Iván Fischer's recordings of Brahms' symphonies have appeared at a leisurely pace, each one well-considered and crafted together with the conductor's Budapest Festival Orchestra. Listeners interested in sampling Fischer's approach would do well to try out this entry in the series, including the Symphony No. 3 in F minor, Op. 90, along with the early Serenade No. 2 in A major, Op. 16. The Symphony No. 3 is the least often performed of Brahms' four, and that's because it's hard for listeners to get a handle on, plunging ...
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Iván Fischer's recordings of Brahms' symphonies have appeared at a leisurely pace, each one well-considered and crafted together with the conductor's Budapest Festival Orchestra. Listeners interested in sampling Fischer's approach would do well to try out this entry in the series, including the Symphony No. 3 in F minor, Op. 90, along with the early Serenade No. 2 in A major, Op. 16. The Symphony No. 3 is the least often performed of Brahms' four, and that's because it's hard for listeners to get a handle on, plunging listeners immediately into an ambiguity between F minor and F major that, in one way or another, conditions almost all of the rest of the action. Complexity -- and keeping the flow going despite the complexity -- are Fischer's stock-in-trade, and his Third is a perfect example. Everything flows, and the musical argument is worked out in great detail. It's also quite cool Brahms, as one can hear right from the very controlled opening chords; it's almost as if Fischer wants to get into the...
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