Deutsche Grammophon: The Mono Years

In 1951 DGG were the first German firm to introduce the LP into the German and European markets, as it was felt that as the American's had listened to the LP for two and a half years Europe was now ready. The yellow label signified that popular classical music would be allotted to it. In 1952 Professor Elsa Schiller became head of the label. A pianist herself, she oversaw DGG's development into the piano label par excellence, renowned for realistic keyboard sound and its cohort of artists. But she gave Maazel his first chances, and recorded orchestra's in East Germany. However, the typical DGG monophonic orchestral sound was captured with a single microphone, suspended three metres over the conductor's head, with an extra mike for hall ambience. BOX SET: This box can be held in one hand and the cardboard is tough. The box set is simply a copy of the sleeves, white with a yellow band. Underneath is mentioned that the Universal music company produced this set. The lid flips over. The paper wrap around with a list of the music, is stuck to the box with rubber glue, take it off and then peel off the glue, fold it up and put it in the box. This way you do not have to refer to the booklet all the time. The original sleeves are a mixture of a white cover with yellow band, plus pictures drawn,. On the front, composer, music played, conductor and soloist. At the back, track numbers, music, composers, soloists, conductor and orchestra. LP. The disc is like the LP, yellow label with CD number in brown as well as music and composer etc. ADD mono also printed on the label. BOOKLET: Printed on shiny paper which gives the booklet a sophisicated look. Essay's: "The first German LP." (A tech heads delight.) "When yellow meant Mono" by Tully Potter. Synopsis for Tsar and Carpenter. No translations. In English, German and French. Pictures in black and white of artists and technical stuff, plus coloured photo's. Index: CD number and singer, soloist, conductor, quartet in brown. All in alphabetical order starting with Amadeus quartet and finishing with Zimmermann. Composer, music, track numbers. The SOUND. Remastering: Lennart Jeschke, nothing else in the booklet, but ADD on yellow label on the CD. EMI states about this " analogue tape recorder used during session recording, digital tape recorder used during subsequent mixing &/ or editing and during mastering (transcription)". I wish DGG boxes would be more forthcoming about their remastering, as this is a very good selling point. However, I know this set has been remastered simply by listening to the Windgassen recital. MUSIC: As Amazon has provided details of what is in the box I shall not review every CD, but provide interesting details and comments, as well as some reviews, plus dates published. AMADEUS QUARTET: SCHUBERT: String Quartets (1952) D887 &(1956) 804.First recording on DGG. D887. Founded in 1947, disbanded in 1987, remarkable for having retained its founding members throughout its long history. Because of their Jewish origin, the violinists Norbert Brainin, Siegmund Nissel and Peter Schidof were driven out of Vienna after Hitler's Anschluss of 1935 and ended up in a British interment camp on the Isle of Man; many Jewish refugees had the misfortune of being confined by the British as "enemy aliens". Noted for its smooth, sophisticated style, seamless ensemble playing, and its sensitive interpretation, this quartet was one of the most celebrated Quartets of the 20th century. ANCERL: SHOSTAKOVICH: Symphony no 10. (1956) (1908-1973). He and his family were sent to the Terezin concentration camp in November 1942. There he became leader of the Terezin string Orchestra. A film was made in October 1944 of this conductor. As soon as the film was completed, Ancerl was herded in closed trucks for the final transport to Auschwitz. He survived, but his wife and son died in the gas chambers. The occupation of their country by the Nazi's and then the Soviets made the Czech Philharmonic the ideal performers for Shostakovich's 10th Symphony. Few works give a deeper insight into the interior landscape of the Russian soul then Shostakovitch's 10th Symphony, and this is a gripping and first class account. Swift tempo's that flow naturally like the Allegro. I own the Kondrashin set of these symphonies and this 10th is better then that conducted by Kondrashin. ASKENASE: CHOPIN piano Sonatas No's 2 (1951) & 3.(1953) Mazurka in c sharp minor op 50 no 3.(1951).(1896-1985) His pupils included Maratha Argerich and Mitsuko Uchida. Askenase studied with a pupil of Lizst. BOHM: (1894-1981) BRAHMS Symphony No 2. REGER: Mozart Variations. Berlin Philharmonic.(1957) (1894-1981). He studied law and earned a doctorate in this subject, before entering the music Conservatory in his home town of Graz. Then onwards to the Vienna Conservatory, where he studied with a friend of Brahms. On the recommendation of Karl Muck, Bruno Walter engaged Bohm for Munich's Bavarian State Opera in 1921. In 1934 he succeeded Fritz Busch who had gone into exile because of the Nazi's, as head of Dresden's Semper opera. He conducted the first performances of works by Richard Strauss, Die Schweigsame Frau and Daphne 1938, which is dedicated to Bohm. He brought to life the operas of Richard Strauss when ever he could. He has now been condemned as a profiteer of the Third Reich to advance his career, for he expelled Jewish and politically out of favour colleagues from the orchestra. The Brahms symphony No 2 is not as good as Furtwangler, Klemperer, or Walter's. But the Reger's Mozart Variations is an interesting piece and brought vibrantly to life by Bohm. A Gem. That is what makes these box sets collectable for you always find music you have not heard before FISCHER-DIESKAU: BRAHMS: Vier ernste Gesange. WOLF: Italienisches Liederbuch. (excerpts)(1951) Piano Hertha Klust. SCHUMANN: Dichterliebe Jorg Demus-piano.(1957) Debut recording on DGG Brahms. Here is a young Fischer-Dieskau, different to that you may know in the EMI recordings. FOLDES: LIZST: Piano Concerto No 1 & 2.(1953) RACHMANINOV: Piano Concerto No 2. (1954) Berlin Philharmonic Cond Leopold Ludwig. First release on CD.