{"product_id":"krips-brahms-symphony-no-4-mozart-symphony-no-39-195051-pasc231","title":"KRIPS Brahms: Symphony No. 4; Mozart: Symphony No. 39 (1950\/51) - PASC231","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 4\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 39\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1950 and 1951\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003e Total duration: 64:54\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLondon Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Josef Krips\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fAltogether a surprisingly compelling listening experience. Recommended578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eAt first, these mono Decca sessions from 1950–51\nseemed like a surprising choice for the Pristine treatment: While Krips\nled some fine Mozart opera recordings in the postwar period, his\nsymphonic sessions, while solidly musical, have not generally been known\nfor setting the pulses racing. Plus these performances had already\nappeared in a Decca Original Masters set. The sound there was\nsurprisingly poor, however—grey, papery, and pitched flat. Pristine’s\nremasterings restore them to their correct pitch, along with a great\nimprovement in openness, warmth, and definition. The result makes a real\ndifference, significantly enhancing the performances’ projection of\nvitality and engagement. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe Mozart No. 39 is the second, and finest, of\nKrips’s three studio recordings, between his less personal earlier\n(1947) version with the same orchestra and label (available on Andante)\nand his much later Concertgebouw remake, mellifluous and rather bland\n(Philips, 1972). The 1951 performance is natural, unforced, mellow, and\nvery Viennese in character—singing \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003efortes,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\ntransparent balance, a timelessly idiomatic Mozartean sound. The\nfirst-movement introduction is very sedate by today’s standards, but the\nAllegro is buoyant, full of affectionate details, which are always\ngiven plenty of time to speak. In the Andante, the expressive string\nplaying reminds us of Krips’s violin-playing background. The finale is\nleisurely but with real effervescence and point. Altogether a\ndistinctive point of view to complement other classic versions from the\ntime: the sleek élan of the young Karajan\/VPO (EMI, 1949); the highly\ninflected liberties of Beecham\/RPO (CBS\/Sony, 1955); Walter’s\nirresistible marriage of romantic flexibility and classical point (NYPO,\nColumbia\/Sony, 1953\/56); Jochum’s rich, songful, zesty treatment\n(Bavarian Radio SO, DG, 1954); and the radically modern Szell\/Cleveland\nin their first version of 1947 (Sony Original Jacket Collection)—brisk,\nclipped, and shapely. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe Brahms is conducted with a light, sure touch,\ngaining much from the lean, silvery sound of the LSO at this time—tight,\nfocused strings; slightly acidic woodwinds; punchy brass. Krips’s\ninterpretation is decidedly classical, straightforward, yet always\nnaturally breathing. The first movement features some elegantly turned\nstring playing, with fine momentum culminating in an exciting \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003estringendo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nin the coda—quite gripping! The Andante is straightforward and\nunmannered, but eloquently sung; the Scherzo taut and excitingly built.\nThe Passacaglia is swift and direct, with a masterly controlled\ntightening of the screws in its final stages. Among other 1950s\nversions, the closest in approach to Krips is perhaps the fleet,\nclassical van Beinum\/Concertgebouw (Philips, 1958). For a richer,\nweightier Brahmsian experience, listeners of this era were (and we today\nare still) well served by Karajan\/Philharmonia (EMI, 1955), Jochum\/BPO\n(DG, 1953), and Walter\/NYPO (Columbia\/Sony, 1951). \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eAltogether a surprisingly compelling listening\nexperience. Recommended, whether or not you already have the Decca\nOriginal Masters set. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eBoyd Pomeroy \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:3 (Jan\/Feb 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC231.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eKrips' Brahms \"sensitive, vigorous, and poised to a nicety\"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eSuperb new transfer finally does proper justice to marvellous recordings\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eOne has to smile today at the final sentence in the \u003cem\u003eGramophone \u003c\/em\u003ereview reproduced above of Decca's 1950 LP issue of this recording - the 78s referred to appeared a few months after the Brahms Symphony's vinyl issue, and it's hard to believe today that many critics seriously felt that 78s had more to offer the music lover than the LP which so swiftly eradicated them after half a century of total dominance.