"…Recorded in 1955 and 1958, respectively, these performances with the phenomenal Boston Symphony Orchestra sound magnificent with the spacious separation and the close simulation of a real orchestral environment made possible by DSD and multichannel remastering. Beyond the superb audio quality, these recordings are fascinating documents of Münch's elegant interpretations of Schubert…."
Istvan Kertesz (1929-1973) was born into a Hungarian-Jewish, and he grew up taking violin lessons at a time “when terrible things were happening in Europe.” By the time Istvan was twelve, he had been mastering the piano as well. But Hungarian Jews were persecuted relentlessly, and many of his extended family members were sent to Auschwitz to be murdered. After the war, he resumed his studies in what is now the Franz Liszt Academy of Music, taking composition lessons with Kodaly and Leo Weiner. An interest in conducting led to studies with Laszlo Samogyi and Janos Ferencsik.
Milhaud's Symphony No. 5 was written on commission from Italian Radio (RAI), and was first performed by the RAI Orchestra of Turin under the composer's direction.The two previous symphonies had expressed public sentiments. (They were respectively, a symphony to celebrate the victory of World War II and to commemorate the French Revolution of 1848.) The mood of this symphony, though, is cool and objective Alexander Fried of the San Francisco Examiner noted its "refreshing, almost sardonic crackle." The slow movement is the most memorable part of the symphony. For the most part, the symphony is composed on short motives rather than on broad melodies. Symphony No. 6 was written at ………
It’s a tribute to Vladimir Jurowski’s achievement here that there’s less difference in quality between the First and Sixth symphonies than often is the case. But if you heard his “Manfred” Symphony, then you already know that he’s one of the great Tchaikovsky conductors working today, and he has the LPO playing with a commitment and intensity that the orchestra has often lacked under its previous music directors… If you love Tchaikovsky, then you’ll love this release. It’s hot–really hot. - David Hurwitz; www.classicstoday.com
George Szell's Dvorák performances feature his customary blend of razor sharp orchestral discipline allied to a wholly idiomatic, singing line. - David Hurwitz