Decca Conductors' Gallery

The pre-war recordings inevitably centre on British/Irish conducting talent, old and new: Hamilton Harty, dynamic in Haydn and Walton; Walton himself, in a definitive first recording of Façade; atmospheric Vaughan Williams, Elgar and Coates from Henry Wood. One of the rarest items in the set is Bach's Concerto for Two Violins as led by Mengelberg in 1936.

The post-war material includes several great names of the podium from those pre-war days, judiciously picked up by Decca when they might otherwise have been forgotten: Albert Coates whipping up a frenzy in the Russian repertoire he made his own; Clemens Krauss, incandescent in Strauss from Milan and London; Leo Blech's genial 'Surprise' Symphony of Haydn.

Senior composer-conductors include Fitelberg in Tchaikovsky's Symphony No. 3 and Enescu in Schumann's Second. Then there are thrilling young podium tyros who were setting London musical life alight in the postwar years: Celibidache's electrifying and wayward Tchaikovsky, Martinon's exquisite Ravel, Coppola's majestic Schumann.

A note from the remastering engineer Andrew Hallifax explains the history behind this first-ever release of Handel choruses conducted by Sir Malcolm Sargent. Mark Obert-Thorn explains his choice of treasures for this box and introduces the history of Decca and its revolutionary development of 'full frequency range recording' in the late 1940s. Peter Quantrill expands the historical perspective with notes on both Decca and each of the individual conductors in the box.

"There is much that reflects Furtwängler's great attention to dynamic relationships, his sense of architecture, and his ear for balance and color. He whips up quite a phenomenal bit of energy for the final coda." Fanfare, July 2020 (Furtwängler - Brahms: Symphony No. 2)

"Mr. Riddle seems to get ample sonority and a good deal of variety out of the solo part, and the recording is clear and free from harshness." Gramophone, February 1938 (Walton: Viola Concerto)

"[Harty] shows clearly how much of the work's success was due to his inspired advocacy. He brings out the vehemence and passion very starkly, but also finds an underlying rock-like strength." Gramophone, December 1993 (Harty - Walton: Symphony No. 1)

"It would be difficult to exaggerate the concentrated power of this music, which is superbly performed and recorded." The Record Guide, 1955 (Van Beinum - Britten: Four Sea Interludes)

"The performance is not less than magnificent, and the brass in the Adagio give a splendid display of legato phrasing and rich, solemn tone." The Record Guide, 1955 (Van Beinum - Bruckner: Symphony No. 7)

"The unfolding of the musical action is presented with a wonderful sense of drama; and Knappertsbusch draws playing of great sonority, tonal beauty and meaning from his orchestra." The Record Guide, 1955 (Knappertsbusch - Wagner, Rienzi Overture)

"A good time is had by all, in a brightly coloured, forward recording." Gramophone, December 1935 (Wood - Coates: London Suite)

"Here is an excellent example of Berlioz in his stirring celebratory mood." Gramophone, December 1935 (Harty - Berlioz: Marche troyenne)

"The luminosities of Handel's writing are made still more enlightening." Gramophone, December 1935 (Harty - Handel: Suite)

"The finest technical achievement of the Decca Company up to date. There is nothing to criticise in it and everything to praise." Gramophone, July 1936 (Wood - Vaughan Williams: A London Symphony)

"Very impressive, and the [Eroica] as a whole is vividly played … The outstanding item is a breathtaking account of Berlioz's Carnaval romain Overture, which I have never heard surpassed." Gramophone, July 1991 (De Sabata - Beethoven, Berlioz)

"What a performance! If anyone says it is too Italian for his ears, I will pay for his ears to be amputated forthwith. En Saga, too, is a revelation." High Fidelity, July 1976 (De Sabata - Beethoven, Sibelius)

"En Saga unleashes an almost orgiastic outburst. By any reckoning, these performances are masterfully led and, for their time, remarkably realistic sounding." High Fidelity, September 1977 (De Sabata - Sibelius, Berlioz, Wagner)

"One of Handel's most glorious melodies sustained under Kleiber's baton with hypnotic control... Beethoven's Pastoral is another winner … Kleiber's way with Sphärenklange and Der Zigeunerbaron is sheer perfection." Gramophone, January 2020 (Kleiber - Handel, Beethoven, Strauss)

"An intelligent but not cramping respect for the composer's instructions, an appreciation of what can be done with tiny variations of rhythm … and a mastery of diction that has become increasingly rare." Gramophone, April 2004 (Ansermet/Danco - Ravel: Shéhérezade)

"Eduard Van Beinum coaxes his players to a performance that dazzles the listener by its sheer virtuosity. This, topped by a brilliant recording, is a breath-taking experience." Tempo, Spring 1954 (Van Beinum - Britten)

"Unerringly paced and played with restrained beauty and great concentration." Gramophone, July 2000 (Enescu - Schumann: Symphony No. 2)

"[Coppola] brings to this performance an altogether outstanding sympathy and a close understanding of Schumann's essential warm-heartedness, while securing a cleanness of texture which is by no means common." Gramophone, July 1949 (Coppola)

"Reminds us of a fine artist and times that were in some ways more musically propitious than our own." Gramophone, July 1988 (Zecchi/Haskil - Beethoven, Piano Concerto No. 4)

"A most sensitive and artistic performance, and the sheer beauty of the orchestral playing is a delight." Gramophone, July 1949 (Krauss - Strauss: Tod und Verklärung)

"An excellent demonstration of the orchestra's colour and flexibility … Zecchi has the right touch, we can hear." Gramophone, April 1949 (Zecchi - Rossini: La scala di seta)

"Joyce seizes the heady bravura of her role with thrilling vitality and precision. This, you feel, is going to be an extraordinary reading." Gramophone, February 2018 (Fitelberg/Joyce - Tchaikovsky: Piano Concerto No. 2)

"A lively, straightforward reading that allows the music to speak for itself." Gramophone, November 1950 (Kleiber - Mozart: Symphony No. 40)

"A fine achievement … The atmosphere is simple and kindly, but has too a touch of triumph and success about it." Gramophone, December 1951 (Kleiber - Beethoven: Symphony No. 6)

"Jean Martinon seems to be a conductor of rare sensibility judging by his reading of this subtle score. The playing of the LPO is absolutely first-rate." Gramophone, April 1950 (Martinon - Ravel: Le tombeau de Couperin)

"The performance is excellent; the finale in particular is deliciously poised, and played with a neatness and lack of fuss which is sheer joy. The recording is first-class." Gramophone, October 1949 (Blech - Haydn, Symphony No.94)

"I like it at this sober pace, when you can hear all the accompaniments, and relish the point-to-point story-telling spirit." Gramophone, July 1948 (Blech - Humperdinck: Hänsel und Gretel Overture)

"Strong body and piquancy in the recording … In grace, lightness and an angelic smile for childhood, the French are incontestable." Gramophone, July 1948 (Désormière - Bizet: Jeux d'enfants)

"The Tchaikovsky suite brings the magic … The music enters with a brilliance and sparkle that had me remembering our first wonderment in the dying days of 78 at the extended range of Decca ffrr." Gramophone, July 1979 (Celibidache - Tchaikovsky: Nutcracker Suite)