( 1913-1992) He studied with Bela Bartok in 1929. The Lizst piano concerto's are slower then usual, but you do get to hear the notes, and the Andante's like movements are beautifully played. He is certainly different to any pianist I have heard and that is what these box sets are about. FRICSAY: A Hungarian was inspired by Nikisch (1855-1922), a Hungarian himself, a conductor who changed the profession from that of the image of a timebeater. He influenced the modern view of a subjective but authorative orchestral educator. Fricsay's view is summed up by another Hungarian Reiner who was mentored by Nikisch, " a conductor needed to live a piece, heart and soul: he must feel intensely the music that he is conducting." ROSSINI: La Boutique fantasque. Rias Symphonie-Orchester Berlin. RIMSKY-KORSAKOV: Scheherazade. Radio-Symphonie- Orchester Berlin. Here we have Reiner's view on conducting in this marvellous conducting of this piece by Fricsay, which caused Andrew Porter of the Gramophone to state in 1957, "and this new disc is one of those very best recordings". A Gem. BEETHOVEN: Symphony No 1. Berlin Philharmonic. MENDELSSOHN: Ein Sommernachtstraum. Rita Streich soprano. Diana Eustrati Alto. Berlin Philharmonic. PROKOFIEV: Symphony No 1 "Classical". RIAS-symphonie -Orchester Berlin. I own Vol I and 2 of the Fricsay sets as I am a great fan of his for the reasons Reiner gave. FURTWANGLER: SCHUBERT: "Great" symphony in C. Haydn.Symphony No 88 in G major.(1951). Berlin Philharmonic. Furtwangler gives a glowing performance, if a highly individual one of the Schubert "Great" symphony". The first movement brings an outstanding example of his wizardry. The beautifully played andante is slow but made resilient by fine rhythmic pointing. Furtwangler often named Nikisch as being his only role model.He wrote "Each and every one of Nikisch's movements, no matter how small, was exclusively aimed at the orchestra in order to be turned into music. I learned the sound from Nikisch, how to work the sound out." The conductor also stated that "One has to grasp music in its higher context, that means bringing its spiritual movement and its architectural balance together" His performance combined spontaneity, impulsiveness and deepest inwardness in an extraordinary way, for he placed more importance on the power of improvisation than on the technical perfection that was to to be achieved through continual rehearsing. The best of Furtwangler is found in his live Second World war recordings of Bruckner and Beethoven symphonies. GREINDL: SCHUBERT: Winterreise.(1912-1993) Bass. A romantic version for a huge voice which handles this cycle very well, for we only hear it sung by a baritone. Remembered mainly for his singing of Wagnerian roles at Bayreuth. He sung King Marke in the Furtwangler 1952 recording of Tristan und Isolde. This recording often appears in the top list of the top list of 100 greatest recordings in which Flagstad sung Isolde. Greindl often appeared as Fafner, Hunding and Hagen in the same performance of the Wagner Ring cycle .EMI Schubert Lieder on Record 1898-2012. Hyperion. Schubert the complete songs. BBC music magazine calls it "one of the great achievements of recording history" HASS: (1909-1987). Monique Hass studed with Rudolf Serkin and Robert Casadesus. Henri Dutilleux described her as a celebrated interpreter of the music of Ravel. She performed 20th century music for which she is best remembered. RAVEL: Concerto in G major. Orchester des Nordwestdeutschen Rundfunks. Hans Schmidt-Isserstedt. Debut recording on DGG. Her 1948 recording makes much of the works connection with the jazz idiom of the twenties. STRAVINSKY: Capriccio. RIAS-Symphonie-Orchester Berlin. Ferenc Fricsay.(1948) RAVEL: Le Tombeau de Couperin.(1956). HANSON: ( 1906-2002) MOZART: Piano Sonatas K 310, 331,332, 545. (1956). He was a pupil of Edwin Fischer. His debut took place with the Berlin Phil conductor Furtwangler. He played with all the great conductors, but is not as well known as he should be. These sonatas are played on a Hammerklavier 1820, way before authentic instruments became popular. First release on CD. HASKIL: (1895-1960) MOZART: Piano concertos No 19 & 27. Berlin Philharmonic K459 (1956) & Bayerisches Staatsorchester K595 (1957) She studied in Vienna with Richard Robert (whose pupils included Serkin and Szell) and briefly with Busoni. In Paris she studied with a pupil of Faure. Her playing was moulded by a purity of tone and phrasing that may have come from her skill as a violinist, as she had graduated with a premier Prix in Violin as well. Transparency and sensitive inspiration were other hallmarks of her style. Haskil died from injuries received through a fall at the staircase of a Brussels train station. She was to have played with Grimiaux, violinist, the following day. Charlie Chaplin described her talent by saying " that in my life time, I have met three genius's, Einstein, Churchill and Haskil". HOELSCHER: (1907-1996) BRAHMS: Sonata for Piano and Cello op 38.(1954) GRIEG: Cello Sonata op 36.(1953) RICHARD STRAUSS: Cello Sonata op 6.(1954). Ludwig Hoelscher Cello. Hans Richter-Haaser piano. First release on CD. He was a ardent Nazi and promoted the cause more then any other artist. In 1946 he was banned from public playing for a while, although he did play at Carl Jung's residence. JANACEK QUARTET: SMETANA: String Quartet No 1 in E minor " from my life". LEOS JANACEK: String Quartet No 2 "Intimate Letters"(1957). This quartet was founded in 1947 and is very unusual among string quartets in performing without sheet music, but from memory. It is also noted for a distinctive style of playing. The Janacek second string quartet (1928) is more tender and more personal. He wrote it for a woman forty years younger then he, with whom he had been in love for many years. Janacek informed her of his intention to create an autobiographical quartet in which he would speak freely and openly. He told her, "you know, sometimes feelings are so strong and powerful that notes hide under them and escape. A great love, a weak composition. But I want it to be a great love-a great composition". Each of the movements is intended as a love letter. EUGEN JOCHUM: (1902-1987) MOZART: Symphony No 36 "Linz", No 33 (1956) & No 39.(1954). Symphonieorchester des Bayerischen Rundfunks. Serenade in G major " Eine kleine Nachtmusik K 525. Kammerorchester des Bayerischen Rundfunks. (1951) BEETHOVEN: Symphony No 4. Berlin Philharmonic.(1955) BRUCKNER: Te Deum for soloists, chorus and orchestra.(1950) Maud Cunitz soprano. Gertrude Pitzinger alto. Lorenz Fehenberger tenor. George Hann bass. Chor and symphonieorchester der Bayischen Rundfunks. First release on CD. His Mozart has very fast tempo's.The Beethoven No 4 is a keenly alert interpretation, the hushed tension of the slow introduction is most compelling, looking to a thrilling account of the Allegro vivace and a beautiful reading of the slow movement. Jochum was rightly considered the leading Bruckner exponent of his day. As a student at the renowned Benedictine Gymnasium of St Stephan in Augsburg, Jochum achieved proficiency on that most quintessentially Bucknerian of instruments, the organ. Thus he was able to judge correctly Bruckner's organ- register technique in the scoring of his symphonies. In the Te Deum the tempo's are quick and the singers do justice to the music.Jochum's Bruckner 9 symphonies are on EMI, with the Staatkapellle Dresden. JUNKER-GIESEN Therese Anders, Walther Ludwig, Alfred Pfeifle, Horst Gunter, Gustav Neidlinger. LORTZING: Zar and Zimmermann. Staatsopernchor Stuttgart. Wurttembergisches Staatsorchester Stuttgart. Cond Leitner.