Swiss maestro Peter Maag was, and is, one of the great Mozart conductors. Throughout his career, including very recent recordings on the Arts label, he has shown a special affinity for this composer’s music. But only in his late-1950s recordings for Decca did he find a virtuoso group of musicians totally in tune with his approach: the London Symphony Orchestra. Together, Maag and the LSO made a handful of Mozart recordings that defy criticism. Though the Notturno for Four Orchestras was one of the very best sessions of all, it was one I thought would never appear on CD. But obviously someone still working at Decca has good ears and can perceive this recording for what it is–one of the best orchestral performances ever captured by microphones. The Symphony No. 32, from a different session and a different original LP, is a worthy filler, one of the best Mozart symphony recordings ever made. It has warmth, drama, charm, and elegance. What more could one ask?
The German Dances are not quite in the same league as the rest, which brings my overall rating for this CD down one point. Would that instead the fill had been the magnificent Prague Symphony recording that was the original coupling for Symphony 32, but it would have proved too long for the disc’s capacity–a good reason for another Maag Decca Legends release in the near future. The recorded sound in general is excellent, microphoned from a conductor’s aural perspective, close up and somewhat above the orchestra, with lots of detail and a strong bass line. I detected what seems like some irritating digitally induced blips here and there so had to knock the rating down for the transfer, not the original sound. But these are microscopic quibbles when faced with music making of the caliber contained on this disc. Like they say, you have to hear it to believe it. And if you haven’t, you’ve really missed something important.
