These two sets, recorded live in January 2024 at the Isarphilharmonie im Gasteig, Munich, document Zubin Mehta’s third traversal of the four Brahms symphonies. They join Mehta’s earlier cycles of the symphonies with the New York Philharmonic (late 1970s) and the Israel Philharmonic (early 1990s), as well as his few recordings of the piano concertos as conductor.
Mehta’s interpretations of these masterpieces have remained remarkably consistent over the years, particularly in his approach to tempi, phrasing, and orchestral balance. While the tempi in this new cycle appear to be his slowest, this is likely attributable to the resonant acoustics of the Isarphilharmonie and the open recording.
The orchestras Mehta recorded with in previous cycles have also played a role in shaping his performances. The New York Philharmonic of the late 70s, while sharp and direct, sometimes lacked elegance in its phrasing and occasionally sounded rather plain. The close, dry recording, even after remastering, did little to enhance the sound. The Israel Philharmonic, in the cycle from the early 90s, offered a more restrained and considered approach. But aside from a fine account of the Second Symphony, the cycle wasn’t particularly memorable, especially given the already crowded field.
The Munich Philharmonic, too, has a distinguished history with Brahms, featuring versions ranging from the shamefully overlooked Rudolf Kempe recordings to the better-known, typically slow interpretations of Sergiu Celibidache. It also proves to be Mehta’s most refined partner in this music. This new release, issued on the orchestra’s own label, is the most successful of Mehta’s three cycles and certainly the best recorded, with an added listening option available in Dolby Atmos.
All four symphonies in this cycle are well-executed, with Mehta seemingly allowing the players to remain true to their own sound and perception of the music. The opening of the First Symphony is appropriately forbidding, and the tempo feels just right, though the Allegro section of the first movement could perhaps have benefited from a touch more urgency. A similar observation could be made about the final movement, but the exquisite playing of the orchestral sections quickly compensates.
If there’s a weakness in this cycle, it lies in the slow movements. The tempi and phrasing occasionally feel a little too restrained, verging on stale. While the string sound is undeniably lush and seductive, it sometimes renders movements like the Third Symphony’s poco allegro sectionalized, especially when compared to recent recordings by Barenboim or Nelsons. The orchestra also seems to take a while to settle into the mood of the Third’s first movement, perhaps a consequence of recording a live performance.
The Fourth Symphony begins promisingly with a compelling first movement, but the Allegro Giocoso third movement lacks the requisite playfulness. The strings are a dominant force in the orchestral blend, and Mehta clearly relies on them in movements like the final Chacone.
The Second Symphony, however, is arguably the most coherent and successful of the cycle. Sound balance, overall conception, and sheer inspiration all coalesce beautifully. This symphony was also a highlight of Mehta’s Israel cycle, suggesting a particular affinity for the work.
Recent Brahms symphony cycles tend to fall into two categories. The first features smaller, more agile ensembles, often incorporating historically informed performance practices. Examples include Yannick Nézet-Séguin with the Chamber Orchestra of Europe (review) and Ádám Fischer with the Danish Chamber Orchestra (review). The second category takes a more traditional approach, utilizing full symphonic forces to achieve a broader sound spectrum and weightier feel. Notable examples are Michael Sanderling with the Lucerne Symphony Orchestra (review) and Daniel Barenboim with the Staatskapelle Berlin (review). Mehta and the Munich Philharmonic firmly belong to the latter group, bringing a lifetime of experience with this repertoire.
The two piano concertos, recorded during the same concert series, have been released separately by the orchestra’s label. Surprisingly, despite decades of performing these works, Yefim Bronfman has no official recordings of them (though some live performances are available on video). Mehta’s previous Brahms cycles featured Daniel Barenboim as soloist in New York, and he also accompanied Arthur Rubinstein in the pianist’s final recording of the First Concerto with the Israel Philharmonic. Mehta has always been a superb concerto accompanist, and these performances are no exception. They are serious, almost severe readings, particularly of the D minor concerto.
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I was thoroughly convinced by the flowing tempo of the first concerto’s slow movement, though the piano seems to suffer slightly from the demands of the first movement’s massive solo part. That said, this gives the piano a certain overtone singing quality in the higher registers that is very attractive, and I would prefer this balance to the problematic recent Levit recording any day.
The orchestra and soloist are at their finest in the Second Piano Concerto. Listen to the superb orchestral balance of brass, woodwind, and strings in the symphonic opening of the first movement, and the sense of occasion that permeates Bronfman’s playing.
The live recording’s balance reminded me somewhat of Alfred Brendel’s digital recording of this concerto with the Berlin Philharmonic under Claudio Abbado. However, while Brendel occasionally sounded as if striving to match the orchestra’s robustness, Bronfman projects with confidence and authority throughout.
Overall, Mehta’s latest cycle of Brahms’ symphonies and piano concertos is well worth exploring. While it doesn’t offer any groundbreaking interpretive insights, the performances are consistently reliable, showcasing polished playing and a deep understanding of this great music.
Top image: ©️ Münchner Philharmoniker (video screenshot)
Brahms – The Symphonies – Recommended Comparisons
Jochum | Karajan | Honeck | Chailly
Brahms – The Piano Concertos – Recommended Comparisons
Piano Concerto No. 1: Zimerman | Rubinstein | Curzon | Moog
Piano Concerto No. 2: Gilels | Hough | Ax | Freire
Check offers of this album on Amazon.
Album Details |
|
|---|---|
| Album name | Brahms – The Symphonies |
| Label | Münchner Philharmoniker |
| Amazon Music link | Stream here |
| Apple Music link | Stream here |
| Artists | Münchner Philharmoniker, Zubin Mehta |
Check offers of this album on Amazon.
Album Details |
|
|---|---|
| Album name | Brahms – The Piano Concertos |
| Label | Münchner Philharmoniker |
| Amazon Music link | Stream here |
| Apple Music link | Stream here |
| Artists | Münchner Philharmoniker, Zubin Mehta |
