78 RPM SET-TCHAIKOVSKY/SYM#5/MENGELBERG-COLUMBIA 8 DISC SET-GOOD CONDITION
$
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Description
I NO LONGER SHIP OUT OF U.S.A. - TO U.S.A. AND PROTECTORATES ONLY
78 RPM SET-TCHAIKOVSKY/SYM#5/MENGELBERG-COLUMBIA 8 DISC SET-GOOD CONDITION
THIS IS A VERY RARE SET, FIRST PRESSING OF THE 1928 RECORDING.
DISCS ARE IN VERY GOOD CONDITION, ALBUM MAY NOT BE ORIGINAL BUT APPEARS TO BE
SAME AGE AS THE RECORDS. ALBUM IS SOLID WITH LEATHER SPINE.
THE SET ALSO INCLUDES THE WALTZ FROM THE TCHAIKOVSKY SERENADE FOR STRINGS AND THE EIGTH DISC IS AN EXTRA WITH MENGELBERG CONDUCTING THE BEETHOVEN EGMONT OVERTURE IN A LATER PRESSING. SEE PHOTOS.
CLICK ON YOUTUBE LINKS BELOW
Tchaikovsky : Symphony No. 5 in E minor - YouTube
www.youtube.com/watch?v=YHkNAVa3qgo
Tchaikovsky : Symphony No. 5 in E minor Willem Mengelberg (Conductor) Concertgebouw Orchestra
Willem Mengelberg conducts Egmont Overture - YouTube
www.youtube.com/watch?v=KYB3-7Of58Q
Willem Mengelberg (1871-1951) conducts Egmont Overture by Ludwig van Beethoven
AND FINALLY A CHANCE TO SEE HIM WORKING:
Film "Het Concertgebouworkest" conducted by ... - YouTube
www.youtube.com/watch?v=0TS85g2JnpA
Film "Het Concertgebouworkest" conducted by Willem Mengelberg, Paris 1931. Tobis Klangfilm
AND HERE IS A PORTION OF A REVIEW BY JAMES LEONARD:
Review by James Leonard
When Willem Mengelberg made this recording of Tchaikovsky's Fifth Symphony with the Concertgebouw Orchestra Amsterdam in 1928, portamento was not yet a dirty word, nor was tempo rubato yet an indecent liberty. But the way Mengelberg manipulates tone and tempo, not to mention color, shape, and structure, it's easy to see the way things were going to turn out, and the inevitable backlash against Mengelberg's liberties was already taking form in Toscanini's severe literalness. But, in 1928, Mengelberg was at the ripest maturity of his career, and this Tchaikovsky Fifth is the epitome of his interpretative style: loose, wild, and a little crazy. Mengelberg was then in his third decade with the Concertgebouw, and his players had long since adapted to his conducting style; they go where he wants them to go with not too many slips in ensemble. Still, considering the incredible flexibility of Mengelberg's beat and the bewildering willfulness of his baton technique, this must have been quite a challenge. For listeners who know and admire only post-Toscanini literalists like Reiner, Szell, Karajan, and Solti, Mengelberg's portamento and tempo rubato may be too much, but for those who know and admire the conducting of Leonard Bernstein or Zubin Mehta, Mengelberg might be just the thing.
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