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BRAHMS: Symphony No. 2 / Hungarian Dances

Composer(s):Brahms, Johannes
Artist(s) Alsop, Marin, Conductor • London Philharmonic Orchestra
Period(s) Romantic
Genre Classical Music
Category Orchestral
Catalogue 8.557429
Label Naxos
Quality   320kbps
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Review By Penguin Guide,January 2009

In its glowing warmth Marin Alsop’s Brahms Second makes a strong contrast with her account of the First. She conveys her obvious affection for the work in the way she lyricizes the lower strings, with the central movements particularly mellow. The oboe tune in the Allegretto grazioso is delicate (Beecham used to do it that way). But the finale brings a satisfying conclusion. The Hungarian Dances (in varied orchestrations) offer an attractive bonus.

Review By ,Scherzo,June 2006


Review By Sefton Wiggs,New Bern (North Carolina) Sun Journal,October 2005

Soon after I wrote about her performance of Johannes Brahms� Symphony No. 1 just a few months ago, conductor Marin Alsop gained quite a bit of notoriety when she was named music director of the Baltimore Symphony. That made her the first woman director of a �major� symphony orchestra in the United States. The big question should have been: �What took so long?� Alsop has directed major orchestras around the world, and Joann Faletta has been at the helm of the Buffalo Philharmonic � just a step below �major� status � for about six years. Well, congratulations to Alsop � but the big focus at this writing is how she handled the second Brahms symphony with London Philharmonic, with whom she turned in a wonderful performance of the first symphony. Brahms (1833-97) finished


Review By Steve Smith,Naxos,September 2005

Until recently, recorded evidence refuting the patronizing trope that conductor Marin Alsop does her best work at some remove from the core classical repertoire was frustratingly hard to come by . . . But Alsop�s take on Brahms�s Symphony No. 1 with the London Philharmonic, issued earlier this year as the beginning of a complete cycle, finally derailed that spurious contention once and for all. Her lyrical conception works better still in the composer�s quintessentially songful Second Symphony, a gorgeous efflorescence that blossoms from the tiny melodic kernel with which the cellos and basses introduce the first movement. Alsop manages the work�s balances and transitions with a firm but gentle hand; the orchestra responds with disciplined ardor and burnished tone. The results



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