

Walter Frisch wrote about hints of Brahmss performance practice in his article In search of

Brahmss First Symphony: Steinbach, the Meiningen tradition, and the recordings of Hermann

Abendroth. In this writing, Frisch links the conductor Hermann Abendroth with the tradition of the

Meiningen orchestra, which Brahms conducted in the premiere of his Fourth Symphony, and, with a

lineage of conductors descending from Hans von Bulow to Steinbach to Blume, and, finally Abendroth.

It is Walter Blumes recompilation of notes on the manner his mentor used to conduct Brahmss four

symphonies and the Variations on a Theme by Haydn. It is not edited, but Frisch translated the first

chapter, also for the book Performing Brahms, titled Brahms in the Meiningen tradition: his

symphonies and Haydn Variations in the markings by Fritz Steinbach. Only the First Symphony is

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Avins letter 125

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scrutinized and thus, it will be our main source to venture on a credible performance of the first

Serenade.

Another aspect to take into consideration is recordings. The Serenade in D major appears to

be taken lightly in the History of music because it was overshadowed by his impressive symphonic

works of later decades. Even the Serenade No. 2 in A major holds a better position in the number of

recording found. The first recording on Brahmss Serenade No. 1 is from 1958 with Abendroth

conducting the Rundfunk-Sinfonieorchester Berlin. Considering that the first recordings of Brahmss

symphonies are from the late 1920s, the Serenade No. 1 appeared late in the discography. We will

also take into consideration other four recordings, considered relevant to the comparison with

Steinbachs indications. In the 1970s Sir Adrian Boult recorded it with the London Philharmonic

Orchestra (relevant because according to Dyment he was the most significant British witness of

Steinbachs performances2). The first to record the symphonies following Blumes text was Sir

Charles Mackerras, and after that recording, in 1998, he released one with Brahmss Serenades also

with the Scottish Chamber Orchestra. In the new millennium two recordings where release with

ensembles playing with period instruments, claiming to follow Brahmss performance practice. Those

are the 2005 recording of the Capella Augustina conducted by Andreas Spering and the 2012 of the

Philharmonia Baroque Orchestra conducted by Nicholas McGegan.

Evidence in Steinbachs indications

In the following section, we will attempt to investigate which of Steinbachs performance

guides could be translated into the first movement of the Serenade No. 1. Although some of them

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Dyment 138

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might refer to specific musical ideas that are particular to the First Symphony, some are larger musical

thoughts that can apply to other symphonic music by the same composer.

Blumes text starts with the introduction to the first movement. He writes that the tempo of

the introduction is indicated by Un poco sostenuto. The emphasis should be on the poco.3 The

tempo and character indication of the first movement of the Serenade No. 1 is Allegro molto with an

alla breve marking. Taking in consideration Steinbachs point of view, the emphasis might be on the

molto.

The dynamics should be observed precisely.4 Although this is a general rule that could be

observed for any piece of music by any composer, it seems to be of a more important nature in

Brahmss music, being himself a composer that, generally, wrote with a clear sense of what he wants

from the music. The dynamic markings are carefully placed by Brahms. Blume also adds: the

markings of the composer are to be studied and observed closely, but that pedantry can lead to the

opposite of a sensible interpretation. A conductor reveal his artistry insofar as he understands how to

make a sense of the markings in a score.5 This is a very subtle topic, and nowadays most scholars

would agree that introducing modifications to Brahmss score wouldnt make such performance more

legitimate. However, the idea that is valuable here is that in certain passages the interpreter needs to

go beyond the text to understand the true nature of a marking by taking in consideration several hints.

We should make special note of the three-note chromatic motive which appears

throughout all the movements in the most diverse transformations and combinations.6 The Serenade

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does not have a unified motive and this could be related to the reason why he did not name it a

symphony.

Precision consists not only in simultaneous and synchronized beginnings, but also in

simultaneous and synchronized cut-offs.7 This is very relevant in specific moments in the first

movement of the Serenade. In bar 47 the low strings play a new transitional theme. It is written a

dotted-half-note although for the winds emphasizing the figure Brahms writes a half-note with no

dot. Considering also the addition of the accent in bars 49 and 51, one can assume that dot is used as

a shorthand marking for a rest, matching the cut off to the woodwinds. Another important place to

be careful with cut-offs would be bar 109 and following (and bar 413ff in the recapitulation) where

the quarter-note in the first beat of the bars needs to be observed for a synchronized cut-off. Bar 204

is a particular one to take care of synchronized cut-offs. Other section to consider are bars 521 and

523, and also 541 and 549.

