{"product_id":"walter-conducts-mozart-the-pre-war-recordings-1928-38-pasc564","title":"WALTER conducts Mozart: The Pre-War Recordings (1928-38) - PASC564","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony Nos. 38 – 41\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;\"\u003ePiano Concerto No. 20\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;\"\u003eEine Kleine Nachtmusik\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;\"\u003eRequiem\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;\"\u003eOvertures and Dances\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio Recordings, 1928 – 1938\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal Duration: 3hr 43:44\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eElisabeth Schumann\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, soprano\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eEnid Szánthó\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, contralto\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eAnton Dermota\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, tenor\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eAlexander Kipnis\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, bass\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e et al\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBruno Walter\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare magazine review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis discographic landmark warrants my highest possible recommendation578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eBruno Walter remains acknowledged as one of the\nleading Mozartians of the early-to-mid 20th century. (To place my own\ncards on the table, I would unreservedly say he was the supreme\nMozartian of the entire century.) The recordings collected here are\ngenerally quite famous, and most of them have been issued multiple times\non CD on various labels. Yet, until now, virtually all of those issues\nhave been cruelly disappointing affairs. Depending on which sound\nengineer applied ham-handed butchery with reprocessing software, top\nfrequencies have been shorn off altogether, bottom ones pumped up into\nsonic mud, and\/or the mid-range slathered over with artificial\nreverberation. Or, on the opposite end of the scale, labels such as\nPearl and Opus Kura have issued unprocessed transcriptions of the\noriginal 78-rpm discs with enough surface noise, hiss, and crackle to\ndrive Rice Krispies out of the breakfast cereal market. The only\nexceptions were on Japanese EMI LPs from the 1970s (a number of which I\nstill own and treasure), which were laudable for the exquisite quality\nof the vinyl as well as the meticulous care taken with the transfers,\nand a long out-of-print four-CD set on Lys of Walter’s pre-war\nelectrical recordings of Mozart and Haydn, which provided solid though\nnot exceptional transfers (but first-rate documentation) and did not\ninclude the live Requiem offered here. (I also wish to correct a\nstatement I made in a review back in 37:5—on what basis I no longer\nrecall—that the Lys transfer of the Symphony No. 40 is flat. Obert-Thorn\nis meticulous in matters of correct pitching as well as other matters,\nand the timings for the older Lys transfer and his are identical.) \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThankfully, the sonic drought for these recordings\nis now at an end. Mark Obert-Thorn is justly famed for the elite\nquality of his remasterings, but this may well be his finest work on\nanything to date. Sonically, the results here have far exceeded my\nfondest hopes and even wildest dreams for what might be possible with\nthem. For all but a couple of older items, surfaces and background noise\nare almost whisper-quiet, yet with absolutely no impairment of\nfrequency ranges or dynamics. On the contrary: These performances now\nvirtually leap out of the speakers with all sorts of harmonics, inner\nvoicings, and instrumental colors now appearing with astonishingly\nvibrant presence and brilliance. The results are nothing less than\ntransformative, not only sonically but also in terms of re-evaluating\nrecordings that seemed thrice familiar but now emerge in an entirely new\nlight. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eObert-Thorn has arranged these works in optimal\norder to fit them onto three well-filled CDs. The first disc opens with\nthe four overtures, followed by the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThree German Dances\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nand then the Piano Concerto No. 20 and Symphony No. 38. The second disc\ncontains the other three symphonies, and the third disc the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEine kleine Nachtmusik\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and Requiem. The only electrical recording not included here is the previous 1931 recording of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEine kleine Nachtmusik\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nwith the British Symphony, which Pristine Audio previously issued along\nwith all of Walter’s acoustical recordings (see my review of that back\nin 40:6). The Overture to\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Die Zauberflöte\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nthat opens this set is the oldest recording featured here, dating from\n1928. The Columbia disc has some extra surface noise and is a bit\ndull-sounding, but that does not inhibit the grandeur and gravity (free\nfrom all ponderousness) of Walter’s conception from coming through, with\nthe tang of the French instrumentalists adding some piquant color. