These performances come from the first ever complete set of the Mozart symphonies, dating from the 1960s, and they still represent 'big orchestra' Mozart at its most congenial. The contrast here between Bohm's sparkling Mozart, both elegant and vigorous, and the much smoother view taken by Karajan with the same orchestra, works almost entirely in Bohm's favour. Interpretatively, these are performances very much of their time, with exposition repeats the exception (as in the first movement of No. 40) and with Minuets taken at what now seem lumbering speeds. Yet slow movements flow easily, and finales bounce along infectiously. Consistently they convey the happy ease of Bohm in Mozart, even if the recording is beefy by today's standards, not as transparent as one now expects in this repertory, whether on modern or period instruments.
The Capella Istropolitana consists of leading members of the Slovak Philharmonic Orchestra of Bratislava; though their string-tone is thinnish, it is very much in scale with the clarity of a period performance but tonally far sweeter. The recording is outstandingly good, with a far keener sense of presence than in most rival versions and with less reverberation to obscure detail in tuttis.
Superb… Szell shows the utmost sensitivity to every facet of the music… His interpretation is backed by flawless playing by the Cleveland Orchestra. – The Gramophone
Nobody knows why Mozart wrote three symphonies—his last, as fate decreed—in less than three months in the summer of 1788. Some say it was divine inspiration, others that he desperately needed a new income stream. Whatever the case, they stand among the great landmarks of the symphonic repertoire. The Oxford Philharmonic Orchestra and its founder-conductor, Marios Papadopoulos, in their expansive, lyrical interpretations of the last two of these works convey their nobility and classicism. They articulate countless details of rhythm and phrasing that all too often fly by in period-instrument performances, especially in the finale of Symphony No. 40 and the “Jupiter” Symphony’s opening “Allegro vivace,” the latter graced by superb string playing. While the prevailing mood is serious, there’s room for charm and lightness in the minuets of both symphonies.
This CD is a steal, but better yet, it comes with one of the finest recorded versions of Mahler's 6th Symphony. Szell offers a no nonsense approach to Mahler, taking a sharp tack away from Bernstein's emotionally wrought interpretations. Instead, Szell conducts with a more even keel, yielding a graceful, yet still very dramatic, interpretation from his Cleveland Orchestra. Much to my amazement, the sound quality is impeccable for a live recording, especially when this CD hasn't been remastered with the latest digital image bit technology. Szell's recording of this symphony has been justly acclaimed in the Penguin Guide to CDs as one of the finest available. You couldn't go wrong acquiring this CD as either a definitive performance or as yet another to go with your Bernstein recordings. - from Amazon.com
Here's a set of the best of Mozart's symphonies performed by the well-respected Vienna Philharmonic under Leonard Bernstein. These are reissues of recordings made in the 1980s, and although half were done in the studio and half were live, there is really no significant difference in sound.
One of the very best records The Cleveland Orchestra made with late George Szell… marvelous orchestral playing and exhilarating excitement – The Gramophone