Mozart, Symphony no. 40 in G minor, K. 550: Szell/Cleveland/live in Tokyo, 1970

[@alenkrajancic3818]

Maestro koji je poznavao stil muzike i svaku sekciju instrumenata. Preporučam svim mladim muzičarima, pogotovo budućim dirigentima: slušajte Szella i njegov orkestar!

[@knuthartmann4846]

Sensibel und kraftvoll.

[@大門-f5c]

この時の演奏素晴らしい。 私にこの時の音源を聴く機会を下さったフルトヴェングラー協会の方にとても感謝しております。

[@karldelavigne8134]

I prefer this to his excellent studio recording. It has more tautness and energy, with slightly more propulsion to the rhythms. And what wonderful string legato. One of the best performances I have heard, of many.

[@sanjursan]

And truly puts the Toscanini version to shame.

[@karldelavigne8134]

@@sanjursan Toscanini's versions are not shameful.

[@闇の戦士香山リカさん]

あなたの意見に完全に同意します。これはモーツァルトの交響曲40番の空前絶後の名演です。

[@duvidl]

What a great loss it was when Szell died a little over two months after this concert. And Barbirolli had died the day before Szell! I can still remember where I was when I heard the news.

[@Emrla1]

This performance captures what Szell was after in orchestral performance: melding European orchestral warmth with the virtuosity of American orchestras.

[@Blissfulkitty-Seattle]

This proves the Columbia engineers weren't just resorting to trickery on the Severance Hall recordings and this was simply a superb orchestra. Props to the Japanese engineers as well though. Very crisp, detailed and hiss (and cough) less recording.

[@Frisbieinstein]

Japanese audiences are absolutely silent,. Whenever I moved my legs I worried that the rustling of my clothing would disturb my neighbors. I'd say that live recording first came of age in Japan 1970. Yamaha engineering. Most musical nation on Earth.

[@ilirllukaci5345]

Thank you.

[@dinos_catsoulis]

The {interpretation} by George Szell, makes a noticeable ritenuto within bar 165, just before the fourth beat of the bar, as well as an articulative break or pause before the downbeat of bar 166 {retranstition to recapitulation, 5:15} {...} In contrast, by signalling and articulating the moment of harmonic resolution (lest we miss it?), Szell seems to privilege the moment of arrival - the harmonic and textural resolution and the end of the melody's first phrase - rather than the overlap, thus detracting from listeners' perception of the double strand of action at bar 165. An interpretation like Szell's is didactic: marking the join, the full return, underlines the change of meaning that has taken place gradually, but in so doing it tends to make the event of return more significant than the dovetailed processes that give rise to the experience of ambiguity. In calling attention to what a listener has been in the process of discovering, Szell's type of interpretation may deprive some listeners of the pleasure of their 'discovery'. -Janet M.Levy, Beginning-ending ambiguity: consequences of performance choices

[@muhchung]

I like his penultimate concert in Severance Hall better. It was much more impassioned. If only his last concert (in Anchorage) has survived...

[@dinos_catsoulis]

The {interpretation} by George Szell, makes a noticeable ritenuto within bar 165, just before the fourth beat of the bar, as well as an articulative break or pause before the downbeat of bar 166 {retranstition to recapitulation, 5:15} {...} In contrast, by signalling and articulating the moment of harmonic resolution (lest we miss it?), Szell seems to privilege the moment of arrival - the harmonic and textural resolution and the end of the melody's first phrase - rather than the overlap, thus detracting from listeners' perception of the double strand of action at bar 165. An interpretation like Szell's is didactic: marking the join, the full return, underlines the change of meaning that has taken place gradually, but in so doing it tends to make the event of return more significant than the dovetailed processes that give rise to the experience of ambiguity. In calling attention to what a listener has been in the process of discovering, Szell's type of interpretation may deprive some listeners of the pleasure of their 'discovery'. -Janet M.Levy, Beginning-ending ambiguity: consequences of performance choices