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFigaro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nOverture from 1932, as with virtually all of Walter’s studio and live\naccounts of this piece, bristles with febrile energy at a brisk pace.\nBut the real musical gold, both sonic and interpretive, comes with the\nseries of Vienna Philharmonic recordings that follows, made between\nDecember 1936 and January 1938. The Overture to\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e La clemenza\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\ncould serve as an object lesson to modern HIP performances for pointed\nclarity, precisely chiseled phrasing, and depth of emotional expression.\nThat to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa finta giardiniera\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nis utterly charming—it’s hard to believing that less than two months\nlater the Nazis were marching down the streets of Vienna and Walter was a\ndisplaced exile—as are the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThree German Dances\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, served up with a glorious dollop of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSchlagsahne\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\non top. While all the other works in this set have multiple\nrepresentations in Walter’s discography, these are the only recordings\nwe have by him of these two overtures. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe Piano Concerto No. 20 occupied a special place\nin Walter’s repertoire. Originally, before he elected to make his\ncareer as a conductor, Walter intended to become a concert pianist.\nAlthough his podium duties precluded much regular practice, Walter\nmaintained his keyboard skills enough to accompany some of his favorite\nsingers (Elisabeth Schumann, Lotte Lehmann, and Kathleen Ferrier) in\nconcert and the studio. This concerto was the one such work he kept in\nhis personal repertoire; in addition to this studio recording there\nsurvives a live performance with the NBC Symphony from 1939, plus\nperformances from 1950 and 1956 with Walter conducting the New York\nPhilharmonic and Rudolf Firkušný and Myra Hess as the respective\nsoloists. If Walter as a pianist does not command the subtle insights of\nthose two keyboard masters, his is nonetheless a very satisfying\naccount—cleanly executed, light and transparent in texture,\nstraightforward and unfussy in interpretation. It is of particular value\nnot only as a document of Walter the pianist, but also for the\ncompletely sympathetic collaboration with the Vienna Philharmonic, which\ngives the results a special cachet. On the third CD, the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEine kleine Nachtmusik\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nhas rightly long been recognized as one of Walter’s finest achievements\nin the studio, utterly winsome and gracious if more full-bodied in\ntexture than current HIP accounts. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eOf the recordings of the four symphonies, those\nfrom Vienna of Nos. 38 and 41 predictably take pride of place. Walter\nessentially owned the “Prague” Symphony—as far as I’m concerned, he\nstill does—and this is an especially glorious rendition, radiating\nwarmth and geniality from every bar. The opening \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio-Andante\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e flows effortlessly from initial ceremonial pomp to scurrying bustle; the middle \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is a miracle of grace; the concluding \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePresto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\ncharms with elegant energy. Heretofore my favorite Walter account of\nthis score has been a live performance from 1956 with the New York\nPhilharmonic, with a frenetic finale that is almost incendiary, but now\nI’m not sure that this does not supplant it. The “Jupiter” likewise\nevinces ebullient spirits throughout; if the finale does not have the\nmagisterial grandeur of Walter’s stereo account with the Columbia\nSymphony, it still beguiles with incomparable elegance, and the lighter\ntread in the first three movements puts it well ahead of its stereo\nsuccessor in those. If the Symphony No. 39 with the BBC Symphony does\nnot quite match its Viennese sisters for elegance and charm (and the\nrecorded sound from 1934 is a shade less warm, particularly in the\nhigher frequencies), it is still a notable, stylish account in every\nway, at its best in the finale. It lacks only the sweetness of the\nAustrian strings, and an absolute \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eecht \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003efeel for Mozart’s music. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe recording of the Symphony No. 40—along with the Overture to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDie Zauberflöte\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\none of the two lesser-known items in this set—is the least felicitous\nperformance presented here. Recorded by Columbia in January 1929, it\nsuffers from intractably dull recorded sound and noisy shellac surfaces.\nAlso, the work was one that Walter had added to his personal repertoire\nonly three years earlier, at age 50; before then, he had felt too much\nreverence for the score to attempt to conduct it. Consequently the\ninterpretation, while it has all the basic outlines of his numerous\nsubsequent live and studio accounts (the best being the 1953 Columbia\nrecording with the New York Philharmonic), does not quite have the\n“lived-in” feel of the other works performed here, and feels a bit\ncareful and cautious. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThis live 1937 performance of the Requiem, given\nat the Paris International Exposition, is one that I hitherto had\nwritten off as one of the great disappointments in the Walter\ndiscography; it had comes across as suffocatingly ponderous, with all\nthe soloists but Dermota being badly off form. Walter himself had\nrejected its planned commercial release, and it was not published intact\nuntil the CD era (though EMI belatedly issued it on LP in 1986). But\nwith access to an extremely rare set of vinyl 78-rpm test pressings, to\nwhich he has applied his remastering wizardry, Obert-Thorn here has\nmiraculously transmuted sonic water into aural wine. The entire\nperformance has far more presence, with many previously muffled\ninstrumental and choral lines now coming through clearly. Though still\nweighty, it now moves with inexorable momentum instead of plodding along\nwith sluggish torpor. Perhaps the most radical improvement, however,\ncomes with the solo voices. Elisabeth Schumann, who previously had\nseemed fragile and wan, now has justice done to her radiant, uniquely\npure, flute-like soprano. While Alexander Kipnis remains too bullish in\nhis solo entrance at the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTuba mirum\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n(and both he and the solo trombonist have intonation issues there),\nafter that he too is now heard to far greater advantage and flattering\neffect. Anton Dermota remains a prince of Mozart tenors, as before, and\nthe single most beautiful aspect of this performance. Only Kerstin\nThorborg seems off form here, or perhaps out of her proper Wagnerian \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFach\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e;\nshe sounds somewhat hard-toned and a bit ungainly, and does not blend\nwell with the other quartet members, though hers is still obviously a\nmajor voice. If for various reasons this is not a first choice for a\nMozart Requiem even among Walter’s versions—that honor goes to the live\n1956 performances in its stellar refurbishment by Richard Caniell at\nImmortal Performances (reviewed by Henry Fogel in 41:4)—it is now quite\nestimable in its own right, and at last justifies its niche in the\nconductor’s discography. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eIn sum, this set is a triumph on every level—a\nveritable object lesson in Mozartean style as well as the art of sound\nrestoration. It should be acquired not only by all devotees of historic\nperformances, but by all lovers of Mozart’s music, even if they normally\ndo not listen to recordings of such vintage. My one regret is that my\n2019 Want List is already so overflowing with candidates (a good 20 or\nmore) that I’m not sure I will be able to fit this set into that\ncategory. But whether it appears there or not—it certainly deserves\nto!—this discographic landmark warrants my highest possible\nrecommendation. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames A. Altena \u003c\/span\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n\u003ch4\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 43:1 (Sept\/Oct 2019) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC564.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\nThe present set brings together nearly all of Bruno Walter’s pre-war\nrecordings of Mozart, including his unissued-on-78-rpm world première\nrecording of the \u003cem\u003eRequiem\u003c\/em\u003e. It duplicates all the works contained on\nthe 1991 EMI Références 3-CD set, and adds two recordings from the 1920s\nomitted there: the overture to \u003cem\u003eDie Zauberflöte\u003c\/em\u003e and the Symphony\nNo. 40. The only items not included here are those which have already appeared\non Pristine releases: two acoustic Polydor overture recordings (\u003cem\u003eCosì fan tutte\u003c\/em\u003e and \u003cem\u003eIdomeneo\u003c\/em\u003e, reissued on PASC 142) and\nearlier electric versions of the overture to \u003cem\u003eLe nozze di Figaro\u003c\/em\u003e\nand \u003cem\u003eEine Kleine Nachtmusik\u003c\/em\u003e (PASC 492).