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eFor sure some of the early LPs could be a bit hit and miss, quality wise, and the same can be said for the recordings, as witnessed here. Analysis of the 1950 Brahms recording shows a true full frequency response heading right up to the maximum available on a modern CD, whereas the 1951 Mozart recording, made by the same company in the same hall with the same producer, orchestra and conductor (the engineer in unknown for the Brahms but the legendary Kenneth Wilkinson was chief knob-twiddler for the Mozart) peters out with an upper limit of 12kHz, something one might have expected from a wartime recording, but not in late 1951.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eBut it seems that even today these recordings have suffered. Having first heard the quality of the LPs from which these transfers were taken, I was rather surprised to hear the hard-toned, overly-hissy and quite flat-pitched transfers they received in a Decca CD issue a very few short years ago. I had heard the Brahms first, and was delighted by both the performance and the recording, especially after initial investigations (using XR remastering for my own pleasure). When I heard how much improvement I had been able to make over Decca's own CD transfers I decided to press on, later adding the Mozart to the set for this release.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe sound here is clear, clean, full and well-focussed, perhaps more so in the Brahms than the Mozart, with its aforementioned frequency deficiency. Both, however, are a clear improvement on the now apparently-deleted Decca CD box set of 2003.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 4 in E minor, Op. 98 \u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 17th, 19th \u0026amp; 20th April, 1950, Kingsway Hall, London\u003cbr\u003e First issued in October 1950 as Decca LXT2517\u003cbr\u003e Transferred from Ace of Clubs ACL.132\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eSymphony No. 39 in E flat major, K.543 \u003c\/span\u003e \u003cstrong\u003e\u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 18th December, 1951, Kingsway Hall, London\u003cbr\u003e Transfered from and first issued in the UK in June 1952 as Decca LXT2689\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003ePlayed by London Symphony Orchestra\u003cbr\u003econductor Josef Krips \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003eTransfers by Andrew Rose from the Pristine Audio collection\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, April-June 2010\u003cbr\u003eCover artwork based on a photograph of Josef Krips\u003cbr\u003e\u003cbr\u003eTotal duration: 64:54\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC231.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC231.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e    \"It has become fashionable in recent years to belittle Brahms's achievement as a symphonist. Some critics have gone so far as to say that Brahms in wasn't really a symphonist, which suggests to me that they aren't really critics...\u003cbr\u003e\u003cbr\u003e    One might not care for Brahms's idiom, but that is no reason for trying to deny the existence of Brahms's architectural genius. \"The defence of his works,\" says Tovey, \"is an infinitely more faithful line of criticism than that of attack; for attacks are easy on superficial grounds, while the defence rests on bedrock.\" The bedrock of the Fourth Symphony is a masterly display of musical invention and imagination that is demonstrable by analysis. But to the average music-lover musical architecture is a quality that is felt intuitively rather than recognised by analysis. So the fact remains that most people who have ears to hear, nerves to feel, and a sublime ignorance of technical principles find the romantic fervour and sheer musical beauty of the Fourth Symphony a great experience.\u003cbr\u003e\u003cbr\u003e    And I think they will find the performance of the London Symphony Orchestra under Krips reproduces superbly this great experience. There are no histrionics about Krips's reading, in which everything is beautifully proportioned and carefully calculated. The music moves forward to its natural climaxes, in each of the four movements, with a wonderful feeling of inevitability that leads logically and dramatically to the crowning achievement of the great Finale. The orchestral playing is sensitive, vigorous, and poised to a nicety, and the recording does full justice to it. I look forward to the issue of this recording on 78's\"\u003cbr\u003e\u003cbr\u003e    \u003cb\u003eExcerpt from LP review in The Gramophone, November 1950 by R. H.\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":55010051359086,"sku":"gle1789305614105","price":14.11,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55010051391854,"sku":"rke1789305614106","price":9.57,"currency_code":"USD","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":55010051424622,"sku":"lgr1789305614107","price":9.44,"currency_code":"USD","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55010051457390,"sku":"kgj1789305614108","price":6.79,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0915\/3986\/5966\/files\/krips-brahms-symphony-no-4-mozart-symphony-no-39-195051---pasc231_1.jpg?v=1789305621","url":"https:\/\/www.harborviewgoods.shop\/products\/krips-brahms-symphony-no-4-mozart-symphony-no-39-195051-pasc231","provider":"My Store","version":"1.0","type":"link"}