ROBERTO ABBADO CONDUCTS BRAHMS IN AN UNRELEASED VERSION OF THE 1996 RECORDING
«Almost thirty years after the studio recordings, BR-KLASSIK releases the orchestra version of the 21 Hungarian Dances performed by the Abbiati Prize-winning conductor and the Münchner Rundfunkorchester The album is available from today, 2 May, in stores and on streaming platforms The charm of the folk melodies that Johannes Brahms collected under the title of Hungarian Dances is the protagonist of a new album released by BR-KLASSIK. The label, almost thirty years after the studio recording with the Münchner Rundfunkorchester in 1996, is publishing the orchestral version of Brahms’ 21 Hungarian Dances conducted by Roberto Abbado, then Principal Conductor of the German ensemble. The album is available from today, 2 May, in stores and digital platforms for streaming and download. In addition to the original orchestral arrangements written by Brahms for dances No. 1, 3, and 10, the album includes orchestrations written by Antonín Dvořák, Andreas Hallén, Paul Juon, Albert Parlow, Martin Schmeling, and Hans Gál. Combining folk song melodies with some of his own invention, Brahms initially wrote the Hungarian Dances for piano four hands after becoming acquainted with the so-called ‘Hungarian’ or ‘Gypsy’ musical tradition in 1853 through violin player Eduard Reményi. The first ten dances were published in 1869, while the other ones only in 1880. A few years later, Brahms presented an orchestral version of dances No. 1, 3, and 10 in Leipzig. Extremely popular since their debut, the 21 Hungarian Dances contributed significantly to Brahm’s fame, also inspiring numerous musicians – like Dvořák, Hallén e Parlow – to create their own personal arrangements. Recently appointed Music Director of the Korean National Symphony Orchestra, starting January 2026, Roberto Abbado is currently leading the Philharmonic Orchestra of the Teatro Comunale di Bologna. From 1991 to 1998, he was Principal Conductor of the Münchner Rundfunkorchester. An Abbiati Prize winner, he has conducted numerous world premieres and new opera productions in the most prestigious theatres, including La Scala in Milan, the Wiener Staatsoper, the Bayerische Staatsoper in Munich, the Opéra National de Paris, and the Metropolitan Opera in New York City. Some of his recordings with Munich’s Rundfunkorchester include Bellini’s I Capuleti e i Montecchi, nominated Best Recording of the Year by BBC Magazine in 1999, Rossini’s Tancredi, awarded the Echo Klassik German Record Award in 1997, Donizetti’s Don Pasquale, and Puccini’s Turandot. Founded in 1952, Münchner Rundfunkorchester boasts a wide discography and is committed to bringing back to life forgotten works. With a repertoire ranging from opera to operetta, from classical to contemporary sacred music, to film scores, the orchestra has performed in prestigious venues like Baden-Baden’s Festspielhaus, Vienna’s Musikverein, and the Salzburg Festival. Recently, the orchestra has collaborated with artists like Diana Damrau, Elīna Garanča, Plácido Domingo, Mischa Maisky, and Khatia Buniatishvili. Its Principal Conductor since 2017 is Ivan Repušić.»
«BR-KLASSIK delights us with a remarkable album release: Johannes Brahms' 21 Hungarian Dances in their vibrant orchestral versions, performed by the Münchner Rundfunkorchester under the masterful baton of Roberto Abbado. This album, available since May 2, 2025, is a true treasure, bringing to light studio recordings nearly three decades old.
What makes this collection particularly fascinating is its breadth. It not only includes the original arrangements Brahms himself made for Dances No. 1, 3, and 10, but also features the diverse and brilliant orchestrations by luminaries such as Antonín Dvořák, Andreas Hallén, Paul Juon, Albert Parlow, Martin Schmeling, and Hans Gál. This variety of orchestral approaches allows for a rich exploration of Brahms' melodic inventiveness, which skillfully fused Hungarian folk melodies with his own compositional genius.