( 1953) DGG's first opera recording on LP. First international release on CD. Synopsis in booklet. No translation. Lortzing was born 1801 died 1851. He wrote his own Libretto's. Lortzing was a life long defender of opera with spoken dialogue. He did turn to comedy and made a reputation confirmed by this opera. This work is enduringly popular in Germany, display his characteristic vein of light tunefulness, his easy control of the stage, his light hearted, sentimental approach to character, and a distinct individuality in the handling of the conventional ingredients of German musical comedy. So to sum up, melody and attractive orchestration are both strong features of Lortzing's writing. I have never heard of these singers except Neidlinger, who was Alberich in Wagner's Ring Cycle conducted by Solti, which is now a classic. The rest of the cast is fine. Where else would you find a gem like this, but in a box set. KEMPEN.(1893-1955) BRAHMS: Piano Concerto No 2. Adrian Aeschbacher piano. First release on CD. Hungarian Dances. Berlin Philharmonic Cond Paul van Kempen.(1952). REGER: Variations and Fugue on a theme by Johann Adam Hiller op 100.(1951) BRAHMS: Academic Festival Overture.(1952) BERLIOZ: Overture Benvenuto Cellini.(1955) ROSSINI: Overture William Tell. (1951) . Van Kempen does justice to this overture William Tell, the ending is very fast indeed. Berlin Philharmonic. Van Kempen was a Dutchman who became a German citizen in 1932 and conducted orchestra's under the Nazi's and for their troops as well, being awarded a medal. for this feat. Thus he was a controversial figure in the Netherlands, for when he stood in for the Chief conductor of the Concertgebouw Van Beinum who was sick, the audience objected strongly. In the next performance, the orchestra walked off the stage. The Reger recording is exceptionally fine under Van Kempen. KEMPFF: SCHUMANN: Fantasia op 17(1958). Symphonic Etudes op 13.(1957) BRAHMS: Piano Concerto No 1. Staatskapelle Dresden. Conductor Franz Konwitschny (1957). Variations and Fugue on a theme by Handel op 24. Kempff's only commercial recordings of both works. Fantasia in C major. The reading is wayward and personal, but the poetry of the playing is never in doubt. The Symphonic Etudes is one of Schumann's most ambitious piano works. Kempff is marvellous and persuasive, giving the clear illusion of a live performance. Kempff said of the piano "No other instrument is as wonderful as the piano. You are alone when you play" But Kempff's style as an interpreter has been described as a synthesis of the challenging vigor of D'Albert and the lucid spirituality of Busoni. "I heard D'Albert in 1911, he was the most important of Lizst's pupils. However, every interpreter must be allowed to express their view of the work. I implore my students not to imitate my style but to find their own way". He is the grandfather of pianist Freddy Kempff. LEHMANN: BRAHMS: Ein Deutsches Requiem. Maria Stader soprano and Otto Weiner. baritone.(1955) A meditative version of this famed requiem. A inner quietness comes to the fore. Both soloists are good. Fritz Lehmann was happy working for Archiv on Bach, this requiem, or even Humperdinck's Hansel und Gretel, but he died in 1956 aged 51. LEITNER: (1912-1996) HAYDN: Symphony No 100 in G Major "Military". Symphony No 102 in B flat major.(1958) BRAHMS: Variations on a theme by Joseph Haydn.(1951) Bamberger Symphony. First release on CD. MENDELSSOHN: Symphony No 3 "Scottish". Bamberger Symphony. Overture " Ruy Blas"op 95. First release on CD.(1955) SCHUMANN: Symphony No 3 "Rhenish"(1954) Berlin Philharmonic. Leitner studied under Artur Schnabel and Karl Muck. Stuttgart named a footbridge after him. TIANA LEMNITZ: Georgine VON MILINKOVIC: RICHARD STRAUSS: Der Rosenkavalier. Highlights. Wurttembergisches Staatsorchestra cond Leitner. (1951 &1952) first release on CD. I am afraid Tiana Lemnitz is not at her best as the Marschallin. She was marvellous as Pamina, in the 1938 Mozart's Die Zauberflote, Berlin conducted by Beecham, the other singers were Rosvaenge, Husch, Strienz, Erna Berger. I own the 1933 version of Der Rosenkavalier. Vienna Philharmonic cond by Robert Heger. Lotte Lehmann. Maria Olsezewska. Richard Mayr. Elisabeth Schumann. The version with Schwarzkopf, Ludwig, OttoEdelmann. Phlharmonia Orchestra cond Von Karajan. The more modern one, Crespin, Minton, Donath, Jungwirth, Pavarotti, Wiener Philharmoniker cond Solti. So I think I can state that the Leitner Rosenkavalier is not to my taste at all. MAAZEL: BERLIOZ: Romeo et Juliette. Maazel manages to bring out the strangeness in the music, especially in the Romeo au tombeau des Capulets which has very swift tempi. TCHAIKOVSKY: Romeo and Juliet fantasy overture. PROKOFIEV: Romeo and Juliet Ballet (Excerpts). Berlin Philharmonic. (1957) Maazel's first recordings. The conducting is very exciting and youthful. IGOR MARKEVITCH: MOZART: Symphony No 34 K 338. No 38 "Prague" K504. Berliner Philharmonic.(MONO) (1954) Symphony No 35 "Haffner" K385. GLUCK: Sinfonia in G major arranged by Hans Gal. Orchestre des Concerts Lamoureux, Paris.(STEREO) (1959) Berlin Philharmonic. Irmgard Seefried soprano. Richard Holm. tenor. Kim Borg.Bass.(1958) First International release on CD. Markevitch's recording of Haydn's Die Schopfung was made at the end of the MONO LP era in 1958. The conductor is nothing if not dramatic. The opening Prelude is full of electric tension and the choruses have great energy and bite. All three soloists are excellent. ELLY NEY: (1882-1968) BEETHOVEN: Pathetique, Moonlight, Appassionata, Piano Sonata in A flat major op 110. (1957) first release on CD. She was a German Romantic pianist who specialized in Beethoven, and was especially popular in Germany. In 1932 she founded the Elly Ney trio, including Hoescher cello, whose CD is in this set.. Ney then joined the Nazi party in 1937, for she held anti-semite views. She continued touring after the war. However, being an artist does not mean you are above society, like Richard Strauss and Furtwangler thought. You should be sensitive to your surroundings and be a beacon for positiveness and warn people of the consequences of following a negative path. You should never hide behind art, nor expect to create a utopia. All