The beginning of the piece is another place to consider regarding cut-off. Although there is no

evidence in Blumes text about a place similar to this one in the First Symphony, we can assume that

this drone open fifth is meant to be played just like a folk-player would: somewhat accented and with

a fast decay, not observing the full value of the note. So, if there is a luftpause between each bar, it

should be a unified rhythm within all players.

At the fortissimo of bar 25 the timpani should not roll too loudly and should control the

crescendo until the final bar (b.29 of the First Movement).8 There are several places where this

should be controlled in the Serenade: b. 101-108 should where the timpanist should be aware of the

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overall dynamic markings and regulating the roll precisely. In bar 510 the timpanist should take care

of controlling the diminuendo for the twelve bars.

Blume writes that the tenuto marking will be dispensable if a basic musical value is kept in

mind: that the upper notes of a musical phrase demand a kind of expression that is pronounced,

emphasized. But the upper notes can be easily swallowed up, particularly when they must be

approached by a leap. That robs the musical phrase of the large line. The situation is similar with

certain upbeats. Thus an elongated upbeat can be often very effective and can thereby give a profile

to, and impress a stamp upon, a musical phrase.9 This is a very interesting procedure that can be

applied to different places of the first movement of the Serenade, although no tenuto marks are to

be found. Indeed, the only articulation marks in this movement are slurs, accents, staccato dots, and,

slurred-dots. In the secondary thematic group examples of already written-out elongated upbeats

such as the violin line in measure 112-113. Although nothing seems to indicate that the tempo should

be held back for the upbeat (the rhythm should be observed carefully). Furthermore, if one listens

without knowing the score there is a feeling of a stretched upbeat. Also in the same section, several

crescendo hairpins go to the higher notes giving them (which are approached by leap) a specific

profile, thereby shaping the musical phrase as Brahms intends. This elongated upbeat is even larger

when the predominant rhythm is the half-note triplet in measures 140-161.

Also about Brahmss first movement of the First Symphony, Blume writes: The fortissimo

entrance at bar 51 introduces a motive which we recognize from the introduction in another form.

Now it has an entirely different character and must be played very energically. In regard to the

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phrasing, comparison should be made with the same passage in the reprise, bar 352ff.10 The main

point to consider here is to avoid trying to assimilate two different sections that have the same theme

but different texture. Something similar to what Blume writes happens with the first theme of the

Serenade. It appears at the beginning as a horn solo in piano with accompaniment of viola and cello,

then follows by a clarinet solo, and an oboe solo. This passage is contrasted later on measure 67 by

the same melody in the same key but with a very different music. Here the tutti fortissimo and the

several duplications of the melody (played by oboes, bassoons, horns, and trumpets) give the same

musical theme a very different expression. In the recapitulation (b. 357ff) the theme is played again

by the horns but know the articulations and the string accompaniment are different although still

piano. Finally, in the end of the movement (b. 525ff) Brahms writes a new version of the main theme,

as a coda or an epilogue, played by a solo flute and accompanied by strings in a similar matter to the

recapitulation. The key is different and also the orchestration (although it is very similar to the one in

b. 357ff. Brahms writes four time the same theme and every time he has something new to express,

in this sense, following Steinbach indication, playing a previously heard motive but with a different

character needs to be played differently, bringing out what makes that passage different to the

previous.

Blume writes about Brahms syncopations in general saying that the weak part of the bar is

accented; that is something Brahms loves and does often. The phrasing comes out right if we imagine

the barline to be displace by half a bar, so that the weak part of the bar becomes strong, and vice

versa.11 This could be an exact description of the procedure of measures 23-36 where the high notes

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of the arpeggiated G major happens in the second beat of the bar and which should be emphasized,

and not the downbeat lower note. Another example is bars 177-185 where the four-notes motive

arrives at the second beat of the bar as a pick-up to the next beat. However, per Steinbachs analysis

of Brahmss music we could infer that this passage should be played with the first notes of the triplets

accented, and not the downbeat. Therefore, generation the illusion of a displaced barline.

