These are not "classical" performances in the sense of attempting to reproduce the effect of a late eighteenth-century orchestra, but the interpretation has something classical about it all the same — a vigour and a sense of proportion which make me rate this record very highly among the many Karajan has given us … [the] guality of playing and interpretation and recording all combine to make this record … a luxury article. Gramophone (on the Haydn)
Conductor Ivan Fischer and the Budapest Festival Orchestra give an enchanting performance of Beethoven's together with works from Weber, Rossini and Wilms.
Claudio Abbado was undeniably the supreme Mahler conductor of our time. With his Lucerne Festival Orchestra he has set new standards in the field of classical music, especially in the interpretation of works by Gustav Mahler. The core of the orchestra is provided by the Mahler Chamber Orchestra, itself an élite body of players. Soloists like violinist Kolja Blacher, clarinettist Sabine Meyer, oboist Albrecht Mayer, violist Wolfram Christ, cellist Natalia Gutman, the Hagen Quartet and members of the Alban Berg Quartet to name just a few, make the Lucerne Festival Orchestra a star-studded ensemble.
Shostakovich’s Tenth Symphony is 50 minutes of tragedy, despair, terror, and violence and three minutes of triumph. Premiered in 1953, the best performance is still that conducted by Mravinsky. Yevgeny Mravinsky's June 3, 1955, performance with the Leningrad Philharmonic of Beethoven's Symphony No. 4 is just as great. Mravinsky was the best Soviet conductor and his passionate precision and intense interpretations were as valid for Beethoven as they were for Shostakovich. His interpretations can be hard-driven and sharp-edged, but no one could object to the lucid strength and linear lyricism he brings to the work.