you can hope for is a tranquil mind. RICHTER: SCHUMANN: March in G minor. Waldszenen. Fantasiestucke op 12. (excerpts) (1957) Debut recording on DGG. This served as Richter's visiting card to the West. Alec Robertson hailed his triumphant entry on the scene in the Gramophone magazine. His supreme pianism shines through. What I like about Richter is this, he was wandering around in the rain, after seeing a poster advertising him as the worlds greatest pianist. When found he said "But I am only a human, that's not me". He travelled around Europe in a car toeing a Piano. Then Richter would stop at a small hall, set up his piano, word would get around about the recital. There would be no lights apart from the small light so he could see the piano keys, He did not want people to focus on him, but only the music. He once thought later on in life he was no good as a pianist. After all, you never reach your goal as an artist, you are always striving for more. Once you are in a rut you are finished. RIEGER: LALO: Symphonie espagnole op 21 for violin and orchestra. Bronislaw Gimpel violin(1956). DVORAK: Slavonic Dances op 46. Munchner Philharmonic Fritz Rieger.(1953). He replaced the modernist Hans Rosbaud. who was appointed to the position by USA occupation forces. He was replaced by a young conservative conductor by the City Government in Munich, who wanted less modern music played. Rieger announced that the Munich state orchestra would almost play no modern music in his concerts. This conductor continued to lead the Orchestra until 1966. ROSBAUD:(1895-1962) MOZART: Concerto for violin and orchestra No 4. Wolfgang Schneiderhan violin.(1956) HAYDN: Symphony No 92 "Oxford". Symphony No 104 "London"(1957) This conductor is associated with the music of the 20th century. Gramophone recently remarked that Rosbaud "was one of the unsung heroes of the mid 20th century music who gave throughly rehearsed and assimilated performances and premieres of the wildest possible range of music" Rosbaud is best remembered probably for his Mahler, his Bruckner and commitment to the Avante-garde. SANDERLING: (1912-2011) RACHMANINOV: Symphony No 2. He was a rehearsal director for Furtwangler and Erich Kleiber at the Deutsche Berlin. This was cut short when the Nazi's removed him from his post because he was Jewish. He left for the Soviet Union in 1936 where he worked with the Moscow Radio Symphony Orchestra. From 1942 -1950 he was joint principal conductor with Yegeny Mravinsky of the Leningrad Phil. He grew very close to Shostakovich. Sanderling was liked and got good results from lesser orchestras. he returned to East Germany where he led the Berlin Symphony Orch and the Dresden Staatskapelle. Sanderling made his British debut in 1970, and was associated with the Philharmonia Orchestra London in 1980. In 2002 he was awarded the CBE. STADER: MOZART: Exsultate, Jubilate. Motet for soprano, orchestra and organ.(1954) SCHUBERT: La pastorella. Seligkeit. Du bist die Ruh. Die Forelle. Der Hirt auf dem Felsen. (First release on CD) MENDELSSOHN: Es WeiB und rat es doch keiner. Schilflied. Neue Liebe. Nachtlied. Wanderlied. SCHOECK: Das bescheidene Wunschlein. Mit einem gemalten band. Nachruf. reiselied. Maria stader soprano. Kark Engel-Piano. (1958) ( Stader's only Lieder recital on DGG). She is a high soprano and her Der hirt auf dem felsen is particularly affecting. STREICH: She had the prettiest coloratura soprano voice of the second half of the twentieth century. it was a small voice but perfectly formed, and it recorded marvellously well. Her upper tessitura glittered like a diamond necklace. But emotion poured forth like a sunbeam to make a unique sound. For example, the Queen of the night aria from Die Zauberflote Die Holle Rache has never been surpassed. The Schubert Der Hirt auf dem felsen is beautiful, for me, better then Stader's version. (1954-1958). VARNAY : DER RING DES NIBELUNGEN. (selected Scenes). DIE WALKURE: Siegmund! sich auf mich!. SIEGFRIED: Heil Dir Sonne ! Heil dir licht!. So starb nicht meine Mutter. Ewig war ich, ewig bin ich. GOTTERDAMMERUNG: Zu neuen Taten, teurer Helde. Starke Scheite schichet mir dort. Astrid Varnay soprano. Brunnhilde. Wolfgang Windgassen tenor. Siegmund, Siegfried. Symphonieorchester des Bayerischen Rundfunks. Cond Leopold Ludwig and Varnay's husband Hermann Weigert. This CD shows why Varnay is considered one of the great Brunnhildes of the 1950's. I own the 1953 Ring conducted by Clemens Krauss. Live at Bayreuth with Varnay, Hotter, Windgassen, Ramon Vinay. Greindl. Resnik, Neidlinger, Malaniuk, Uhde and Kuen. A great recording, many consider it the greatest Ring recording of all. Then the other 1953 Ring cycle, Bayreuth Festival Orch, conducted by Keilberth, with basically the same cast but with Martha Modl as Brunnhilde, who has a more emotional voice. Varnay and Modl were the greatest Brunnhildes of their generation. WINDGASSEN: WAGNER: Rienzi: Allmacht'ger Vater, blick herab! Tristan und Isolde Wie sie Selig, hehr milde. Siegfried. Notung! Notung! Neidliches Schwert ! Hoho ! Hoho! Schmeide, mein Hammer. Gotterdammerung: Brunnhilde, heilge braut! Parsifal: nur eine Waffe taught. Lohengrin : In fernem land. mein lieber Schwan. Tannhauser. O Furstin !. Die Meister von nurnberg. Fanget an. selig wir die sonne. morgenlich leuchtend.. (1953-1958) Windgassen was a great wagner tenor, he was at his best in the two 1953 Bayreuth Live Ring cycles conducted By Clemens Krauss and Keilberth. BONUS: Polydor with the red label. Its a mixture of slow and Foxtrot Rhythms. Rudi Schuricke sings and has a nice voice. Not really my cup of tea, but might be yours. REFERENCES: Ewen, D. The world of 20th century music.1968. Prentice-hall inc. Ganzer K. Bruckner and his interpreters. EMI Records. Furtwangler, W. 2002. The international Music company. Penguin Classical guide 1977 & 1996. Warrack J & West E. The Oxford dictionary of opera. 1992. Oxford University Press.

Just plain mono sound in a world of surround place and where you can wash your whiter than white and you can arrive America before you leave UK by plane (time).DG release a mono box set bringing old foggies from donkey years where man was man while women were tied to the kitchen sink go away spending £87 for these relic,you must be joking around hen come Ultrarummer review persuade or change my mind.What an eye opener.The sound is clear and no egg frying noise interfere with the sound even listening through my AKG 702 headphone.It is great box set and eye opener.I am sure the price for this box set will only go high.Highly recommend and where did I put the washing powder that got blue granule that can wash which white shirt whither than white.

good!

