For the last 30 years I have had Szell and Walter as my reference recordings for these. As you say, they are quite different approaches, and in the long run I prefer Szell, but I would never want to give up Walter for how he just makes it smile.
Fantastic recordings Mr. Hurwitz. Bohm is my favorite, but based upon your prior recommendation on Walter’s Mozart I got the big Walter box and was imminently pleased.
Thank you for reminding me of just how good these performances are. The first recording of Mozart symphonies that I bought when I was in high school, was of these performances of 41 and 35 on a single Columbia Lp. Packing that much playing time on a vinyl disc resulted in really bad pre-echo in the first movement of the Jupiter. As I'm typing I'm enjoying this release on Qobuz streaming with no pre-echo! However, due to the influence of a certain Prof. Schickele I can never listen to the 3rd. movement menuetto of the Jupiter without expecting it to modulate into Cielito Lindo😂. Thank you again!
I imprinted on the Marriner EMI recording of the Mozart 38 and 39. It was my very first exposure to Mozart, and I fell in love with his music at first hearing. I have since heard so many versions of his "Last Six" and I'm amazed how beautiful these works are under the baton of well-regarded conductors, regardless of their "point of view." My favorites are Mackerras, Bernstein, Colin Davis, Walter and Szell (these last two, based on Mr. Hurwitz' enthusiastic reviews). And although Marriner gets mixed reviews, I really love his 38 and 39 on EMI (not Phillips).
I've been listening to Walter's Mozart Symphonies 25, 28 & 29 album from 1956 (bicentennial from 1756) very recently. Glad you're covering the last 6 as well
I used to own these but no longer do. I moved on to others that I prefer. I do want a little more spring in the step of my Mozart, for sure. But Walter's were indeed mellifluous and sensitive.
All of his Beethoven is great. The 6th, as you say, is one of the great recordings of all time. But I also particularly love his 9th and violin concerto with Francescatti, both of which are unlike any other recordings I have heard of those works. They have a warm humanness to them different than any others I have heard.
@@alwa6954 You are right. His recordings with Francescatti, all of them (he also did some Mozart with him, right?), have that singular quality you describe.
Might well be. But can one really hear how good/fascinating or whatsoever a performance is when the recording dates from the Stone Age. This 'tension' between a good (or superlative) performance and a good (or superlative) recording puts in my view a big spell on the pleasure of listening. For me, good sound is essential for enjoying.
I was interested in what you said about the rehearsal of the Linz Symphony. There's an interview Otto Klemperer gave to John Freeman in 1961, where he said that Bruno Walter was very conciliating and very elegant and very mild. "And I am not. He was a moralist, and I am not - I am an immoralist, absolutely!" A lovely video! I've passed it on to a friend who adores Mozart symphonies, and is not too keen on HIP and period instruments.
This recording of Jupiter symphony is very special, the best one I ever heard. The slow 2nd movement and the way 4th movement is phrased with slight tempo variation, this is how this symphony should be played in my view. I dislike the sound of period French horns, modern horns should always be used, because they offer a fuller, richer, more expressive sound.
When this, in your opinion, is the best RECORDING you have ever heard, I strongly advice you to listen to, for example, Charles Mackerras and the Scottish Chamber Orchestra on Linn. Well, THAT is a good recording. Of course from an acoustical and technical point of view. I think we should make a very important distinction between the technical result of a performance (called Recording) and the artistic result (called Performance). To me, talking about older recordings and interpretations, this distinction is very important.
These are wonderful. I received my discs, and have been listening to them repeatedly for a week. I expected them to sound like Walter's other sunset years recordings - heavily orchestrated romantic works with the Columbia Symphony Orchestra -- the Dvorak 8 / Good Friday Music from Parsifal, Beethoven 6/ Bruckner 7 that are some of my favorites but these are different - they are light, they dance, they are energetic - and are now my favorites.
Thank you for this talk. I love these recordings as well as Walter's recordings of the opera overtures and Eine Kleine Nachtmusik on Columbia. I acquired the recordings in 1970s when they were on vinyl. The sound was warm, spacious and beautiful! When the same recordings became available on CDs, I bought them; however, the sound was harsh and cold. You were waiving around a CD cover for these recordings which matched the original record jacket I had in the 1970s. It does not match the cover for the early CDs I purchased. Has Sony subsequently improved the CD sound quality for these recordings?
Never thought of Mozart's symphonies as transcendental, but Bruno Walter and his guys play it just like that. Some really profound music making happened during these recordings. And than, there's the Jochum 41...oh wow.