In a later paragraph but still talking about the first movement of the First Symphony, Blume

writes that the motive of bar 157 should not be played so that the three eight notes sound like a

preliminary gesture to the higher note. In whatever part of the bar these three eights appear, whether

strong or weak, the first eighth note should always be stressed.12 The motive in the excerpt given by

Blume is from the violas in bars 159-164 and it is an analogous rhythm (although in diminution) to the

one found in the bars 177 and following of the Serenade, therefore, adding elements to believe that

Brahms intended the first note of the triplets to be perceived with the same accent as a downbeat.

According to Blume, Steinbach even did that accent on the first note of the triplets when there was a

written accent on the following dotted quarter-note in an example that resembles what happens in

the Serenade, movement I, bars 217-219.

Regarding transitions, Blume suggest tempo modification in several occasions: The transition

beginning at C (b. 97) cannot proceed simply in tempo. Here we must exercise that fine electroscopic

feeling for tempo modification already discussed13, also Thus we have three different tempos used

successively, one after the other. For an accurate performance they must all be properly felt and

experienced.14, and at bar 129 the tempo should be slowed as preparation for the second main

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theme. The theme requires a broadening.15 From this excerpts we can understand that tempo

modifications were deemed appropriate for some transitions and as a preparation for a slower

secondary theme. However, he suggests that it should be done with caution by a performer who is

sure of what he wants to obtain. Also, he writes This [motive diminutio] indicates an increase in the

drama, which should be underscored by pushing the tempo.16 Comparing this matter to places in the

Serenade could be dangerous since the form of each piece is unique, however, it raises questions: do

informed performers modify tempo in transitions such the ones from bars 28-39, 47-76 (both

transitions from the first theme to a new presentation of the theme), 101-112 (transition to Second

Theme) and several others in the movement? Also, is the Second Theme broadened? If tempo is

slowed, when is it restored (and vice versa)?

About chords in strings: The chords in the strings in bars 145-54 are to be separated. Thus,

cut off each time!17 This shows that separating the chords in the beginning of the Serenade could be

a plausible manner of interpretation.

About playing in the coda of the exposition of the Symphony No. 1, Mov. I: From E (b.161) on

the greatest energy is required from all players. The place at bars 185ff should be played in a truly

chopped [gehackt] manner, thus very energetically. (Here the horns and trumpets must be careful

that their parts are played detached and chopped.)18 This is an analogous passage to the one in the

coda of the Serenade (b. 177-197). It also leads to a dynamic and formal climax, with the four horns

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and trumpets playing fortissimo along the rest of the orchestra. Steinbach indications are also

applicable here to maintain the proper balance and articulation.

About the repetition of the exposition: The repeat of the exposition should be omitted; we

should proceed directly to the second ending.19 This is a matter of disagreement within performers

and scholars which is not addressed by Blume. He does not justify this Steinbach decision.

About the development: Now the development section begins It should remain

mysterious.20 Analogous to the second phrase in the development of the serenade (b. 204ff) where

the piano dynamic should be observed and the long notes should be released sooner in order to

render this episode transparent, all instruments should cut off after the slur markings.21 In this case,

there are no slurs but they should be shorter than the half-note with a luftpause before the repetition

of the motive.

Steinbach makes a case about hairpins and dynamics that applies to several places in the

Serenade. When writing about bars 273-75 he rewrites the melody showing a crescendo hairpin and

a piano that are not originals but, according to him, implicit in Brahmss writing. The upward gesture

should have a crescendo. The piano marking means that the volume should noticeably diminish, but

not that the crescendo should extend only to piano. Thus, there should be a rapid dropping off after

the crescendo.22 This applies to bar 44 of the Serenade and the several times this passage appears.

In this case a piano is not printed as is in the analogous passages in bars 105 and 409. Steinbach

recommendations added to the idea of using the same dynamic for analogous passages, suggest that

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a piano subito should be played in bar 44 after the crescendo hairpin and the sf. Bar 59 is a case that

shows that after the hairpin the volume shouldnt drop off; it doesnt make sense musically and its

also embedded in a passage with a crescendo from f to ff. In bars 113-122 we have five crescendo

hairpins located in different parts of the melody. Following Steinbach suggestion each of them would

imply a drop off to the preceding piano dynamic after them. It would also make send to arrive back

to that piano by a diminuendo when it is implied by the descending in register of the melody.

Finally, there are three parameters of performance that should be taken into consideration

but are not discussed by Blume: vibrato, portamento, and difference between dolce and espressivo.