A wonderful 51 CD box set of mono DG post-war, but pre-1960, recordings in full, clear, mono audio; 17 of the CDs contain recordings that are on CD for the first time (see the Amazon editorial review above for that list). Each CD is in a card-stock sleeve with the original cover reproduced on the front, and a track listing on the back; interesting and nicely nostalgic! Musically, its mostly standard repertoire (see below list), but, that said, a wide variety of orchestral, chamber, solo instrument, operatic recital, and choral selections. Truly, there are some great recordings here by a veritable who’s-who of (mostly) German artists from DG's mono era (1950's) including Fricsay, Furtwängler, Kempff, Jochum, van Kempen, Lehmann, Markevitch, Maazel (his debut recording, I believe), Ancerl, Oistrakh, Richter, Cherkassky, Fischer-Dieskau (his debut recording), Haskil, Hindemith, Streich, Martzy, Windgassen and Varnay. To me, not as interesting as the recently issued "The Decca Sound - The Mono Years" [ASIN:B00QHL0V3C The Decca Sound: The Mono Years] which I really loved, but well worth getting if one is interested in some fine recordings of the great artists of yesteryear. Also in the box is a softcover, 150-page booklet with complete recording details, a long essay on DG and the history of the original LP (in English, French and German), and many artist and production photographs in black-and-white; very nicely done. Here are the contents, arranged by composer: BACH, J S: Prelude & Fugue in A minor, BWV543, Josef Zimmermann (organ) Organ Concerto in A minor (after Vivaldi), BWV593, Josef Zimmermann (organ) Cantata BWV55 'Ich armer Mensch, ich Sündenknecht', Josef Zimmermann (organ) Trio Sonata in C major, BWV1037, David Oistrakh (violin), Igor Oistrakh (violin), Hans Pischner (harpsichord) BEETHOVEN: Piano Sonata No. 14 in C sharp minor, Op. 27 No. 2 ‘Moonlight', Elly Ney (piano) Piano Sonata No. 23 in F minor, Op. 57 'Appassionata', Elly Ney (piano) Piano Sonata No. 31 in A flat major, Op. 110, Elly Ney (piano) Piano Sonata No. 8 in C minor, Op. 13 'Pathetique', Elly Ney (piano) Symphony No. 1 in C major, Op. 21, Berliner Philharmoniker, Eugen Jochum Symphony No. 4 in B flat major, Op. 60, Berliner Philharmoniker, Eugen Jochum Violin Sonata No. 8 in G major, Op. 30 No. 3, Johanna Martzy (violin), Jean Antonietti (piano) BENDA, G: Trio sonata for two violins and piano, David Oistrakh (violin), Igor Oistrakh (violin), Vladimir Yampolsky (piano) BERLIOZ: Benvenuto Cellini Overture, Berliner Philharmoniker, Paul van Kempen Roméo et Juliette, Op. 17 (excerpts), Berliner Philharmonike, Lorin Maazel BORTNYANSKY: Ich bete an die Macht der Liebe, Don Cossack Choir, Serge Jaroff BRAHMS: Academic Festival Overture, Op. 80, Berliner Philharmoniker, Paul van Kempen Cello Sonata No. 1 In E Minor, Op. 38, Ludwig Hoelscher (cello), Hans Richter-Haaser (piano) Ein Deutsches Requiem, Op. 45, Chor der St. Hedwig's-Kathedrale, Berlin, Berliner Motettenchor, Berliner Philharmoniker, Fritz Lehmann Vier ernste Gesänge, Op. 121, Dietrich Fischer-Dieskau (baritone), Hertha Klust (piano) Hungarian Dance Nos. 1/3/5/6/17/18/19/20/21, Berliner Philharmoniker, Paul van Kempen Piano Concerto No. 1 in D minor, Op. 15, Wilhelm Kempff (piano), Staatskapelle Dresden, Franz Konwitschny Piano Concerto No. 2 in B flat major, Op. 83, Adrian Aeschbacher (piano), Berliner Philharmoniker, Paul van Kempen Symphony No. 2 in D major, Op. 73, Berliner Philharmoniker, Karl Böhm Variations and Fugue on a Theme by Handel, Op. 24, Wilhelm Kempff (piano) Variations on a theme by Haydn for orchestra, Op. 56a 'St Anthony Variations', Bamberger Symphoniker, Ferdinand Leitner BRUCKNER: String Quintet in F major, Georg Schmid (piano), Koeckert Quartet Te Deum in C major, WAB 45, Maud Cunitz (soprano), Gertrude Pitzinger (contralto), Lorenz Fehenberger (tenor), Georg Hann (bass-baritone), Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Eugen Jochum CHERUBINI, B: Auf wiedersehen, Lucia, Rudi Schuricke (vocals), Radio-Tango-Orchester Hamburg, Alfred Hause CHOPIN: Mazurka No. 32 in C sharp minor, Op. 50 No. 3, Stefan Askenase (piano) Piano Sonata No. 2 in B flat minor, Op. 35 'Marche funèbre': 3rd movement (Funeral March), Stefan Askenase (piano) Piano Sonata No. 3 in B minor, Op. 58, Stefan Askenase (piano) Mazurkas Nos. 2/11/23/41/45/47, Halina Czerny-Stefanska (piano) Ballades Nos. 1/4, Halina Czerny-Stefanska (piano) Grande Polonaise Op. 22, Halina Czerny-Stefanska (piano) DEBUSSY: String Quartet in G minor, Op. 10, Loewenguth Quartett DOELLE: Wenn der weiße Flieder wieder blüht, Radio-Tango-Orchester Hamburg, Alfred Hause DONIZETTI: Quel guardo il cavaliere (from Don Pasquale), Rita Streich (soprano), Symphonieorchester des Bayerischen Rundfunks, Fritz Lehmann DOSTAL: Florentinische Nächte, Rudi Schuricke (vocals), Helmut Zacharias und seine Tanz-Besetzung DREYER, D: Sonny Boy, Radio-Tango-Orchester Hamburg, Alfred Hause DVORAK: Slavonic Dances Nos. 1-8, Op. 46 Nos. 1-8, Münchner Philharmoniker, Fritz Rieger String Quartet No. 12 in F major, Op. 96 'American', Koeckert Quartet FALL, R: August, wo sind deine Haare, Radio-Tango-Orchester Hamburg, Alfred Hause FALLA: Danse Espagnole (from La Vida Breve), Johanna Martzy (violin), Jean Antonietti (piano) FETRAS: Die Mondnacht Auf der Alster, Michael Lanner und seine Wiener-Walzer-Solisten FOX, CHARLES: Seit heut bin ich verliebt, Rudi Schuricke (vocals), Radio-Tango-Orchester Hamburg, Alfred Hause GLUCK: Sinfonia in G major, Orchestre des Concerts Lamoureux, Igor Markevitch GOULD, M: Boogie Woogie Etude, Shura Cherkassky (piano) GRIEG: Cello Sonata in A