By 1952 the Philharmonia Orchestra, in its seven years of existence, had evolved into one of Europe's finest ensembles. Its reputation was in many respects consolidated by Herbert von Karajan's role as music director and orchestra builder, and was further shaped by legendary guest conductors Richard Strauss, Wilhelm Furtwängler, Victor de Sabata, and Sir Thomas Beecham, and emerging podium figures such as Guido Cantelli, Issay Dobrowen, Igor Markevitch, Wolfgang Sawallisch, and Carlo Maria Giulini. Otto Klemperer's long, productive Indian Summer at the helm of the Philharmonia lay just ahead. - Jet Distler, ClassicsToday.com
…The LSO play with their customary precision and refinement, which goes a long way in music that can often be so ethereal and uplifting as Bruckner's. And when the orchestra get a chance to come into full bloom in the biggest crescendos and fortissimos, they sound wonderful, especially with Haitink guiding them so evenhandedly…
Eugen Jochum (1 November 1902 – 26 March 1987) was an eminent German conductor. He became famous primarily as an interpreter of Anton Bruckner's works. He became the first conductor to perform a complete recording of the nine symphonies of this composer.
Many notable Mozart conductors have become broader in their tempos and more detail-obsessed as they aged. Walter, Beecham, Böhm, Klemperer, and even Sir Colin Davis have all fallen under the spell of the music's perfection to the point where they could hardly bear to let it alone. On the other side of the equation are equally great conductors such as Szell, Reiner, Casals, and Toscanini, whose vision intensified instead of mellowing. It is to the latter group that Menuhin belongs, and these superb performances call to mind Toscanini at his best, in the tensile strength of the melodic line, subtle rubato, and miraculously clear articulation.
Saving the best for last in the Richard Strauss anniversary 2014. The world’s most luxurious soprano, Anna Netrebko, sings Richard Strauss’ sumptuous Four Last Songs, accompanied by the Staatskapelle Berlin and Daniel Barenboim. An irresistible, all-star combination.
"…I will treasure this set until the end of my days, and hope others will attain the same joy from it after I am gone." ~SA-CD.net
Carlo Maria Giulini was born in Barletta, Southern Italy in May 1914 with what appears to have been an instinctive love of music. As the town band rehearsed he could be seen peering through the ironwork of the balcony of his parents’ home, immovable and intent. The itinerant fiddlers who roamed the countryside during the lean years of the First World War also caught his ear. In 1919, the family moved to the South Tyrol, where the five-year-old Carlo asked his parents for "one of those things the street musicians play". Signor Giulini acquired a three-quarter size violin, setting in train a process which would take his son from private lessons with a kindly nun to violin studies with Remy Principe at Rome’s Academy of St Cecilia at the age of 16.