These will be discussed according to the way it is done in each selected performance

Selected recordings

First Recording

Hermann Abendroth is the conductor of the first recording of the Serenade No. 1. He conducts

the Rundfunk-Sinfonieorchester Berlin, which he directed from 1953 to 1956 (until his death); this

recording is from his first year as director of the RSB. We will analyze if the clues given by Blume about

an informed Steinbach performance are followed by the five recordings.

The tempo of the beginning in Abendroths recording is half-note=120, satisfying the Allegro

molto and alla breve indications. However, it is immediately accelerated when the clarinet plays his

solo (up to 136 half-notes per minute). If this is intentional, there doesnt seem to be evidence from

the score or from Steinbach recommendation to do so.

The long drone notes in viola and cello from the beginning are performed shorter than written,

with synchronized cut-offs, in a country-like manner with a separation within chords. There is a

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strange addition in bar 7 where the basses play a glissando from A up to a D, which, again, if intentional

there is no evidence to support it.

In bars 8-10 the staccato in the horn is not exuberant, and is played the same way as the

analogous passage in bar 357 which doesnt have the staccato.

In bar 23 there is an indication by Brahms that is ambiguous: the dynamic is piano since the

beginning which in bar 19 is increased by a cresc. poco a poco, after which a new piano is introduced.

It seems to be that this piano has to be subito, however, Abendroth does not interpret it in the same

way. Also, in his recording, the crescendo begins where the clarinet comes in.

Regarding the interpretation of the motive from bar 29 which is present until bar 36,

Abendroth seems to follow Steinbachs indication by emphasizing the first of the quarter-notes (the

high notes) thereby shifting the perception of the barline to the second beat.

In the passage that begins in bars 47 there does not appear to be a luftpause or separation

between the dotted half-note and the quarter-note and in this transition leading to bar 67 there is an

accelerando preceded by a drop in tempo.

Regarding the interpretation of bars 39-47 and its analogous 101-109 there are several things

to note. Brahms does not write piano subito the first time (as he does the second) and Abendroth

unifies both by doing the piano sugeratedlbito in the former. The main difference between the two is

that in the latter Abendroth instead of a crescendo after the piano plays is a diminuendo followed by

an accent; which is the articulation marking that Brahms used for the analogous passage in the

recapitulation (b.409). The timpani roll is not very audible but does not play the crescendo and

diminuendo exaggeratedly.

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 The tempo for the Secondary Thematic group is perceived slower because in the transition

leading to it the tempo was increased up to 140 half-notes per minute and then slowed down to 116.

Also, the rhythm of bars 109-102 is not synchronized for the first bars, thereby sounding in an unclear

cut-off of each quarter-note. There is neither a clear emphasis on the upbeat or the downbeat notes

of the motive.

For the coda of the exposition (b. 177) Abendroth does emphasize the first note of the triplets,

which is more audible in the strings that in the woodwinds. Later, on bar 217 he again emphasizes the

first note of the triplets despite the accent of the second beat, as suggested by Steinbach. Abendroth

does not do the repeat of the exposition.

In the last few bars before the transition, Abendroth pushes the tempo backwards, although,

then the theme is played at a faster tempo than at the beginning (which was half-note=120 and now

is 130), again with the clarinet section even faster. This slightly different tempo than at the beginning

could be trying to portray differences between the characteristics of the same theme under different

circumstances.

The section from bars 539 to 551 is played very freely regarding tempo and there is a very long

rallentando lasting several measures until the end.

Second Recording

Sir Adrian Boult recorded the Serenade with the London Philharmonic Orchestra between

1970 and 1978. It is a relevant recording because of his link with Steinbach which can is fully discussed

in Dyments book.23

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 Boults tempo for the beginning is 130, thereby emphasizing on the molto more than

Abendroth. The long notes of the viola and cello are played as long as written with no much separation

between them.

In bar 19 the higher note of the three-note motive is not emphasized. On the contrary the

downbeat is accented.

Boult interprets the piano after the cresc. poco a poco of bar 23 as a piano subito. And a few

bars later when the first violins come in, the downbeat is accented again.

The fortepiano at bar 39 is not very audible and four bars later the dynamic is forte and not

piano as the way Brahms wrote it the next time. The second time (b. 105) the piano is played, however

not very softly. Between bars 42 and 43 there is no noticeable separation or luftpause in the strings.

In bar 47 the rhythms Brahms wrote are observed carefully, therefore the winds cut their

notes sooner than the strings, resulting in an unsynchronized cut-off.

In bar 93 the violins do emphasize the higher note of the melody, creating an accent in the

middle of the bar.

