It sounds like Nielsen and Shostakovich on vacation together.

The oboe solo shortly after 4:23 is masterly. The way Horenstein does it transforms the solo from a nice, relaxing interruption into a phrase of equal weight to the main theme. Astonishing!

I will never quite understand why Berg "bought" the 12-tone system, when he wrote masterpieces like this and Wozzeck without it. This was his real musical language.

Lover of Kangaroo Meringues, Connor, 24, Brisbane Australia

Hee haw. Signed, Agatha, Australia.

Невероятно!!!!❤❤❤

I'm happy to find the radio announcement at the end of this audio file, which is not included in the CD issued by BBC. Very good to enjoy the vibe at that time. Thanks!

The musical world is so greatly in your debt, Misha, for this and the many priceless recordings you have unearthed or brought to a wider audience.

Horenstein has recently faced some criticism over his Mahler but this certainly blows you away!

This was so groovy

Wonderful that this performance was preserved. I heard Jascha conduct this symphony with the New Philharmonia Orchestra in the Royal Festival Hall in Autumn 1972. In the first part of the concert, Tortelier played the Dvorak Concerto. Was that concert recorded?

Dear Mischa, thank you so much for your ongoing efforts to preserve performances such as this one. Many years ago you told me that you were working on a biography of Jascha: was it ever published?

"Fantastico!" ❤❤❤❤❤❤🎉🎉🎉 Giuseppe Perego Monza 16.2.1962 Grazie

First 20 seconds, the orchestral playing is embarrassing ...

Very appropriate for Schoenberg that this was posted on 2/2/22! (Schoenberg was obsessed with number patterns.) Thank you for making this performance available! It's quite unique (slow tempo), and provides a helpful perspective on the intricate part writing and rapid harmonic motion, and gives more expressive opportunities.

Tremendous performance!

Thank you very much! Simply fabulous!!!

"Obsessive-Compulsive Disorder (OCD) is a mental health condition characterized by a pattern of unwanted thoughts (known as obsessions) and the urge to perform repetitive behaviors or mental acts (referred to as compulsions) to alleviate anxiety."

מישה טודה!

I've heard this work for some 30 or so years, more probably. One day, in the hardware with my bluetooth headphones and youtube I put this on so I could walk around and get some kind of exercise. This was the day this piece decided to "let me in" and I finally "got it". Seeing a 6 foot 291 lb 67 year old Irishman on the verge of tears and wanting to pirouette around in circles with arms flailing and sailing would have got me arrested, so I opted to just stand behind the cart and let everyone else pass by without consequence. Wolfgang Amadeus - Shining God's light with joy and exuberance since 1761.

I've had this recording for years. It was issued on an EMI PHOENIXA CD. It has never been one of my favorites, but I listened to it again for the first time in probably 20 years and I actually liked it, especially the added Blumine movement and the very ending, but the percussion in general sounded like they were recessed until the very ending. Given this was a studio take, they probably relocated the percussion section for the end. The microphone placement in general seemed a bit off. Some of the louder passeges seemed distorted. If this had been a recording made in Kingsway Hall for EMI the results may have been better, but it was recorded in Watford Town Hall in Sept 1970 for Pye. This, during the time the New Philharmonia Orchestra was not at its best, financially or quality wise, but this recording is very interesting none the less.

Mit grandiosem Feuer und brillanter Verve bringt dieser Dirigent ein mittelmäßiges Orchester zur Höchstleistung - einfach bewunderungswürdig!

HOLY PAGANINI, BATMAN! This leaves in the shade every other performance I ever heard of this. Everyone is on fire here, just incredible!

The closed-caption text for this is hilarious. It obviously wasn’t done by a human being.

As the documentary presents the three opening name-mottos of the Chamber Concerto, they mix up Berg’s and Webern’s pictures.

Good old Hans. "Vhy has it got to be zo terbly loud"

A mais wagneriana das sinfonias de mahler

Es una contribución importante que se interpreta lentamente.

The almost inhumanly suppressed entrance of the choir at 1:20:25 will *always* raise the hair on my arms.

"Kangaroo, oh kangaroo, Be grateful that you're in the zoo, And not transmuted by a boomerang, Into zestful tangy kangaroo-meringue."

L'explication de Robert Simpson sur la structure harmonique de la 5ème symphonie est vraiment intéressante.

Thank you for making these great performances available!

As ever with Jascha, suuuuch personality. Anonymous performances he did not do. Greetings from East Anglua in England.

Excelente registro. Interpretación clara y precisa, teniendo hermosos matices en la cuerda, muy efectiva en todos los movimientos. Fue un verdadero deleite el Andante, con tempo perfecto.

Thank you, Mr Horenstein.

Muchas Gracias por compartir.

Absolutely the best! The last 5' of this blows me away for 60 years now.❤

Thank you. This is stupendous.

was this recorded during the spanish flu jesus christ the coughing is so rude. maybe standards of etiquette were lower back then. hold it people oh my god. great performance though! one of the sopranos was a little flat but otherwise very good singing

By staying in Germany, WF was able to materially help people from the inside as well as providing hope for all like-minded Germans who were against the regime. He was literally safe-guarding his country in the only way he could. Leaving would have only served his reputation abroad for symbolic reasons, not material. I happen to think that WF’s refusal to abandon his people and culture, at the cost of his personal reputation, was a reflection of his integrity and his greatness. Just as he exhibited as a musician, WF as a person could only live a life of personal conviction, not of calculated political expediency. He could not abandon his home. That was the essence of it.

אין עליך, מישה!

What an incredible recording. Ok, not a faultless performance, but nevertheless, a major achievement for the orchestra in Montevideo back in 1964 when the Mahler revival in Europe and the US was still several years away. The energy and commitment they brought to Horenstein's leadership resulted in a great performance which was clearly loved by the audience.

My first exposure to a Mahler symphony (and to Jascha Horenstein) back in my 20s - it’s the benchmark of performances for me. What a stunning and incomparable performance. I agree with AJNorth below that the only performance that is (possibly) better is Horenstein’s Mahler Third. Timeless.

With the recent release of the recording as recorded by Jerry Bruck, a discussion started in Symphonyshare about the soundstage, in comparison to the Bob Auger/Unicorn recording. Do you have any information about how the orchestra was positioned, particularly at the back with the horns, percussion, trumpet and trombones? Also did JH ever express any opinions about whether the violins should be divided antiphonally (as done by Klemperer, Kubelik, Boult, etc) or seated together? Thanks.

Merci ! C'est un grand plaisir d'entendre mon grand-père

Straordinario,grandissimo direttore d'orchestra.

Les chœurs de Schönberg auxquels Horenstein fait référence sont les "Drei Satiren" Op.28.

Étrange que Horenstein prétend que Bartók était un pianiste médiocre, car les enregistrements de Bartók prouvent le contraire.

How wonderful. Thank you so much for sharing this with us!

That story about F. jumping to his feet at a T. performance shouting "Bloody timebeater!" sounds like total bullshit to me. It's credited to Beecham. More to the point, Keller wasn't there himself, and doesn't name his source. As for total dedication to the music, F. was not the only one. The obvious example is Toscanini, but there were many more: Walter, Klemperer, Erich Kleiber, Monteux, and Mravinsky, to name just four.