The Hungarian Dances, initially conceived for piano four-hands, achieved massive popularity since their debut, cementing Brahms' fame and inspiring generations of musicians. This BR-KLASSIK release with the Münchner Rundfunkorchester and Roberto Abbado is not only an opportunity to rediscover these timeless works but also to appreciate a performance that, without a doubt, captures the passion and fiery spirit of the music. It is a release that promises to immerse the listener in the warmth and virtuosity of these unforgettable pieces.»
onlinemerker.com Dirk Schauß
«The CD "Johannes Brahms, Ungarische Tänze" by the Münchner Rundfunkorchester, conducted by Roberto Abbado, is unequivocally described as "Top!". On this recording, the Munich Radio Orchestra, under the skilled guidance of its former chief conductor Roberto Abbado, masterfully presents the orchestral versions of Brahms' dances.
Roberto Abbado, a highly accomplished Italian conductor, brings a wealth of experience and musicality to this recording. His background, rooted in a renowned musical family—being the son of pianist and composer Marcello Abbado, grandson of violinist and teacher Michelangelo Abbado, and nephew of conductor Claudio Abbado—speaks volumes about his deep understanding of classical music. His extensive studies in piano, composition, and conducting, including with notable figures like Mario Gusella, Franco Ferrara, and Hans Swarowsky, have clearly shaped his exceptional interpretive abilities.
This CD offers a brilliant rendition of Brahms' Hungarian Dances, showcasing Abbado's leadership in presenting these orchestral versions.»
Stretto.be Michel Dutrieue
«This recording of Johannes Brahms' 21 Hungarian Dances, performed by the Munich Radio Orchestra under the baton of Roberto Abbado, offers a sophisticated and compelling experience. Released by BR Klassik (900360), these studio recordings from 1996-97 showcase Abbado's leadership towards the end of his tenure as Chief Conductor of the Müncher Rundfunkorchester.
While acknowledging a previous satisfactory recording, this later rendition by Abbado is deemed "rather more sophisticated in terms of sound and execution." The conductor is noted for making "a little more of the extremes of tempo," and both he and the orchestra are praised for being "alive to the potential for a certain gawky charm" in pieces like No. 3. Notably, Abbado "finds more slancio in that number and the richer sound pays dividends there, too, in bringing out the surging passion of the main theme." The review emphasizes that Abbado, an Italian, and his Munich orchestra "embrace the idiom whole-heartedly," just as Brahms, though German, embraced Hungarian music.
In conclusion, this disc is unequivocally asserted as "another fine option" for those wishing to enjoy this "wonderfully uplifting music."»
Musicwebinternational.com Ralph Moore
«In this 1996–97 studio recording with the Munich Radio Orchestra, Roberto Abbado delivers a vibrant and colorful interpretation of Brahms’s Hungarian Dances. His conducting is praised for its rhythmic energy, expressive contrasts, and stylistic clarity. The orchestra responds with agility and nuance, capturing the folkloric charm and dynamic flair of the music. Though Claudio Abbado’s version remains iconic, Roberto’s reading earns its place as a compelling and polished addition to the Brahms discography.»
Crescendo Magazine Jean Lacroix
«Roberto Abbado made these recordings in the mid-'90s towards the end of his time as the Munich Radio Orchestra's chief conductor.
There's a richness to the playing and they revel in the rustic charm, the melodic breadth only just shy of the inner detail and immediacy of the finest performances. Hugely enjoyable, nonetheless. (BR Klassik
900360) ****»
BBC Music Magazine Andrew McGregor
"Pour une fois, le disque aura saisi l’art de Roberto Abbado loin de l’opéra. Le neveu de Claudio a eu un peu de peine à se faire un prénom dans le domaine symphonique, injustice que cet album tentait de réparer voici déjà près de trente ans, sans qu’une suite lui ait été donnée.
