Karajan: Mozart Symphonies Nos. 29 & 38 - Columbia SAX 2356 (b/s ED1)

$

115

ITEM DESCRIPTION:

This outstanding and rare LP from Columbia (SAX 2356, English EMI pressing, blue/silver label – ED1, stereo, original inner sleeve included) features Herbert von Karajan astride a great dividing line in his career, with the Philharmonia on one side, from which he was to shortly depart, for his new life with the Berlin Philharmonic on the other side. The composer is Mozart, and both Karajan and the two orchestras he commanded at this time are on truly fine form, turning wonderfully vital and expressive performances.

The exact discographic details are as follows:

Mozart: Symphony No. 29 in A Major K. 201

Herbert von Karajan conducting the Berlin Philharmonic Orchestra

(rec. on 29 February 1960 at the Grünewaldkirche, Berlin)

Mozart: Symphony No. 38 in D Major K. 504 “Prague”

Herbert von Karajan conducting the Philharmonia Orchestra

(rec. 16/17 September 1958 at the Musikvereinssaal, Vienna)

Wrote the critic J.N. in his review for the September 1960 issue of The Gramophone: “It is not often that the same month produces two new recordings of a single work in which the same orchestra is conducted by different conductors, but that is what has happened here. I had just finished reviewing Bohm’s version of the Prague (see above) when Karajan's (also with the Berlin Philharmonic) turned up. Of course, if the orchestra were less good the comparison would not be nearly so interesting. As it is, one can be sure that the differences in interpretation are the responsibility of the respective conductors, and not merely orchestral tradition. As a matter of fact the comparison turns out to be a classic case of swings and roundabouts: the virtues and failings tend to counterbalance one another in both cases. Karajan's performance is more elegant, more supple, more subtle; on the other hand he sacrifices a certain amount of sheer impact to the production of beautiful tone, with the effect that he sometimes seems to be pulling his punches. Bohm on the other hand is considerably more direct and forthright; but while his slightly quicker tempo for the Introduction is more convincing, to my mind, his finale is really rather clodhopping beside Karajan's miraculously fleet one.

“As to the recorded sound, both are very good, but Columbia seem to have achieved a great deal of detail without the slightly unnatural closeness of the wind that I remarked on in the D.G.G. On the other hand the more distant general perspective of the Columbia leads to a patch or two of something that sounds suspiciously like echo; there is a curious effect as of the timpani striking double. On my review copy there was a tiny tape-fault (a careless join, perhaps ?) at the beginning of bar 138 in the slow movement. I have not at the time of writing heard the stereo version of this side, but if it is as good as that of Symphony No. 29 on the other side it will be very good indeed.

“My own preference is slightly for the Karajan Prague over the Bohm, and since it may well be the coupling that decides you I should perhaps add that Karajan gives No. 29 a wonderfully polished, urbane performance. Maag's version of the Prague on a Decca record is also first-rate in its finely chiselled way, but only the rich will be able to ignore the fact that the D.G.G. record offers them the Haffner in addition to Nos. 32 and 38. In any case it is encouraging that so many good versions of Mozart symphonies should be finding their way on to stereo; I only wish more conductors, at least for recording sessions, would take advantage of the new technique and place their second violins opposite the firsts, as Maag does; all the disadvantages of this disposition can be compensated by microphone-placing, and the advantages in these classical scores would be untold.”

Incidentally, there are superb liner notes, provided in English only, on the reverse side of the jacket by no less than Deryck Cooke.

CONDITION – PLEASE READ VERY CAREFULLY:

The gradations of condition I use are as follows: MINT, Near-Mint, Excellent, Very Good, Good, Fair, Poor.

The condition of the jacket is VERY GOOD++. There is a 1/2” area along the spine that is a bit weak, though it has not broken into a seamsplit. in addition, there is bumping at corners, some wear along the open edge of the jacket, and mild discoloration. However, there are no seamsplits, owners' markings, or other defects, and the album remains solid, bright, glossy, and quite attractive – overall, a very good collector's copy.

The condition of the LP itself is EXCELLENT. Although the surfaces are not absolutely silent, really this is a fine copy and the playback is quite superb. Those requiring CD silent surfaces are kindly advised to look elsewhere. Overall, this rates as an excellent collector's copy.