The Jupiter is truly transcendental IMO. That effect wasn’t found much in non-sacred classical music prior to Beethoven but it’s certainly there in the finale of the 41st.
Walter’s rehearsal disc is as much an exegesis of the Linz symphony (especially that slow movement!) as it is a rehearsal. It may even have you convinced, as I am, that it’s one of the classical period’s great symphonic masterworks.
Mozart’s Symphony No.39 in E-flat, K.543 recorded live with Stockholm Philharmonic and Bruno Walter, released on Everest Records as LP, was my introduction to this wonderful symphony during my early childhood. It is absolutely a timeless treasure, and I am still haunted by its beauty. This is such an impressive recording, there are so much delightful details, we could highlight and discuss, but I have just wanted to point a very tiny and fine detail: I have not heard any other recording, where the down scales in the extensive slow introduction could played more beautiful. The way, those scales played speaks volumes about the rest of the performance. The recording included an equally amazing performance of Overture to The Marriage of Figaro, K. 492, as well. It is so unfortunate that this recording has never been released on CD, and is no longer available anywhere; as far as I know.
Actually this performance was released on CD (at least once) on BIS Records - in an 8CD box celebrating the «Stockholms Filharmoniska Orkester» 75th anniversary in 1989.
Mozart Symphonies meant little to me until I was heard Walter doing one of the late Symphonies on a classical music station ( remember?) and I bought the set of his late Mozart symphonies. I have come to prefer other performances, but I still treasure these. Best of their kind and what more can you ask?
After having listened for considerable time to Karl Bohm's and Herbert von Karajan's versions I always found hard to get used to the style of Bruno Walter. Just as you said, slower tempos, elongated phrases, less powerful intervention of the brass and timpani sections and so on.. May be nowadays I can better acknowledge his contribution to keep Mozart in the frontline of the big, major composers. Still difficult to my ears, though. Thanks for this video, very interesting and informative!
I find Bruno Walter and Szell, actually so near of what "period instruments" actually started doing. I mean, the best I would not say Period instruments, but historically informed... Was Harnoncourt... And he still one of the greatest Mozart's recorded.... But still, not far away from Walter and Szell. Different. But not far away. I agree Walter's is the reference recording. How Walter did the CMajor 36 (we have the rehearsal) it's so historically informed in terms of style.
Did not know the Walter recordings, so I cued up the first two movements of the 39th. Seems to me like his conception was grand and romantic--almost like he was conducting Brahms. First movement introduction was very slow--took 3 minutes by itself. Musical moments drawn out for maximum expressiveness and singing aspects. I thought it was lovely and heartfelt.
If we’re considering cycles, would Karajan’s early 60’s Beethoven symphonies be the reference recording? It sure seems like everyone has or at least knows that collection.
References change as time moves on, I suppose, but going back to old(er) recordings, my reference for the late ones has been (and remains; other favorites aside) Krips & the Concetgebouw.
Your historical discussion of Bruno Walter is interesting, and his recordings are gorgeous. For me though, many others are preferable, including Krips, Bohm, Mackerras, Marriner, and (albeit not complete) Fricsay.
Beecham was a bit of a Mozart rival...I'm old enough to remember EMI having an enormous publicity campaign in the 70's to push their Karajan/Berlin set into number 1/reference recording spot. That didn't go well.....perhaps Karajan's humility got in the way....
Of course, it has been established that only the introduction to the first movement of "Symphony #37" is actually by J.C.W.T. Mozart; the rest is a work by Michael Haydn. Mozart seemed to be in a particularly manic phase when he wrote the "Linz" symphony (#36), that introduction to "#37" and other works, all in the space of 3 or 4 days. Incidentally, "Wolfie" also bailed out his friend M. Haydn in completing the last two violin+viola duos in a set of six which brother Michael's employer demanded but which the younger Haydn was unable to complete. Those two Mozart duos, K. 423 and K. 424, needless to say, have eclipsed the initial four in the set composed by M.H.~
Was Klemperer's (which was recorded at almost exactly the same time) not the reference simply because it wasn't marketed as heavily and perhaps because Klemperer was not quite as big a name a Walter (he was big, just not *as* big)? It's certainly can't be because they were regarded as not as good, because they were (albeit a little less "Romantic", perhaps).
Aren't you talking about Mozart's last SEVEN symphonies, or am I counting wrong? Thank you - Mozart is very much about love and sensuality - but Walter captures his demonic side as well in "Don Giovanni" and "Die Zauberflöte," and there is much to be said in favor Mozart's having been predominantly an OPERATIC composer!