Brio sans tapage, distance avec les relectures emplies d’hungarismes qui font tout le prix des versions d’Iván Fischer, finesse des interprétations qui cherchent à alléger les orchestrations parfois épaisses de Parlow, mais soulignent l’art plus affirmé de celles d’Hans Gál ou de Paul Juon. Lorsque paraissent les trois Danses dont Brahms signe la transposition symphonique, je regrette que Roberto Abbado n’ait pas eu l’occasion d’enregistrer à la même époque les Symphonies et les Sérénades.
Feux d’artifice final tenu, Dvořák invitant sa palette dans les cinq dernières Danses, en pur poète pour les deux Andantino dont Roberto Abbado et les Munichois raffinent les paysages à force de nostalgie, l’humour, l’élan, l’allégresse sur les pointes des trois Vivace montrant l’élégance de cette baguette trop peu présente dans les studios d’enregistrement. © 2025 ARTAMAG’"
artamag.fr Jean-Charles Hoffelé
"Seit nunmehr 16 Jahren erscheinen bei dem Label BR Klassik hervorragende Aufnahmen des Bayerischen Rundfunks und des Münchner Rundfunkorchesters aus den vergangenen Jahrzehnten. Diese Reihe hat ihre Meriten. Da sind so manche Klassiker erschienen. Die jüngste Veröffentlichung auf CD gilt den Ungarischen Tänzen von Johannes Brahms. Dank dieser vollauf gelungenen Aufnahme wird wieder einmal offenkundig, welchen hohen Rang diese auf ungarischer Volksmusik und Melodien fahrender Musikanten beruhenden Tänze in der Musikwelt genießen. Entstanden sind sie in den Jahren 1858 bis 1869 zuerst in einer vierhändigen Klavierfassung. Sie beruhten eigentlich gar nicht auf originalen musikalischen Einfällen von Brahms, sondern stellten Bearbeitungen von vorgefundenen Melodien dar. Die „Zigeunertonleitern“ erfreuten sich zu dieser Zeit bereits großer Beliebtheit, hatten sie doch bereits Eingang in die Kompositionen von Liszt, Haydn und Mozart gefunden. Brahms hatte sie durch den ungarischen Geiger Eduard Reményi kennengelernt und war sogleich begeistert von dieser „Zigeunermusik“. Für drei dieser Tänze schuf Brahms im Jahre 1873 Fassungen für Orchester, die 1874 in Leipzig unter seiner musikalischen Leitung aus der Taufe gehoben wurden. Die übrigen Tänze wurden von anderen Komponisten orchestriert.
Auf der vorliegenden CD sind neben Brahms’ eigenen Fassungen Orchesterbearbeitungen von Andreas Hallén, Paul Juon, Albert Parlow, Martin Schmeling, Hans Gál und Antonín Dvořák zu hören, die von Dirigent Roberto Abbado und dem bestens disponierten Münchner Rundfunkorchester mit Bravour ausgelotet werden. Unter Abbados umsichtiger Leitung wird der Charakter der Ungarischen Tänze als volkstümliche Kunstmusik offenkundig. Perfekt gelungen sind die oftmaligen Tempowechsel, an denen diese Tänze so reich sind. Gekonnt setzt Abbado zusammen mit den Musiker:innen so manche eindrucksvolle Akzente und wartet überdies mit einer musikalischen Leidenschaft auf, die ihresgleichen sucht. Dabei wird die den Tänzen immanente emotionale Komponente ebenfalls trefflich betont. Abbados großartiges Dirigat enthält darüber hinaus viel Schwung und Feuer und zeichnet sich obendrein durch große Spannung aus. Dur-Passagen erklingen größtenteils in gleichem Maße leicht und frisch, wie Moll-Stellen einen ungemein sehnenden Charakter aufweisen. Die Ausdruckskraft und Intensität, mit denen Abbado und das Orchester hier aufwarten, lassen diese sehr empfehlenswerte Aufnahme zu einem großartigen musikalischen Erlebnis allererster Güte werden."
© 2025 Das Orchester