\n\u003c\/p\u003e\n\u003cp\u003e\nIn an era which boasted such notable Mozart interpreters as Sir Thomas\nBeecham, Arturo Toscanini and Fritz Busch, Bruno Walter stood out for his\ndistinctive approach, one which combined energy and forward momentum with\nwarmth and heartfelt affection. Walter’s Mozart was a Romantic-era\ncreation: he would often slow the tempo at the introduction of a second\nsubject; insert an extra beat before the Trio section of a Minuet; and vary\nhis tempi and dynamic levels to make an interpretive point, even if nothing\nwas explicitly indicated in the score. (Listen, for example, to the last\nmovement of \u003cem\u003eEine Kleine Nachtmusik\u003c\/em\u003e – straightforward on paper but\nwith so many personal touches in performance).\n\u003c\/p\u003e\n\u003cp\u003e\nTwo items here merit particular note. The first is Walter’s recording of\nMozart’s D minor Piano Concerto, K. 466, with the conductor also performing\nthe solo part. This was done at a time when it was even less common for\nconductors to double as soloists than it is today. Walter’s original intent\nwas to be a concert pianist, a goal which changed the first time he heard a\nperformance of \u003cem\u003eTristan und Isolde\u003c\/em\u003e. But he continued to play\nprivately, and occasionally in public as an accompanist to lieder singers.\nAs late as the 1950s, Pablo Casals lamented that Walter had not kept up his\nplaying, as he thought him “a very great pianist”. In this performance, if\nnot “great”, Walter proves at least a very capable and sensitive\ninterpreter, and one who was able to get the Vienna Philharmonic to play\nlike chamber music collaborators.\n\u003c\/p\u003e\n\u003cp\u003e\nThe other noteworthy performance is the live recording of the \u003cem\u003eRequiem\u003c\/em\u003e, made when the Philharmonic was on tour during the 1937\nParis Exposition. Its distinction lies not so much in its execution, which\nby all accounts is rather variable (Walter himself rejected the recording,\nciting “a trombone solo being not clear” and some “false” singing by the\nsolo quartet), but in its primacy as the first complete recording of the\nwork, as well as a chance to hear such legendary singers as Elisabeth\nSchumann and Alexander Kipnis.\n\u003c\/p\u003e\n\u003cp\u003e\nFor the first time here, the original recording made by French HMV on\nfifteen 78 rpm sides can be heard absolutely complete, from the opening\napplause onward, with no cuts shortening the time between movements except\nthat between the \u003cem\u003eLacrimosa\u003c\/em\u003e and \u003cem\u003eDomine Jesu\u003c\/em\u003e. On the\noriginal recording, there is more than four minutes of audience noise\nduring which Walter (and perhaps the soloists as well) apparently left the\nstage, then returned to thunderous applause. This portion has been edited\nout in the present transfer.\n\u003c\/p\u003e\n\u003cp\u003e\nAll of the issued Vienna recordings were transferred from pre-war US Victor\n“Gold” label pressings except for the first side of the \u003cem\u003eGerman Dances\u003c\/em\u003e, which came from a British HMV copy because the\nVictor release used a dubbed side. The \u003cem\u003eRequiem\u003c\/em\u003e was transferred\nfrom vinyl 78 rpm test pressings. The Columbias came from American\n“Viva-Tonal” (\u003cem\u003eZauberflöte\u003c\/em\u003e Overture) and “Royal Blue” ( \u003cem\u003eNozze di Figaro\u003c\/em\u003e Overture) pressings. The Symphony No. 40 was\noriginally recorded at a very low volume level. As a result, when the\nvolume was increased for this transfer, the surface noise was also\nincreased. I used here an early laminated English Columbia copy, as it\nproved to be less problematic than the more rumble-prone US Columbia “Royal\nBlue” shellac pressings.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_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\n\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eBRUNO WALTER conducts MOZART: The Pre-War Recordings\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony Nos. 38 – 41\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ePiano Concerto No. 20\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eEine Kleine Nachtmusik\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRequiem\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eOvertures and Dances\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eStudio Recordings ∙ 1928 – 1938\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 1 (73:11)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n1. \u003cstrong\u003eMOZART Die Zauberflöte, K. 620 – Overture\u003c\/strong\u003e (6:45)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003eMozart Festival Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 14 June 1928 in Paris\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: WAX 3841-1 \u0026amp; 3842-1 ∙ Columbia L 2549\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n2. \u003cstrong\u003eMOZART Le nozze di Figaro, K. 