minor, Op. 36, Ludwig Hoelscher (cello), Hans Richter-Haaser (piano) HANDEL: Trio Sonata, HWV 391 in G minor, Op. 2 No. 6, David Oistrakh (violin), Igor Oistrakh (violin), Vladimir Yampolsky (piano) HAYDN: Cello Concerto No. 2 in D major, Hob. VIIb:2 (Op. 101), Enrico Mainardi (cello), Berliner Philharmoniker, Fritz Lehmann Symphony No. 100 in G major 'Military', Bamberger Symphoniker, Ferdinand Leitner Symphony No. 102 in B flat major, Bamberger Symphoniker, Ferdinand Leitner Symphony No. 104 in D major 'London', Berliner Philharmoniker, Hans Rosbaud Symphony No. 88 in G major, Berliner Philharmoniker, Wilhelm Furtwängler Symphony No. 92 in G major 'Oxford', Berliner Philharmoniker, Hans Rosbaud The Creation, Irmgard Seefried (soprano), Richard Holm (tenor), Kim Borg (bass), Chor der St. Hedwig's-Kathedrale, Berlin; Berliner Philharmoniker, Igor Markevitch HEYMANN: Das ist die Liebe der Matrosen, Radio-Tango-Orchester Hamburg, Alfred Hause HINDEMITH: Die vier Temperamente, Hans Otte (piano), Berliner Philharmoniker, Paul Hindemith Symphonic Metamorphoses on Themes by Carl Maria von Weber, Berliner Philharmoniker, Paul Hindemith Symphony 'Mathis der Maler', Berliner Philharmoniker, Paul Hindemith IMMICH: Abends in Napoli, Rudi Schuricke (vocals), Waldo Favre Chor, Kurt Graunke Symphony Orchestra, Gerhard Winkler JANACEK: String Quartet No. 2 'Intimate Letters', Janacek Quartet KOMZÁK III: Münchner Kindl, Michael Lanner und seine Wiener-Walzer-Solisten LALO: Symphonie espagnole, Op. 21, Bronislav Gimpel (violin), Münchner Philharmoniker, Fritz Rieger LANGLAIS: Te Deum, Josef Zimmermann (organ) Tiento, Josef Zimmermann (organ) Incantation pour un Jour Saint, Josef Zimmermann (organ) Ave Maria, Ave maria stella, Josef Zimmermann (organ) LISZT: Piano Concerto No. 1 in E flat major, S124, Andor Foldes (piano), Berliner Philharmoniker, Leopold Ludwig Piano Concerto No. 2 in A major, S125, Andor Foldes (piano), Berliner Philharmoniker, Leopold Ludwig LORTZING: Zar und Zimmerman (complete), Horst Gu¨nther (Peter I), Alfred Pfeifle (Peter Ivanow), Gustav Neidlinger (Van Bett), Ellinor Junker-Giesen (Marie), Therese Anders (Widow Brown), Walther Ludwig (Marquis of Chateauneuf), Chorus of the Württemberg State Opera, Stuttgart, Württembergisches Staatsorchester Stuttgart, Ferdinand Leitner MANA-ZUCCA: The Zouaves Drill, Shura Cherkassky (piano) MEISEL, W: Lustiges Wien, Michael Lanner und seine Wiener-Walzer-Solisten MENDELSSOHN: Ruy Blas Overture, Op. 95, Berliner Philharmoniker, Ferdinand Leitner Symphony No. 3 in A minor, Op. 56 'Scottish', Bamberger Symphoniker, Ferdinand Leitner A Midsummer Night's Dream - incidental music, Op. 61, Rita Streich (soprano), Diana Eustrati (mezzo-soprano), RIAS Kammerchor, Berliner Philharmoniker, Berliner Philharmoniker Es weiß und rät es doch keiner, Op. 99 No. 6, Maria Stader (soprano), Karl Engel (piano) Schilflied, Op. 71 No. 4, Maria Stader (soprano), Karl Engel (piano) Neue Liebe, Op. 19a No. 4, Maria Stader (soprano), Karl Engel (piano) Nachtlied, Op. 71 No. 6, Maria Stader (soprano), Karl Engel (piano) Wanderlied 'Laue Luft kommt blau geflossen', Op. 57 No. 6, Maria Stader (soprano), Karl Engel (piano) MEYERBEER: Nobles seigneurs, salut! (from Les Huguenots), Rita Streich (soprano), RIAS Symphony Orchestra Berlin, Ferdinand Leitner MILHAUD: Saudades do Brasil: Ipanema, Johanna Martzy (violin), Jean Antonietti (piano) MOZART: Traurigkeit (from Die Entführung aus dem Serail), Maria Stader (soprano), RIAS Symphony Orchestra Berlin, Ferenc Fricsay Exsultate, jubilate, K165, Maria Stader (soprano), RIAS Symphony Orchestra Berlin, Ferenc Fricsay Piano Concerto No. 19 in F major, K459, Clara Haskil (piano), Berliner Philharmoniker, Ferenc Fricsay Piano Concerto No. 27 in B flat major, K595, Clara Haskil (piano), Bavarian State Orchestra, Ferenc Fricsay Piano Sonata No. 11 in A major, K331 'Alla Turca', Conrad Hansen (piano) Piano Sonata No. 12 in F major, K332, Conrad Hansen (piano) Piano Sonata No. 16 in C major, K545 'Facile', Conrad Hansen (piano) Piano Sonata No. 8 in A minor, K310, Conrad Hansen (piano) Serenade No. 13 in G major, K525 'Eine kleine Nachtmusik', Kammerorchester Des Bayerischen Runfunks, Eugen Jochum Symphony No. 33 in B flat major, K319, Symphonieorchester des Bayerischen Rundfunks, Eugen Jochum Symphony No. 34 in C major, K338, Berliner Philharmoniker, Igor Markevitch Symphony No. 35 in D major, K385 'Haffner', Orchestre des Concerts Lamoureux, Igor Markevitch Symphony No. 36 in C major, K425 'Linz', Symphonieorchester des Bayerischen Rundfunks, Eugen Jochum Symphony No. 38 in D major, K504 'Prague', Berliner Philharmoniker, Igor Markevitch Symphony No. 39 in E flat major, K543, Symphonieorchester des Bayerischen Rundfunks, Eugen Jochum Violin Concerto No. 4 in D major, K218, Wolfgang Schneiderhan (violin), Berliner Philharmoniker, Hans Rosbaud Violin Sonata No. 24 in F major, K376, Johanna Martzy (violin), Jean Antonietti (piano) Zeffiretti lusinghieri (from Idomeneo), Rita Streich (soprano), RIAS Symphony Orchestra Berlin, Artur Rother Der Hölle Rache kocht in meinem Herzen (from Die Zauberflöte), Rita Streich (soprano), RIAS Symphony Orchestra Berlin, Ferenc Fricsay PROKOFIEV: Romeo and Juliet, Op. 64 (excerpts), Berliner Philharmoniker, Lorin Maazel Symphony No. 1 in D major, Op. 25 'Classical', RIAS Symphony Orchestra Berlin, Ferenc Fricsay PUCCINI: Quando me'n vo (from La Bohème), Rita Streich (soprano), Radio-Symphonie-Orchester Berlin, Ernst Märzendorfer RACHMANINOV: Piano Concerto No. 2 in C minor, Op. 18, Andor Foldes (piano), Berliner Philharmoniker, Leopold Ludwig Symphony No. 2 in E minor, Op. 