℗ 2017 Ondine
 

Brahms: Serenades Nos. 1 & 2

Gävle Symfoniorkester, Jaime Martín

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Serenade No. 1 in D Major, Op. 11  
1
I. Allegro molto
Johannes Brahms; Gävle Symfoniorkester; Jaime Martín
12:53
2
II. Scherzo. Allegro non troppo
Johannes Brahms; Gävle Symfoniorkester; Jaime Martín
7:18
3
III. Adagio non troppo
Johannes Brahms; Gävle Symfoniorkester; Jaime Martín
11:07
4
IVa. Menuetto
Johannes Brahms; Gävle Symfoniorkester; Jaime Martín
1:25
5
IVb. Menuetto II
Johannes Brahms; Gävle Symfoniorkester; Jaime Martín
1:38
6
IVc. Coda
Johannes Brahms; Gävle Symfoniorkester; Jaime Martín
1:01
7
V. Scherzo. Allegro
Johannes Brahms; Gävle Symfoniorkester; Jaime Martín
2:34
8
VI. Rondo. Allegro
Johannes Brahms; Gävle Symfoniorkester; Jaime Martín
5:45
Serenade No. 2 in A Major, Op. 16  
9
I. Allegro moderato
Johannes Brahms; Gävle Symfoniorkester; Jaime Martín
7:46
10
II. Scherzo. Vivace
Johannes Brahms; Gävle Symfoniorkester; Jaime Martín
2:52
11
III. Adagio non troppo
Johannes Brahms; Gävle Symfoniorkester; Jaime Martín
7:33
12
IV. Quasi menuetto
Johannes Brahms; Gävle Symfoniorkester; Jaime Martín
4:42
13
V. Rondo. Allegro
Johannes Brahms; Gävle Symfoniorkester; Jaime Martín
5:59
Total Playing Time    72:33
"... a disc to raise the spirits."
- Gramophone

"... there’s some lovely playing, with warm woodwind and horns and nice, crisp syncopations. Martín does not allow the tempi to drag: important in works that need to be kept agile and alert to reveal their special charm."
- The Guardian

This is the first installment in a series of Brahms recordings from the Gävle Symphony Orchestra and chief conductor Jaime Martín, who offer delightful interpretations of two early examples of Brahms’s orchestral music. These two Serenades were written in the late 1850s and together with the First Piano Concerto present the earliest surviving examples of his orchestral works. Brahms revised the First Serenade several times and intended to transform it into a symphony, however the six-movement piece stands as an impressive poetic creation by the young composer. His Serenade No. 2, somewhat obscured by the First Serenade, has an unusual chamber music setting of double woodwinds, two horns and a string ensemble that entirely omits the bright sound of violins and instead deploys the violas as the principal part.
96 kHz / 24-bit PCM – Ondine Studio Masters

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