When the section from bar 39 and on is repeated in bar 101 the fortepiano is still not very

audible, especially in the winds. Also the timpani roll is not heard according to Brahms indication.

The tempo of the Second Thematic group is the same as the beginning but as the tempo from

the previous transition was accelerated it feels slower.

Bolt observes the pick-up to bars 109 and following to be accented as the slur indicates, with

the second note softer despite happening in the first beat of the bar.

In measure 116 there is no separation between both D# in the first violin part and all this

section until bar 127 is played without breaks or marked emphasis in the violin, as a single line.

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 The lines marked dolce in bars 167 and 169 dont seem to have any difference as the ones

which are not marked dolce.

The coda section that begins in bar 177 is emphasized on the downbeats instead of on the first

note of the triplets.

Boult makes the repetition of the exposition and in the first repeat the trumpets play a loud

accent where the decrescendo hairpin is placed in the horns.

In bar 255 the oboe brings out the espressivo marking by playing louder and as a soloist.

The counterpoint between lower cello and bass, and the trumpets is brought out by Boult.

The section from bars 293 to 299 is played without any nuance other than the written

articulation and the crescendo hairpin of the last two bars. The similar section of bars 308-320 is

played in the same way.

After C there is a slight ritardando for two measures and in bar 337 and following the dolce is

interpreted as a softer but still melodic sound, with a simple color and without much vibrato.

In the recapitulation in bar 357 the horn solo is played very softly and the tempo is pushed

forward a little bit, marking a difference with the exposition. However, the clarinet solo from bar 370

is played somehow rubato and in a slower tempo. Again, showing differences with the exposition.

The subito piano of measure 409 is observed.

The tempo from measures 545 and the following is maintained and the last two bars are the

only ones to have a brief ritardando.

Third recording

Sir Charles Mackerras recording is important because it was created after he recorded the

four Brahms symphonies following Blumes text with suggestions from Steinbachs performances.

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Although there are not notes about how to interpret the Serenade, this recording comes from a

conductor that has already experience conducting and recording following Steinbachs guidance, and

we can try to understand what effects that had on the interpretation of this music.

His tempo for the beginning of the movement is half-note=124, tacking in consideration the

faster side of the allegro with the addition of the word molto. He, as Abendroth, makes the orchestra

play the drone bass open fifth accented, suddenly released and with a luftpause between chords.

However, the horns play a longer note than the strings in measures 11-23.

For the three notes motive of bar 19, the clarinet plays emphasizing the highest notes, creating

the sense of downbeat in the second beat. The same manner of shaping the motive is achieved in the

following measures in the oboe and later in the first violins. This recording also brings out the

counterpoint between woodwinds and first violins that occur in measures 32-34.

In bars 39-46, Mackerras brings out Brahmss dynamic writing: the fortepiano is heard

perfectly from each instrument of the orchestra (and four bar later the same thing with the

sforzando), the piano is achieved in bar 43 (imitating the same passage in bar 105), and after bar 47

there is a separation before the strings attack the new motive.

In bar 53, following the F# there is a luftpause, clearing the space so that the pick-up is

perfectly heard. Also the dotted half-note is not played to its full length matching the winds and upper

strings half-note.

Bars 65 and 66 are a good example of excellent criteria in the balance of the timpani. The

crescendo is spaced out evenly until bar 65 where it is increased, coming out of the texture so that

the deliberately clashing D in bar 66 is heard loudly one bar before the real cadence to D major.

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 From bar 73 the counterpoint between low strings and trumpets is nicely brought out. Later,

on bar 88 the horn part is slightly accented and separated so that the syncopation is very clear.

The idea of accenting the highest notes of a motive, especially if it comes as an upbeat is once

again employed in bar 93-101.

In bar 101 a very slight separation (luftpause) precedes the well-executed fortepiano (added

to match the previous section). In this passage the timpanist manages the dynamics just as written,

without over-shadowing or being too soft.

The tempo of the Secondary Thematic group is slightly slower. Also, the emphasis is in the

pick-up of the accompaniment and not on the downbeat, even when the basses play the pizzicato on

the downbeat. The phrasing of this new theme is achieved by playing each two-bar motive going a

little bit louder into the higher note and separating them with a slight breath, respecting the written

annotation.

In bars 139-166 the contrast between espressivo and dolce is noted. When the oboes, and

later the bassoons, have espressivo it is louder; when they have dolce or piu dolce, it is softer with a

darker sound. Also around measure 154 the tempo is held a bit and later around 172 its rushed back.