@@DavesClassicalGuide I like your channel but do not understand why Klemperer’s recordings of Mozart’s last six symphonies is off-topic for a video on Mozart’s last six symphonies. They are available as a boxed set if that is the issue. Please take a minute from your busy schedule and help me understand. Thank you in advance.
Yes, at the time they numbered Mozart’s symphonies they mistakenly believed the one given #37 was entirely his work but as pointed out above it was later discovered to be Michael Haydn’s. They should have looked beyond the first few bars.
Dave, care to comment on Solti's remark in his memoir, about the Linz Symphony rehearsal album? "The more he rehearses it, the worse it gets." Snarky much?
I wonder if the "authenticists" got the "vibrato" issue all wrong, did they mess up what were considered acceptable "tempos" too? Did Mozart include metronome markings in his scores? Did he even care?
For the last 30 years I have had Szell and Walter as my reference recordings for these. As you say, they are quite different approaches, and in the long run I prefer Szell, but I would never want to give up Walter for how he just makes it smile.
Fantastic recordings Mr. Hurwitz. Bohm is my favorite, but based upon your prior recommendation on Walter’s Mozart I got the big Walter box and was imminently pleased.
You're correct Dave, times change, things change, but for me Walter's Mozart still touches my heart like no other conductor ever has. Thank you!
Thank you for reminding me of just how good these performances are. The first recording of Mozart symphonies that I bought when I was in high school, was of these performances of 41 and 35 on a single Columbia Lp. Packing that much playing time on a vinyl disc resulted in really bad pre-echo in the first movement of the Jupiter. As I'm typing I'm enjoying this release on Qobuz streaming with no pre-echo! However, due to the influence of a certain Prof. Schickele I can never listen to the 3rd. movement menuetto of the Jupiter without expecting it to modulate into Cielito Lindo😂. Thank you again!
I had exactly the same experience as you.
I imprinted on the Marriner EMI recording of the Mozart 38 and 39. It was my very first exposure to Mozart, and I fell in love with his music at first hearing. I have since heard so many versions of his "Last Six" and I'm amazed how beautiful these works are under the baton of well-regarded conductors, regardless of their "point of view." My favorites are Mackerras, Bernstein, Colin Davis, Walter and Szell (these last two, based on Mr. Hurwitz' enthusiastic reviews). And although Marriner gets mixed reviews, I really love his 38 and 39 on EMI (not Phillips).
I've been listening to Walter's Mozart Symphonies 25, 28 & 29 album from 1956 (bicentennial from 1756) very recently. Glad you're covering the last 6 as well
For me no one does Mozart better than Walter
I used to own these but no longer do. I moved on to others that I prefer. I do want a little more spring in the step of my Mozart, for sure. But Walter's were indeed mellifluous and sensitive.
One might argue the case for Klemperer, but really, one can't argue against Walter.
Klemperer was less consistent than Walter, but I thought of him before Szell (just my bias).
The Beethoven exception has to be the 'Pastoral'. I haven't heard better.
All of his Beethoven is great. The 6th, as you say, is one of the great recordings of all time. But I also particularly love his 9th and violin concerto with Francescatti, both of which are unlike any other recordings I have heard of those works. They have a warm humanness to them different than any others I have heard.
@@alwa6954 You are right. His recordings with Francescatti, all of them (he also did some Mozart with him, right?), have that singular quality you describe.
And No.4.
Well done Dave. Apart from the 1930s Beecham/LPO 78s these are amongst the GREATEST Mozart recordings of all time. Cosmic!
Beecham had a way with the slow movements, especially in those LPO recordings, like no one else. Not even Walter. Sheer heaven.
My vote goes to the old Beecham Mozart series as well.
Might well be. But can one really hear how good/fascinating or whatsoever a performance is when the recording dates from the Stone Age. This 'tension' between a good (or superlative) performance and a good (or superlative) recording puts in my view a big spell on the pleasure of listening. For me, good sound is essential for enjoying.
I was interested in what you said about the rehearsal of the Linz Symphony. There's an interview Otto Klemperer gave to John Freeman in 1961, where he said that Bruno Walter was very conciliating and very elegant and very mild. "And I am not. He was a moralist, and I am not - I am an immoralist, absolutely!" A lovely video! I've passed it on to a friend who adores Mozart symphonies, and is not too keen on HIP and period instruments.
