Kurt Masur

Masur, who is far and away the best craftsman and the most sympathetic interpreter of these symphonies; moreover he has far and away the best orchestra at his command of all rivalling issues. I will merely draw attention to the majesty and inexorable propulsion of his No. 2, and the sheer exuberance of his rhythmic textures in No. 3, which also features a red-hot sensual climax for the slow movement of this symphony. The sound quality is not the best, judging by our standards; but it is clear, warm and natural, hardly subject to complaints.

Since the Beaux Arts Trio last recorded Beethoven's Triple Concerto in 1977 two of its personnel have changed, with Ida Kavafian and Peter Wiley taking over from Isidore Cohen and Bernard Greenhouse. That leaves Menahem Pressler, now in his seventies, as the ever-lively survivor. Not only does Pressler's playing sparkle even more brightly in the concerto than before, he is an inspired protagonist in the Choral Fantasia, setting the pattern of joyfulness in this performance from his opening improvisation-like solo onwards. The other prime mover is Kurt Masur, who has rarely conducted more electrifying Beethoven performances on disc.

Lovers of the Four Last Songs have come to take good recordings of the set for granted. Jessye Norman's early digital account with Kurt Masur and the Leipzigers is one of the best–powerful, sensuous, and very well recorded. Strauss may have conceived the songs with an ideal voice in mind, but he made a point of asking that Kirsten Flagstad give the first performance of the set. Since then, no comparably endowed soprano, in possession of both the tonal richness and the extraordinary amplitude that were Flagstad's, has recorded the Four Last Songs, save for Norman.

This is the best available modern recording of Dvorák’s three gorgeous Slavonic Rhapsodies, music that’s totally neglected in the concert hall and nearly so on recordings (at least by major names). The dark timbre of the Leipzig orchestra, with strings dominating, isn’t exactly ideal for Dvorák. However, in the rhapsodies at least, the playing is so lovely and Masur’s direction so musical and alert that it would be churlish to quibble further.

This is the best available modern recording of Dvorák’s three gorgeous Slavonic Rhapsodies, music that’s totally neglected in the concert hall and nearly so on recordings (at least by major names). The dark timbre of the Leipzig orchestra, with strings dominating, isn’t exactly ideal for Dvorák. However, in the rhapsodies at least, the playing is so lovely and Masur’s direction so musical and alert that it would be churlish to quibble further.

Now we have all three of the concertos, plus the Scottish Fantasy, Op. 46, and the Serenade, Op. 75, all in one convenient 2-CD set. The reproduction is broad, spacious and defined, with the solo violin in perfect perspective.

"Masur's performances of the Overtures are more direct than Karajan, satisfying in their lack of mannerism… Marriner and the Academy offer a splendid foil with the dance music. Even as a composer of light music, Beethoven was a master."

Accardo's performances are nothing short of spectacular, and (the late) Kurt Masur and the Gewandhaus's performances never disappoint. Most classical audiophiles may be familiar only with Bruch's first violin concerto and the "Scottish Fantasy," but there are two more wonderful violin concertos, a Romance, a Konzertstuck, a Serenade, a piece entitled "Adagio Appassionato" and a piece that was new to me, "In Memoriam," a very beautiful and moving composition that is the last band on the last record.