27, Leningrad Philharmonic Orchestra, Kurt Sanderling RAVEL: Berceuse sur le nom de Fauré, Johanna Martzy (violin), Jean Antonietti (piano) Le Tombeau de Couperin, Monique Haas (piano) Piano Concerto in G major, Monique Haas (piano), NDR-Sinfonieorchester, Hans Schmidt-Isserstedt, Vocalise-étude en forme de habanera, Johanna Martzy (violin), Jean Antonietti (piano) String Quartet in F major, Loewenguth Quartett REGER: Variations and Fugue on a theme of Johann Adam Hiller Op. 100, Berliner Philharmoniker, Paul van Kempen Variations and Fugue for Orchestra on a Theme by Mozart, Op. 132, Berliner Philharmoniker, Karl Böhm RESPIGHI: La Boutique Fantasque, PP120, RIAS Symphony Orchestra Berlin, Ferenc Fricsay RIMSKY KORSAKOV: Scheherazade, Op. 35, Rudolf Schulz (violin), Radio-Symphonie-Orchester Berlin, Ferenc Fricsay ROSSINI: Guillaume Tell Overture, Berliner Philharmoniker, Paul van Kempen Bel raggio lusinghier (from Semiramide), Rita Streich (soprano), RIAS Symphony Orchestra Berlin, Artur Rother ROUSSEL: String Quartet in D major, Op. 45, Loewenguth Quartett SARASATE: Navarra, Op. 33, David Oistrakh (violin), Igor Oistrakh (violin), Gewandhausorchester Leipzig, Franz Konwitschny SCHOECK: Das bescheidene Wünschlein, Op.24a No.7, Maria Stader (soprano), Karl Engel (piano) Mit einem gemalten, Op. 19a No. 4, Maria Stader (soprano), Karl Engel (piano) Nachruf, Op. 20 No. 14, Maria Stader (soprano), Karl Engel (piano) Reiselied, Maria Stader (soprano), Karl Engel (piano) SCHROEDER, H: Prelude 'Regina coeli laetare', Josef Zimmermann (organ) Variations on 'Ave regina coelorum', Josef Zimmermann (organ) SCHUBERT: Der Hirt auf dem Felsen, D965, Maria Stader (soprano), Karl Engel (piano), Rudolf Gall (clarinet) String Quartet No. 13 in A minor, D804 'Rosamunde', Amadeus Quartet String Quartet No. 15 in G Major, D887, Amadeus Quartet Symphony No. 9 in C major, D944 'The Great', Berliner Philharmoniker, Wilhelm Furtwängler Winterreise D911, Josef Greindl (bass), Hertha Klust (piano) La pastorella, D528, Maria Stader (soprano), Karl Engel (piano) Seligkeit D433, Maria Stader (soprano), Karl Engel (piano) Du bist die Ruh D776 (Rückert), Maria Stader (soprano), Karl Engel (piano) Die Forelle, D550, Maria Stader (soprano), Karl Engel (piano) Der Hirt auf dem Felsen, D965, Rita Streich (soprano), Heinrich Geuser (clarinet), Michael Raucheisen (piano) SCHUMANN: Cello Concerto in A minor, Op. 129, Enrico Mainardi (cello), RIAS Symphony Orchestra Berlin, Fritz Lehmann Dichterliebe, Op. 48, Dietrich Fischer-Dieskau (baritone), Jörg Demus (piano) Études symphoniques, Op. 13, Wilhelm Kempff (piano) Fantasie in C major, Op. 17, Wilhelm Kempff (piano) Symphony No. 3 in E flat major, Op. 97 'Rhenish', Berliner Philharmoniker, Ferdinand Leitner March in G minor, Op. 76, No. 2, Sviatoslav Richter (piano) Waldszenen, Op. 82, Sviatoslav Richter (piano) Fantasiestücke, Op. 12, Sviatoslav Richter (piano) SHOSTAKOVICH: Symphony No. 10 in E minor, Op. 93, Czech Philharmonic Orchestra, Karel Ancerl SIEGEL, R: Mandolino-Mandolino, Rudi Schuricke (vocals), Helmut Zacharias und seine Tanz-Besetzung SIGMAN, C: Mein Herz ruft nach dich, Rudi Schuricke (vocals), Polydor Tanzorchester, Benny De Weille SMETANA: String Quartet No. 1 in E minor 'From My Life', Janacek Quartet STRAUSS, R: Cello Sonata in F major, Op. 6, Ludwig Hoelscher (cello), Hans Richter-Haaser (piano) Der Rosenkavalier (highlights), Tiana Lemnitz (Marschallin), Georgine von Milinkovic (Octavian), Elfride Trötschel (Sophie), Württembergisches Staatsorchester Stuttgart, Ferdinand Leitner STRAVINSKY: Capriccio for Piano and Orchestra, Monique Haas (piano), RIAS Symphony Orchestra Berlin, Ferenc Fricsay SZYMANOWSKI: Nocturne & Tarantella, Op. 28, Johanna Martzy (violin), Jean Antonietti (piano) TARTINI: Trio Sonata in F, David Oistrakh (violin), Igor Oistrakh (violin), Hans Pischner (harpsichord) TCHAIKOVSKY: Piano Concerto No. 1 in B flat minor, Op. 23, Shura Cherkassky (piano), Berliner Philharmoniker, Leopold Ludwig Piano Concerto No. 2 in G major, Op. 44, Shura Cherkassky (piano), Berliner Philharmoniker, Richard Kraus THOMAS, AMBROISE: Je suis Titania (from Mignon), Rita Streich (soprano), Münchner Philharmoniker, Ferdinand Leitner TRANSLATEUR: Wiener Praterleben, Michael Lanner und seine Wiener-Walzer-Solisten VARLAMOV: The Red Sarafan, Don Cossack Choir, Serge Jaroff Grünes Gras und Kalinka, Don Cossack Choir, Serge Jaroff VERDI: Caro nome (from Rigoletto), Rita Streich (soprano), RIAS Symphony Orchestra Berlin, Ferdinand Leitner Volta la terrea (from Un Ballo in Maschera), Rita Streich (soprano), RIAS Symphony Orchestra Berlin, Ferdinand Leitner Saper vorreste (from Un Ballo in Maschera), Rita Streich (soprano), RIAS Symphony Orchestra Berlin, Ferdinand Leitner Mercè, diletti amici (from Ernani), Rita Streich (soprano), Radio-Symphonie-Orchester Berlin, Ernst Märzendorfer WAGNER: Die Walküre: Act 2 (highlights), Astrid Varnay (soprano), Wolfgang Windgassen (tenor), Symphonieorchester des Bayerischen Rundfunks, Leopold Ludwig Siegfried (highlights), Astrid Varnay (soprano), Wolfgang Windgassen (tenor), Symphonieorchester des Bayerischen Rundfunks, Hermann Weigert Zu neuen Taten, teurer Helde (from Götterdämmerung), Astrid Varnay (soprano), Wolfgang Windgassen (tenor), Symphonieorchester des Bayerischen Rundfunks, Leopold Ludwig Starke Scheite schichtet mir dort 'Brünnhilde's Immolation Scene' (from Götterdämmerung), Astrid Varnay (soprano), Wolfgang Windgassen (tenor), Symphonieorchester des Bayerischen Rundfunks, Hermann Weigert Allmächt'ger Vater, blick herab! (from Rienzi), Wolfgang Windgassen (tenor), Bamberger