492 – Overture\u003c\/strong\u003e (4:08)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003eBritish Symphony Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 15 April 1932 in Central Hall, Westminster\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix: CAX 6387-2 ∙ Columbia LX 232\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e3. \u003cstrong\u003eMOZART La Clemenza di Tito, K. 621 – Overture \u003c\/strong\u003e(4:19)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 15 January 1938 in the Musikvereinsaal, Vienna\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix: 2VH 7047-2 ∙ HMV DB 6032\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e4. \u003cstrong\u003eMOZART La finta giardiniera,\u003c\/strong\u003e \u003cstrong\u003e K. 196 – Overture \u003c\/strong\u003e(2:14)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 15 January 1938 in the Musikvereinsaal, Vienna\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix: 2VH 7048-2A ∙ HMV DB 6032\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eMOZART Three German Dances\u003c\/strong\u003e\n\u003cstrong\u003e, K. 605\u003c\/strong\u003e\u003cbr\u003e5. No. 1 in D major (1:30)\u003cbr\u003e6. No. 2 in G major (1:27)\u003cbr\u003e7. No. 3 in C major (“Sleigh Ride”) (2:38)\n\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 5 May 1937 in the Musikvereinsaal, Vienna\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix: 0VH 277-1A \u0026amp; 278-1A ∙ HMV DA 1570\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eMOZART Piano Concerto No. 20 in D minor, K. 466\u003c\/strong\u003e\u003cbr\u003e8. 1st Mvt. – Allegro (Cadenza: Reinecke) (13:21)\u003cbr\u003e9. 2nd Mvt. – Romance (7:59)\u003cbr\u003e10. 3rd Mvt. – Rondo (Allegro assai) (Cadenza: Reinecke) (6:17)\n\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003eBruno Walter (piano)\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 7 May 1937 in the Musikvereinsaal, Vienna\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix: 2VH 285-1, 286-1, 287-1A, 288-1, 289-1A, 290-2, 291-2A \u0026amp; 292-2A\n∙ HMV DB 3273\/6\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eMOZART Symphony No. 38 in D major, K. 504, “Prague”\u003c\/strong\u003e\u003cbr\u003e11. 1st Mvt. – Adagio – Allegro (9:30)\u003cbr\u003e12. 2nd. Mvt. – Andante (8:51)\u003cbr\u003e13. 3rd. Mvt. – Finale (Presto) (4:09)\n\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 16 December 1936 in the Musikvereinsaal, Vienna\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: 2VH 238-2, 239-3, 240-2, 241-2A, 242-2 \u0026amp; 244-1 ∙ HMV DB\n3112\/4\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 2 (76:12)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e MOZART Symphony No. 39 in E flat major, K. 543\u003c\/strong\u003e\u003cbr\u003e1. 1st Mvt. – Adagio – Allegro (8:59)\u003cbr\u003e2. 2nd Mvt. – Andante con moto (8:53)\u003cbr\u003e3. 3rd Mvt. – Menuetto (Allegretto) \u0026amp; Trio (4:03)\u003cbr\u003e4. 4th Mvt. – Finale (Allegro) (3:45)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003eBBC Symphony Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 21 May 1934 in Abbey Road Studio No. 1, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: 2B 6949-2, 6950-2, 6951-2, 6952-1, 6953-1 \u0026amp; 6954-2 ∙ HMV DB\n2258\/60\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eMOZART Symphony No. 40 in G minor, K. 550\u003c\/strong\u003e\u003cbr\u003e5. 1st. Mvt. – Allegro molto – Andante (6:19)\u003cbr\u003e6. 2nd Mvt. – Andante (8:27)\u003cbr\u003e7. 3rd Mvt. – Menuetto (Allegretto) \u0026amp; Trio (4:09)\u003cbr\u003e8. 4th Mvt – Finale (Allegro assai) (4:15)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003eBerlin State Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 10 January 1929 in the Beethovensaal, Berlin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: WAX 4570-2, 4571-1, 4572-2, 4573-2, 4574-1 \u0026amp; 4575-1 ∙\nColumbia DX 31\/3\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eMOZART Symphony No. 41 in C major, K. 551, “Jupiter”\u003c\/strong\u003e\u003cbr\u003e9. 1st Mvt. – Allegro vivace (8:05)\u003cbr\u003e10. 2nd Mvt. – Andante cantabile (8:11)\u003cbr\u003e11. 3rd. Mvt. – Menuetto (Allegretto) \u0026amp; Trio (4:31)\u003cbr\u003e12. 4th Mvt. – Molto Allegro (6:34)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 10 January 1938 in the Musikvereinsaal, Vienna\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: 2VH 7020-1A, 7021-1A, 7022-1A, 7023-1, 7024-1, 7025-2A \u0026amp;\n7026-2A ∙ HMV DB 3428\/31\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 3 (74:26)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003cstrong\u003e\nMOZART Serenade No. 13 in G major, K. 525, “Eine Kleine Nachtmusik”\u003c\/strong\u003e\u003cbr\u003e1. 1st Mvt. – Allegro (4:12)\u003cbr\u003e2. 2nd Mvt. – Romanze (Andante) (4:35)\u003cbr\u003e3. 3rd Mvt. – Menuetto (Allegro) \u0026amp; Trio (2:07)\u003cbr\u003e4. 