Davis/LSO: Mozart Syms 39 & 40 - Philips Hi-Fi Stereo

$

28

ITEM DESCRIPTION:

This outstanding LP from Philips (835 113 AY, English pressing, plum/silver "Hi-Fi Stereo" label) features the young Colin Davis' resplendent accounts of Mozart's Symphonies No. 39 in E-flat Major K. 543 and No. 40 in G Minor K. 550, both recorded in the ample acoustics of Walthamstow Assembly Hall, London on 27 and 28 November 1961. A 'portrait of the artist as a young man', these wonderful performances presage the great Mozartian Davis became.

 

Wrote the eminent critic Edward Greenfield (of The Penguin Guide) in his review for the September 1962 issue of The Gramophone: "It is rather early in Colin Davis's recording career for him to be duplicating things, yet here is his second version of No. 39. The earlier version for World Record Club was with the Sinfonia of London and was coupled with rather a sluggish account of No. 29. The slow introduction at least suggested that for the new recording Davis had radically altered his reading of No. 39. Where earlier the speed was very slow and stately to the point of heaviness, the new one retains the sharp contrast of dynamic, but at a much faster speed gives the impression of a more determined personality altogether. But that contrast is not entirely borne out later. Admittedly in the allegro of the first movement too the later speed is faster, the effect crisper and more dramatic, but the greater part of the differences I am sure come from the difference of the orchestra rather than any change of mind in the conductor. On this showing the current LSO is a far more stylish, better disciplined body in the string department than the Sinfonia of London then was. Knowing what his players could do Davis has demanded more. The contrast between loud and soft is more marked (partly the result of slightly more distant-sounding recording) and the strings are coaxed into gentler playing than the Sinfonia managed with crisper, more stylish dotted rhythm in the slow movement.

 

"Even more than in the earlier version this is a young man's Mozart, lithe, vigorous, dramatic where possible. The difference is one of finesse. Earlier the vigour sometimes sounded a little crude, the music on the verge of being overdriven. With more experience and a virtuoso orchestra Davis has now perfected what he had conceived before. The added sparkle of the finale illustrates the point perfectly. I have said many times that Davis plays Mozart like early Beethoven, and the style of interpretation is very much the same here, but it so suits the works that I am coming to realise how Davis's idea of Mozart is obviously going to impose itself and be accepted by us all just as Beecham's even more individual style was.

 

"No 40, of course, thrives on vigorous treatment. In the earlier work some who want charm and geniality will be disappointed. In No. 40 no one can reasonably expect those qualities, and the headlong pace of the outer movements strains even the resources of the LSO's woodwind. As it happened I had heard the exposition of the first movement on a Philips sampler record distributed recently, and had found the result too intense. But perhaps through being prepared the complete performance has swept me away. It would be wrong to give the impression that this is Mozart overdriven or unbending. Davis is never inflexible in his phrasing however fast the speed, and the slow movement and the Minuet (the allegretto marking obviously noted) are given plenty of time to breathe. But it is, as I said, a young man's Mozart, and even so near the end of the composer's career it was after all young man's music. For a less forceful but contemplatively strong account I shall still go to Klemperer. On other occasions I shall still go to the clarinetless Beecham who as it happens, like Davis, drives the outer movements very hard. Recording of the new version is splendid, the impression of a fairly large body in a nicely reverberant hall fitting the interpretation without impairing the clarity needed. The stereo version is specially atmospheric. These performances, I am sure, are going to grow on me for the liveliness which will attract when other versions sound stale. In any case there is no serious rival on this particular coupling. All exposition repeats are taken incidentally."

 

CONDITION:

The gradations of condition I use are as follows: MINT, Near-Mint, Excellent, Very Good, Good, Fair, Poor.

 

The condition of the jacket is VERY GOOD. There is bumping at corners, as well as some edgewear, creasing, and minor evidence of shelfwear. However, there are no seamsplits, owners' markings, or other defects and the album remains sturdy, bright, and attractive – overall, a very good collector's copy.

 

The condition of the LP itself is EXCELLENT. The surfaces are not always CD silent, but in general the playback is superb – again, an excellent collector's copy.

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