This recording of Jupiter symphony is very special, the best one I ever heard. The slow 2nd movement and the way 4th movement is phrased with slight tempo variation, this is how this symphony should be played in my view. I dislike the sound of period French horns, modern horns should always be used, because they offer a fuller, richer, more expressive sound.
When this, in your opinion, is the best RECORDING you have ever heard, I strongly advice you to listen to, for example, Charles Mackerras and the Scottish Chamber Orchestra on Linn. Well, THAT is a good recording. Of course from an acoustical and technical point of view.
I think we should make a very important distinction between the technical result of a performance (called Recording) and the artistic result (called Performance).
To me, talking about older recordings and interpretations, this distinction is very important.
These are wonderful. I received my discs, and have been listening to them repeatedly for a week. I expected them to sound like Walter's other sunset years recordings - heavily orchestrated romantic works with the Columbia Symphony Orchestra -- the Dvorak 8 / Good Friday Music from Parsifal, Beethoven 6/ Bruckner 7 that are some of my favorites but these are different - they are light, they dance, they are energetic - and are now my favorites.
Thank you for this talk. I love these recordings as well as Walter's recordings of the opera overtures and Eine Kleine Nachtmusik on Columbia. I acquired the recordings in 1970s when they were on vinyl. The sound was warm, spacious and beautiful! When the same recordings became available on CDs, I bought them; however, the sound was harsh and cold. You were waiving around a CD cover for these recordings which matched the original record jacket I had in the 1970s. It does not match the cover for the early CDs I purchased. Has Sony subsequently improved the CD sound quality for these recordings?
Never thought of Mozart's symphonies as transcendental, but Bruno Walter and his guys play it just like that.
Some really profound music making happened during these recordings.
And than, there's the Jochum 41...oh wow.
The Jupiter is truly transcendental IMO. That effect wasn’t found much in non-sacred classical music prior to Beethoven but it’s certainly there in the finale of the 41st.
Walter’s rehearsal disc is as much an exegesis of the Linz symphony (especially that slow movement!) as it is a rehearsal. It may even have you convinced, as I am, that it’s one of the classical period’s great symphonic masterworks.
Mozart’s Symphony No.39 in E-flat, K.543 recorded live with Stockholm Philharmonic and Bruno Walter, released on Everest Records as LP, was my introduction to this wonderful symphony during my early childhood. It is absolutely a timeless treasure, and I am still haunted by its beauty. This is such an impressive recording, there are so much delightful details, we could highlight and discuss, but I have just wanted to point a very tiny and fine detail: I have not heard any other recording, where the down scales in the extensive slow introduction could played more beautiful. The way, those scales played speaks volumes about the rest of the performance. The recording included an equally amazing performance of Overture to The Marriage of Figaro, K. 492, as well. It is so unfortunate that this recording has never been released on CD, and is no longer available anywhere; as far as I know.
Actually this performance was released on CD (at least once) on BIS Records - in an 8CD box celebrating the «Stockholms Filharmoniska Orkester» 75th anniversary in 1989.
Walter's cycle seems the equivalent interpretively to Beecham's Haydn cycle; perhaps musicologically unreliable, but artistically indispensable...
Mozart Symphonies meant little to me until I was heard Walter doing one of the late Symphonies on a classical music station ( remember?) and I bought the set of his late Mozart symphonies. I have come to prefer other performances, but I still treasure these. Best of their kind and what more can you ask?
After having listened for considerable time to Karl Bohm's and Herbert von Karajan's versions I always found hard to get used to the style of Bruno Walter. Just as you said, slower tempos, elongated phrases, less powerful intervention of the brass and timpani sections and so on.. May be nowadays I can better acknowledge his contribution to keep Mozart in the frontline of the big, major composers. Still difficult to my ears, though. Thanks for this video, very interesting and informative!
I find Bruno Walter and Szell, actually so near of what "period instruments" actually started doing. I mean, the best I would not say Period instruments, but historically informed... Was Harnoncourt... And he still one of the greatest Mozart's recorded.... But still, not far away from Walter and Szell. Different. But not far away. I agree Walter's is the reference recording. How Walter did the CMajor 36 (we have the rehearsal) it's so historically informed in terms of style.
Did not know the Walter recordings, so I cued up the first two movements of the 39th. Seems to me like his conception was grand and romantic--almost like he was conducting Brahms. First movement introduction was very slow--took 3 minutes by itself. Musical moments drawn out for maximum expressiveness and singing aspects. I thought it was lovely and heartfelt.
Recorded in 1959 & 1960!