4th Mvt. – Rondo (Allegro) (4:09)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17 December 1936 in the Musikvereinsaal, Vienna\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: 2VH 234\/7 (All Take 1) ∙ HMV DB 3075\/6\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eMOZART Requiem in D minor, K. 626\u003c\/strong\u003e\u003cbr\u003e5. Applause (0:44)\u003cbr\u003e6. I. Introitus: Requiem aeternam (5:48)\u003cbr\u003e7. II. Kyrie Eleison (3:28)\n\n\u003c\/p\u003e\u003cp\u003e\nIII. Sequenz\u003cbr\u003e8. Dies Irae (1:47)\u003cbr\u003e9. Tuba Mirum (4:04)\u003cbr\u003e10. Rex Tremendae (2:28)\u003cbr\u003e11. Recordare (6:31)\u003cbr\u003e12. Confutatis (3:04)\u003cbr\u003e13. Lacrimosa (3:31)\n\u003c\/p\u003e\n\u003cp\u003e\nIV. Offertorium\u003cbr\u003e14. Domine Jesu (4:58)\u003cbr\u003e15. Hostias (6:05)\n\u003c\/p\u003e\n\u003cp\u003e\n16. V. Sanctus (1:50)\u003cbr\u003e17. VI. Benedictus (5:14)\u003cbr\u003e18. VII. Agnus Dei (3:24)\u003cbr\u003e19. VIII. Communio: Lux aeterna (6:26)\n\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003eElisabeth Schumann (soprano)\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cb\u003eEnid Szánthó\u003c\/b\u003e, \u003cstrong\u003e(contralto)\u003cbr\u003eAnton Dermota (tenor)\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003eAlexander Kipnis (bass)\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e Vienna State Opera Chorus\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003eVienna Philharmonic Orchestra\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eRecorded during the performance of 29 June 1937 in the Théâtre des\nChamps-Elysées, Paris\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: 2LA 2005\/19 (All Take 1) ∙ Unissued on 78 rpm\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eBruno Walter \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003econductor\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\n\n\u003c\/p\u003e\n\u003cp\u003e\nSpecial thanks to Nathan Brown, Ward Marston and Charles Niss for providing\nsource material\n\n\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003eTotal Duration: 3hr 43:44\u003c\/span\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\/PASC564.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC564.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fVintage Review Excerpts578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\u003cem\u003ePiano Concerto No. 20 in D minor\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n“The solo work [in the first movement] is workmanlike, strong in passage\nwork, well balanced and planned in the light of the orchestral interplay as\none would expect of this conductor, and as is keenly necessary in a work so\nclosely knit between the two parties, who are entirely happy in consort.\nThe pianism, whilst not lacking delicacy, is of a forthright expository\nkind that fills out well in recorded quality, even if a run here and there\nis not quite faultless. Unfortunately, the cadenzas by ‘Reinicke’\n(presumably Reinecke) are used. The mood of the first movement is quite\ndissipated by the sentimental touch . . .\n\u003c\/p\u003e\n\u003cp\u003e\n“The slow movement simply wants a clear sensitive setting forth of the\npiano theme, with a still more tender accompaniment, and that we get. It is\na pleasure to hear the soloist’s gentle, masculinely persuasive style . . .\nThe orchestra’s wood-wind in this movement is especially gracious and\nexpressively tender . . .\n\u003c\/p\u003e\n\u003cp\u003e\n“The pianism [in the finale] is rather more of a conductor’s brand, showing\nsome signs of little inequalities the overcoming of which calls for so many\nthousand hours of almost spirit-breaking practice: one reason why the\nfinest pianists are so rare . . .\n\u003c\/p\u003e\n\u003cp\u003e\n“A strong, clean, sensible recording, in which perhaps the orchestra has\nthe best presentation. The performance is sufficiently taut for most tastes\n. . .”\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cem\u003eW.R.A. in \u003cu\u003eGramophone\u003c\/u\u003e, October, 1938\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cem\u003eSymphony No. 41 in C major, “Jupiter”\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n“I have long lived in hope of finding a recording that makes the finale of\nthis work sound as big as the notes look. I have heard it so in the concert\nroom, but not even (I venture to say) in Beecham’s fine recording . . .\n\u003c\/p\u003e\n\u003cp\u003e\n“The recording seeks that large, lucid brightness which we have come to\nexpect from Vienna. It adds a familiar super-shine that I cannot quite so\ngreatly take to, but if ever music could stand a high polish and strong\nsunlight (not limelight), it is this. The playing shines equally, in\naccomplishment, so you \u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":55010077639022,"sku":"xct1789306302382","price":17.62,"currency_code":"USD","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55010077671790,"sku":"deu1789306302383","price":24.12,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0915\/3986\/5966\/files\/walter-conducts-mozart-the-pre-war-recordings-1928-38---pasc564_1.jpg?v=1789306324","url":"https:\/\/www.harborviewgoods.shop\/products\/walter-conducts-mozart-the-pre-war-recordings-1928-38-pasc564","provider":"My Store","version":"1.0","type":"link"}