Credits:

Mozart (1756-1791)

Description:

The latest reissue project of the original ETERNA analog tapes in Japan, the fourth SACD hybridization! Masterpieces from the heyday of analog recordings are brought back to life with unprecedented sound! The world's first SACD release of Switner & Staatskapelle Dresden's 13 superb Mozart symphonies! Excellent recording. The ultimate, ideal Mozart image. The superb masterpieces are revived in the best sound quality! Mastered only in the analog domain and converted directly to DSD! The Staatskapelle Dresden has been well known since the analog era for its performances that fully utilize the beautiful sound of the Staatskapelle Dresden. Switner's Mozart performances, as demonstrated in his performances in Japan with the Staatskapelle Berlin and with the NHK Symphony Orchestra, have a truly naturalistic style with a good sense of tempo that evokes the atmosphere of Vienna, as everyone agrees. These recordings started with No. 29, recorded in June 1960 when Switner was just 38 years old, followed by Nos. 31 and 35 in April 1968, and Nos. 36 and 38 the following month. This recording attracted attention because it was a masterpiece recorded by ETERNA at the height of the analog era. The recording by Klaus Streuben, the famous engineer who was in charge of nine of the tracks, is especially wonderful and adds eternal value to these elegant performances.This reissue is a masterpiece, not only in performance, but also in every detail of the excellence of its original recording. Switner's playing is characterized by slow singing in the younger numbered works and lively, vibrant playing in the later works, but each performance is rooted in deep breathing, and we hear a truly natural Mozart. This is one of the best of the many Mozart recordings, and it is an ideal representation of Mozart. One of the ultimate performances has been brought back to the present day with the best and latest mastering." The Staatskapelle Dresden is an organization that continues a tradition that dates back to Mozart's lifetime. This tradition, however, is by no means something that can be answered by just hanging out there. It is only when one recognizes it correctly and seeks the ideal sound that this tradition takes on real life force. Switner succeeds in this, offering us the most beautiful Mozart. Naoya Hirabayashi (music critic)"(1/2)