Review: Paul Paray's Mercury Masters Box No. 2

This 22-CD box picks up where the first one left off, covering the years 1958-62, and it's equally splendid. However, with only a couple of exceptions, everything in it was released previously, first on Mercury Living Presence single CDs, and then in the three big boxed sets dedicated to the label more generally. If you have those, then you don't need this; but if you don't know Paray, go for it.

[@dmntuba]

when these recordings where first released on CD I picked up every one, and they became very important in my music listening. Watching this video is like a reunion with old friends AND listening to you talk about them is like meeting for the first time and discovering we have a mutual friend.

[@richardwilliams473]

The Detroit Symphony in those days had a terrific Percussion Section. The Paul Paray records became my Go To performances on vinyl

[@OuterGalaxyLounge]

Have always loved Paray. His readings are clean, fleet and to the point. Certainly not my only choice in the repertoire, but he hits that particular sweet spot when in the mood.

[@petekohn]

His Schumann is breathless. The horn in the recapitulation of the Rhenish’s first movement is big and bold, and the timpani in the first movement of the Second are genuine explosions. He pushes the orchestra hard all throughout and they really deliver. If all I had was Paray’s Schumann I would not complain.

[@colincrandal1280]

I‘m having so much fun with these recordings! Thanks so much for bringing it to our attention

[@citylimits8927]

During the days of the "Big Five" orchestras (New York, Chicago, Philadelphia, Boston, and first the NBC, then Cleveland), the Detroit Symphony Orchestra under Paul Paray and the Minneapolis Symphony Orchestra under Dorati were both underrrated for their virtuosity. I n the case of Paray, I remember hearing his recording of Debussy and Chabrier and was wowed by them.

[@kurtvantiem1901]

I love these videos, Mr. Hurwitz. I always learn a lot and your side commentary is extremely witty and can be very funny sometimes. Thank you!

[@Emrla1]

Having Mischa Mischakoff (Toscanini's concertmaster at the NBC) certainly helped in making the DSO's string section as precise as it is in these recordings.

[@scp240]

Oh my, whether to shell out the bucks for the Paray box(es) or the Mercury box(es). Life is full of difficult choices. Already owning the Mercury box 1, with Mercury box 3 available at a reasonable price at least for now, but Mercury box 2 out of reach. Uffda! I love the Paray that I do have from Mercury box 1. Only 2 discs, but what a revelation, I wasn't really familiar with Paray until hearing those CDs which are among my favorites in the box.

[@wouterdemuyt1013]

The Berlioz is amazing.

[@alanmcginn4796]

Get the Mercury box 3. It is amazing and available for a reasonable cost. All of the cubes are wonderful. I shelled out $$$ for the paray Mercury box 1 so I could get the mono stuff.

[@stpd1957]

I love Paul Paray's conducting

[@DavesClassicalGuide]

So do a lot of people.

[@irvl]

I must be related to you, Dave. I have loved Paray and the DSO since I first heard the orchestra live in 1958. I sing his praises to excess to classical music fans. Not everyone agrees with me. But, I certainly agree with your views! I knew Albert Tipton, principal flute and Jim Tamburini, principal trumpet while they were living. They loved playing under Paray. I also knew Wilma Fine, as did you.

[@james.t.herman]

I've also got a recording of Chabrier's "España" by Karajan and the Philharmonia Orchestra, from the '50s. Will be interesting to compare to Paray's record. This channel has shown me the way to a pretty good Karajan collection, but there's still a big portion of his discography that I find disappointing.

[@lednew2010]

I have most of these recordings and they're terrific. One caveat is the Debussy nocturnes 3rd movement (Sirenes) which is (to me) so insanely fast it's almost like a comic hootchy-kootch. Fun to hear now and then, but hard to ever take seriously.

[@youtuber5305]

Was that movement the last track on the original lp? If so, he may have been trying to fit it in by speeding it up.

[@lednew2010]

@@youtuber5305 I seem to recall it was on one whole side of the LP which can easily fit the nocturnes at normal speed.

[@youtuber5305]

@@lednew2010 Thank you for your quick and informative reply. If you are talking about his stereo recording, isn't it true that early stereo recordings were unable to hold as much music as mono recordings?

[@lednew2010]

@@youtuber5305 Yes. At the very beginning stereo LPs maxxed out around 20 minutes per side, but that quickly grew to 26-28 minutes. I must say, however, that comparing Dorati's Mercury mono releases to his stereo remakes, the remakes were faster, yet things he rerecorded in later stereo for other labels, he slows down again. So, it might have been a side timing thing but then that wouldn't follow with Mercury's philosophy of not getting in the way of the conductor and musicians.

[@claytonfarmer437]

I’m just curious. To your knowledge, was Paray one of the podium dictators, or was he a little more of the opposite? I have the impression that he was actually quite collegial, perhaps falling under the Bruno Walter mould of conductors.

[@chutton988]

I believe Dave lists him among the dictators in his video to vol. 1.

[@DavesClassicalGuide]

I have no idea.

[@DavesClassicalGuide]

By generation, not by personality.

[@chutton988]

@@DavesClassicalGuide I see what you mean, thanks for clarifying!