Mozart, Schubert: Symphonies

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Release Date: 18th Sep 2020
Catalogue No: ELQ4840353
Label: Eloquence
Length: 1 hour 59 minutes

Usually despatched in 3 - 4 working days

Mozart: Symphony No. 39 in E flat major, K543

Work length27:32

$4.40

$6.00

London Symphony Orchestra
Hans Schmidt-Isserstedt
Recorded: 1958-07-01
Recording Venue: Watford Town Hall, London

I. Adagio - Allegro

Track length8:44

$1.10

$1.50

II. Andante con moto

Track length8:51

$1.10

$1.50

III. Menuetto. Allegretto

Track length4:06

$1.10

$1.50

IV. Finale. Allegro

Track length5:51

$1.10

$1.50

Mozart: Symphony No. 41 in C major, K551 'Jupiter'

Work length27:58

$4.40

$6.00

London Symphony Orchestra
Hans Schmidt-Isserstedt
Recorded: 1958-07-01
Recording Venue: Watford Town Hall, London

I. Allegro vivace

Track length8:13

$1.10

$1.50

II. Andante cantabile

Track length8:34

$1.10

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III. Menuetto. Allegretto

Track length5:00

$1.10

$1.50

IV. Molto allegro

Track length6:11

$1.10

$1.50

Schubert: Symphony No. 4 in C minor, D417 'Tragic'

Work length27:17

$4.40

$6.00

London Symphony Orchestra
Walter Susskind
Recorded: 1958-07-02
Recording Venue: Watford Town Hall, London

I. Adagio molto - Allegro vivace

Track length7:18

$1.10

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II. Andante

Track length8:39

$1.10

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III. Menuetto. Allegro vivace - Trio

Track length2:58

$1.10

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IV. Allegro

Track length8:22

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Schubert: Symphony No. 6 in C major, D589

Work length28:05

$4.40

$6.00

London Symphony Orchestra
Hans Schmidt-Isserstedt
Recorded: 1958-07-02
Recording Venue: Watford Town Hall, London

I. Adagio - Allegro

Track length7:42

$1.10

$1.50

II. Andante

Track length4:33

$1.10

$1.50

III. Scherzo. Presto

Track length6:06

$1.10

$1.50

IV. Allegro moderato

Track length9:44

$1.10

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Excerpt, Weber: Oberon

Work length8:09

$1.10

$1.50

London Symphony Orchestra
Antal Dorati
Recorded: 1962-07-27
Recording Venue: Watford Town Hall, London

Overture

Track length8:09

$1.10

$1.50

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About

Like most of the great European conductors, wrote the critic Harold C. Schonberg, [Schmidt-Isserstedt] has been brought up in a tradition that insists on selflessness before great music. The aim of conducting, as he sees it, is to bring out the message of the composer and not the skill. These virtues distinguish his Mozart conducting above all, including the recordings he made for the Mercury label with the London Symphony Orchestra in 1958. Schmidt-Isserstedt conducted Mozart with deep scholarly understanding, having written a doctoral dissertation about the Italian influence on Mozart, but reverence never impeded vitality, as the present recording of the Jupiter Symphony amply demonstrates. His colleague Wilhelm Bruckner-Ruggeberg paid a tribute as acute as it was generous to Schmidt-Isserstedts way with Mozart, quite different from the usual apple-crumble cake [Streuselkuchen] or Mozartkugeln. When he conducted Mozart, the music was crystal clear, without false sentiment, but full of beautiful, airy sound. Having founded the NDR Sinfonieorchester after World War II and led it on highly successful tours of the UK in politically sensitive times, Schmidt-Isserstedt established a warm working relationship with all the orchestras in London, where he was a frequent and welcome guest until his unexpected death from a heart attack in 1973. He took inspiration from the conducting of Artur Nikisch, which he had witnessed at first hand in Berlin, to persuade orchestras rather than bullying them, and these Mercury recordings document a deep mutual respect between the LSO and their German guest. As on its first release, the Schubert Sixth is coupled with the Fourth conducted by the Czech-British emigre Walter Susskind. Schmidt-Isserstedts perfectly chosen tempo for the Allegro of No. 39, his crisp handling of the minuets of both symphonies, his admirably Mozartian and unhurried speed in the finale of No. 39, the light, dancing forte everywhere, are all a pleasure to hear. Gramophone, August 1959 (Mozart) This Jupiter, in particular, proves most distinguished, with crisp, bracing outer movements, a graceful Minuet, and a singing Andante. And equally significant is the exemplary textural clarity maintained throughout. Fanfare, July 1979 (Mozart) Schmidt-Isserstedts readings would be very hard indeed to beat They have all the positive musicianly virtues without which many an unaffected reading is merely dull [an acquisition] you would be unlikely to regret, whatever rival versions appear in the course of time. Gramophone, August 1960 (Mozart) Susskind and Schmidt-Isserstedt have similar ideas about Schubert. They play him in healthy, outgoing fashion. Both of these performances are vigorous and lively ... The orchestra plays well for both conductors, and the recording is bright and well-defined. Stereo Review, December 1959 (Schuber

Mozart, Schubert: Symphonies

2 CDs

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