In the coda section starting in bar 177 the accents are on the downbeat and not on the first

triplet.

A piano subito is added in bar 184 followed by the crescendo that is written on the next bar.

The last four chords of the exposition in bars 197-199 are played each one heavier with a slight

rallentando that is more pronounced when the second time bars are played. Also, there is a luftpause

before the last chord.

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 The oboe solo which starts in bar 255 is very audible even in the high register, giving the

espressivo a connotation of louder and soloist sound.

Bar 279 is marked sempre piu f, which means that it is gradually louder, and although it is

preceded by a crescendo the dynamic here is still relatively soft so that the texture is heard perfectly.

The section from bars 308-321 is realized with variants. The first bars are played in different dynamics

(softer every other two bars) and a crescendo is added before bar 321. In bar 327 a piano subito is added to

increase the tension to the following fortissimo.

Preceeding the recapitulation there is a slight two-bar ritardando.

The crescendo in bar 369 is very prominent, thereby exalting the difference with the other two times

where the principal theme was exposed. Also, in this recording the lowest note in the horn is perfectly audible.

A piano subito followed by a brisk crescendo is added in bar 395.

Bars 405-412 are played exactly as 101-109.

Mackerras takes some time in 539-550 and the tempo is very flexible.

The rallentando before the end begins in bar 368.

Concl: the five analyzed recordings are inconsistent with the score and Steinbachs suggestions. There is
ground for informed recording with appropriate performance practice, and Steinbachs suggestions havent
been used by conductors. Also, to say that because someone studied or was influenced by a conductor that
used to be accepted by Brahms will have an informed performance practice is dangerous. There are many
factors to take into consideration and the student doesnt have to do as their mentor.

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 Recordings of Brahms Serenade in D major, Op. 11 (most relevant recordings)


Year Conductor Orchestra Label Country
1953 Hermann Abendroth RSO Berlin Alliance Germany
1953 Thomas Scherman Little Orchestra Society Decca
1962 Heinz Bongartz Desdner Philharmonie Eterna German Democratic Republic
1967 Anshel Brusilow Chamber Symphony of Philadelphia RCA
1967 Ivan Kertesz London Symphony Decca UK
1969 Moshe Atzmon The Vienna Opera Orchestra
1970 Bernard Haitink Concertgebouw Orchestra Netherlands
(Amsterdan)
1970/8 Sir Adrian Boult London Philharmonic Orchestra EMI UK
1972 Mario Bernardi National Arts Centre Orchestra CBC Radio Canada Canda
1980 Istvan Kertesz The London Symphony Decca UK
1981 L'udovit Rajter Slovak Philharmonic Orchestra Opus Czechoslovakia
1981 Kurt Masur Gewandhausorchester Leipzig Philips Netherlands
1984 Gerard Schwarz The Los Angeles Chamber Orchestra Nonesuch US
1987 Leonard Slatkin Saint Louis Symphony RCA US
1989 Leopold Stokowski Symphony of the Air MCA Classics / Decca US
1998 Sir Charles Mackerras Scottish Chamber Orchestra* Telarc Scotland
2005 Andreas Spering Capella Augustina* CPO Germany
2012 Nicholas McGegan Philharmonia Baroque Orchestra* PBP US
*with period instruments

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BIBLIOGRAPHY

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* -----. Performing Brahmss Music: Clues from His Letters. Performing Brahms: Primary Evidence,
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Symphonies and Haydn Variations in the Markings by Fritz Steinbach, excerpt: The First Symphony.
Performing Brahms: Primary Evidence, Evaluation, and Interpretation. London: Cambridge University Press,
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* Bozarth, George. Brahms on Record and Recordings of Brahmss Works by the Composer and by
Members of his Circle (a discography). American Brahms Society Newsletter 5/1 (Spring 1987): [59].
* -----. Fanny Davies and the Performance of Brahmss Late Chamber Music. Performing Brahms: Primary
Evidence, Evaluation, and Interpretation. London: Cambridge University Press, 2003.
* Bozarth/Frisch 2000. Bozarth, George S. and Walter Frisch. Brahms, Johannes. In The New Grove
Dictionary of Music and Musicians, 2nd ed. London: Macmillan, 2000.
* Brown, Clive. Classical and Romantic Performing Practice, 17501900. Oxford and New York: Oxford
University Press, 1999.
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