Epitagraph
Bruno Walter, New York Philharmonic, Metropolitan Opera Orchestra - Religious Song Collection (Beethoven: Misa Solemnis / Mozart: Requiem / Verdi: Requiem) - Import 3 UHQCD Limited Edition
Bruno Walter, New York Philharmonic, Metropolitan Opera Orchestra - Religious Song Collection (Beethoven: Misa Solemnis / Mozart: Requiem / Verdi: Requiem) - Import 3 UHQCD Limited Edition
UHQCD
Classical Music
Opera
February 11, 2023
Will usually ship within 1~5 business days of receiving cleared payment.
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Catalog No.: EPITA030
JAN/ISBN: 4909346312128
Number of Discs: 3
Country/Region of Manufacture: Import
Credits:
Bruno Walter, New York Philharmonic, Metropolitan Opera Orchestra
Description:
The first domestic release of the best possible sound quality of Walter's "legendary" live performances from his New York period - "Missasole," "Motzlek," and "Vellek"! Epitagraph label's live recording series for the 60th anniversary of Walter's death. After Mozart, Brahms, Mahler, and Bruckner, this time three major religious music collections (1) Beethoven's Missa solemnis, (2) Mozart's Requiem, and (3) Verdi's Requiem. Beethoven: Missa Solemnis... Mr. Kuniyoshi Uno has introduced this masterpiece in his books as one of the most famous performances of this masterpiece along with Klemperer's recording, but "the drawback was that the recording was too bad. The only drawback is that the recording is not very good. This is not only one of Walter's masterpieces, but also one of the best CDs of the same music in terms of performance, ranking with Klemperer's as the best or second best. Klemperer's slow tempo is consistent and majestic, while Walter's is extremely dynamic, with a tempo that moves freely, and from the standpoint of taste, I would definitely prefer Walter's." (Klemperer, "Walter, the Great Conductor") ("Masterful Conductor Walter's Great and Bad Discs," by Uno Kuniyoshi, published by Kodansha + Alpha Bunko in 1995). Unfortunately, the recently released compact discs with grotesquely distorted sound sources badly misrepresent the sublime performance heard at Carnegie Hall in mid-April 1948." ("Bruno Walter: Who Saw Paradise in Music," co-authored by Eric Riding & Rebecca Petuchowski, translated by Yoshiya Takahashi, published by Ongaku no Tomo, 2015), the book states, "Apart from a few places of disturbance, this is one of Walter's masterful performances. The tenderness exuded in the Kyrie, the violent outburst of joy in the stunned Gloria, the powerful expression of conviction in the Credo, the cradle-rocking blessing of the Sanctus, and the Agnus Dei, solemnly contemplating the burdens of life and begging for peace.Stieber and Merriman are especially brilliant, not for their sweet tones but for the drama with which they bring their parts to life, seemingly lost in a divine frenzy, while the orchestra and chorus also contribute to the ecstatic, joyful sound of the offering to God. Walter's ability to convey his enormous vision to a large ensemble of performers, and his skill at varying tempi to elicit a variety of inflections from singers and orchestra, is at times breathtaking. The praise is well deserved. (1/2) King International
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