If we’re considering cycles, would Karajan’s early 60’s Beethoven symphonies be the reference recording? It sure seems like everyone has or at least knows that collection.
Oooh I don't know this one. Must try it.
References change as time moves on, I suppose, but going back to old(er) recordings, my reference for the late ones has been (and remains; other favorites aside) Krips & the Concetgebouw.
Your historical discussion of Bruno Walter is interesting, and his recordings are gorgeous. For me though, many others are preferable, including Krips, Bohm, Mackerras, Marriner, and (albeit not complete) Fricsay.
What do you think of the Eugene Jochum with Boston recording ? Are there more reference recordings for Mozart Symphony No. 41?
See reviews at ClassicsToday.com (and here).
Musical term of the day: “clumpishly”.
Dave: who would you say is the "middle" between Walter and Szell?
Beecham was a bit of a Mozart rival...I'm old enough to remember EMI having an enormous publicity campaign in the 70's to push their Karajan/Berlin set into number 1/reference recording spot. That didn't go well.....perhaps Karajan's humility got in the way....
I have also liked the Krips renditions with the Concertgebouw. Have you heard those Dave?
Of course, but what we like is irrelevant.
Of course, it has been established that only the introduction to the first movement of "Symphony #37" is actually by J.C.W.T. Mozart; the rest is a work by Michael Haydn. Mozart seemed to be in a particularly manic phase when he wrote the "Linz" symphony (#36), that introduction to "#37" and other works, all in the space of 3 or 4 days. Incidentally, "Wolfie" also bailed out his friend M. Haydn in completing the last two violin+viola duos in a set of six which brother Michael's employer demanded but which the younger Haydn was unable to complete. Those two Mozart duos, K. 423 and K. 424, needless to say, have eclipsed the initial four in the set composed by M.H.~
Was Klemperer's (which was recorded at almost exactly the same time) not the reference simply because it wasn't marketed as heavily and perhaps because Klemperer was not quite as big a name a Walter (he was big, just not *as* big)? It's certainly can't be because they were regarded as not as good, because they were (albeit a little less "Romantic", perhaps).
As I said, Walter's reputation was as a Mozart specialist. The actual quality of the performances was not the only consideration.
Aren't you talking about Mozart's last SEVEN symphonies, or am I counting wrong? Thank you - Mozart is very much about love and sensuality - but Walter captures his demonic side as well in "Don Giovanni" and "Die Zauberflöte," and there is much to be said in favor Mozart's having been predominantly an OPERATIC composer!
There is no 37th. He counted right. There was once thought to be a 37th but it was a different composer's work.
I was surprised you didn’t discuss Klemperer. I grew up listening to his last six and always thought they were generally well regarded. Was I wrong?
I discuss these elsewhere. That was not the topic for this video.
@@DavesClassicalGuide I like your channel but do not understand why Klemperer’s recordings of Mozart’s last six symphonies is off-topic for a video on Mozart’s last six symphonies. They are available as a boxed set if that is the issue. Please take a minute from your busy schedule and help me understand. Thank you in advance.
Unsurpassable.
Hi Dave, Have you ever mentioned why there isn't a Mozart Symphony No. 37 ?? I'm sure some of your viewers will tell me why? THANKS DAVE
Check the comments here. Asked and answered multiple times!
Much Thanks, Dave. Today is Saint Patrick's Day.. ERIN GO BRAUGHless, Mr. O'Hurwitz.. yuk yuk
Last Seven Symphonies? Ahh - I just looked it up - it seems there is no Symphony #37?
#37 was written by Michael Haydn. Only the short introduction was written by Mozart.
Symphony no. 29 is an outstanding piece too, if you want to hear a 7th Mozart symphony up to the high standard, pick that one.
Yes, at the time they numbered Mozart’s symphonies they mistakenly believed the one given #37 was entirely his work but as pointed out above it was later discovered to be Michael Haydn’s. They should have looked beyond the first few bars.
Dave, care to comment on Solti's remark in his memoir, about the Linz Symphony rehearsal album? "The more he rehearses it, the worse it gets." Snarky much?
Indeed.
I wonder if the "authenticists" got the "vibrato" issue all wrong, did they mess up what were considered acceptable "tempos" too? Did Mozart include metronome markings in his scores? Did he even care?
There were no metronomes in Mozart’s day, and yes, I think they are just as random when it comes to tempos as anyone else.
@@DavesClassicalGuideI think the slower tempos really let you wallow in all of the chocolate-dripping details of Mozart’s notes