Symphoniker, Ferdinand Leitner Wie sie selig, hehr und milde (from Tristan und Isolde), Wolfgang Windgassen (tenor), Münchner Philharmoniker, Leopold Ludwig Nothung! Nothung! Neidliches Schwert! (from Siegfried), Wolfgang Windgassen (tenor), Bamberger Symphoniker, Ferdinand Leitner Hoho! Hoho! Hohei! Schmiede, mein Hammer, ein hartes Schwert! (from Siegfried), Wolfgang Windgassen (tenor), Walter Carnuth (tenor), Bamberger Symphoniker, Ferdinand Leitner Brünnhilde, heilige Braut! (from Götterdammerung), Wolfgang Windgassen (tenor), Münchner Philharmoniker, Leopold Ludwig Nur eine Waffe taugt (from Parsifal), Wolfgang Windgassen (tenor), Radio-Symphonie-Orchester Berlin, Richard Kraus In fernem Land (from Lohengrin), Wolfgang Windgassen (tenor), Radio-Symphonie-Orchester Berlin, Richard Kraus Mein lieber Schwan (from Lohengrin), Wolfgang Windgassen (tenor), Radio-Symphonie-Orchester Berlin, Richard Kraus O Fürstin...Doch welch ein seltsam (from Tannhäuser), Annelies Kupper (soprano), Wolfgang Windgassen (tenor), Radio-Symphonie-Orchester Berlin, Richard Kraus Fanget an! (Die Meistersinger von Nürnberg), Wolfgang Windgassen (tenor), Münchner Philharmoniker, Ferdinand Leitner Selig, wie die Sonne (from Die Meistersinger von Nürnberg), Annelies Kupper (soprano), Hertha Töpper (contralto), Wolfgang Windgassen (tenor), Richard Holm (tenor), Josef Herrmann (baritone), Münchner Philharmoniker, Ferdinand Leitner Morgenlich leuchtend im rosigen Schein 'Prize Song' (from Die Meistersinger von Nürnberg), Wolfgang Windgassen (tenor), Münchner Philharmoniker, Ferdinand Leitner WEBER: Kommt ein schlanker Bursch gegangen (from Der Freischütz), Rita Streich (soprano), RIAS Symphony Orchestra Berlin, Artur Rother WIENIAWSKI: Étude-caprice, Op. 18 Nos. 2/4/5, David Oistrakh (violin), Igor Oistrakh (violin) WOLF, H: Italienisches Liederbuch (selection), Dietrich Fischer-Dieskau (baritone), Hertha Klust (piano) TRADITIONAL, by Don Cossack Choir, Serge Jaroff: Abschied vom Walde Wolgaschlepper Es wird im Walde gesagt Himbeerente Abendglocken Kosaken in der Gefangenschaft Die Legende von den 12 Räubern Die Petersburger Strasse entlang Reitermarsch Eintönig klingt hell das Glöcklein Kosakenlied vom Ataman Platoff Zwei Gitarren Stenka rasin The Russian Creed Dark eyes Lesginka

Commençons par quelques aspects un peu décevants . DG n'a pas mené jusqu'au bout la logique rétrospective et explicative , comme Decca dans " Mono Years 1944 - 1956 " . En effet , le livret est trop succinct sur les prises de son ( 2 pages ) et les équipes artistiques ( 6 pages ) . On est loin du soin amoureux de Decca . Par contre , les photos sont nombreuses et excellentes et montrent aussi la fabrication , les publicités de l'époque . Les photos d'artistes , faites dans un noir et blanc souvent poignant , sont d'une dignité et presque d'une gravité qui impressionnent , au sortir d'une guerre terrible , et sont en contraste absolu avec le narcissisme débridé , racoleur et vulgaire qui envahit trop souvent nos pochettes de cd actuelles ... Pour le répertoire : un peu trop d'oeuvres archi-connues , ressassées au disque voire " labourées " : toujours les mêmes symphonies de Mozart , Mendelssohn , concertos de Brahms et Tchaikovsky ...Quel que soit le mérite des interprètes , on finit par les écouter d'une oreille distraite ! Des Reger et Hindemith toujours bien faibles , à mon goût . Et un disque inécoutable jusqu'au bout : les ridicules choeurs cosaques du disque 7 ! Sur le son : le travail de remastérisation a été soigneux et ça sonne propre , beau et assez clair , la plupart du temps . Peu de disques sont ingrats sur ce critère . Mais , sur mon habituel système haut de gamme , ultra-défini , je n'ai pas retrouvé cette sensation d'un son chaleureux , proche et plein de relief , si frappant dans les Decca mono ... Remastérisation qui aurait trop poncé le son ? techniques de positionnement des micros différentes ? Venons aux bonnes et grandes choses contenues dans ce coffret , qui sont aussi , parfois , des premières absolues en cd ! Quelques cimes : un Songe d'une nuit d'été / Fricsay , d'une luminosité et d'une transparence incroyables un Voyage d'hiver par un Josef Greindl puissant vocalement et allant loin dans la compréhension en profondeur et en émotion du texte des sonates de Chopin par un Askenase qui m'a semblé inspiré et impliqué un Requiem allemand / Stader / Lehmann , extrêmement impressionnant et empoignant de magnifiques et impeccables variations symphoniques autour de Roméo et Juliette par le tout jeune Maazel une somptueuse Création de Haydn par Markevitch , des chanteurs de haut vol et Berlin des Schumann souverains par Richter de splendide anthologies de Maria Stader et Rita Streich Plus quelques rappels stimulants voire savoureux : un très plaisant disque de musique légère : valses , tangos et le chanteur de charme Rudi Schuricke ( cd 51 ) des sonates de Mozart bien idiomatiques par Hansen , sur un piano de 1820 un récital Brahms / Grieg / R.Strauss par un Hoelscher sobre et chantant , au violoncelle de bien beaux extraits du Chevalier à la Rose par Tiana Lemnitz / Leitner des Beethoven plus qu' intéressants par Elly Ney et à réécouter Tsar et Charpentier de Lortzing ( très estimé et joué en Allemagne et à juste titre ! ) / Leitner

Very good music. I recommend this boxset!

La storia delle origini della prestigiosa casa discografica di Hanover. Imperdibile! Nota per Amazon: in occasione degli invii di cofanetti di dischi sarebbe auspicabile una maggiore cura e attenzione negli imballaggi da usare!

An artistic heritage of great value including big names that have marked their time and beyond.