Urt Masur

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.

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.

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.

In July 1997, conductor Kurt Masur and actress Marthe Keller – together with Chœur La Psallette and the Orchestre Mondial des Jeunesses Musicales – delivered a performance of Franck’s Psyché unlike any other in recorded history. Expanding on Masur’s vision, Keller’s immersive narration added to the impact of this rarely-heard symphonic poem for chorus and orchestra. This powerful performance is the latest release on Verbier Festival Gold and it’s out now.

Recorded live at Southbank Centre’s Royal Festival Hall, London on 24 November 2004 (Symphony No. 3) and 27 November 2004 (Symphony No. 5). This recording features former Principal Conductor of the London Philharmonic Orchestra Kurt Masur, who conducted more than 150 performances in London and internationally during his tenure.