Product Overview
Peter Maag - The Peter Maag Edition (CD 13 PLUS DISC SET) Newly compiled for the first time, the Decca career of a pre-eminent Mozart conductor, complemented by his recordings for Deutsche Grammophonand Westminster. Peter Maagbegan his career as a pianist, but turned to conducting with the encouragement of Wilhelm Furtwangler. He made his first Decca recording having lately turned 30, with the Suisse RomandeOrchestra whose founder-director, Ernest Ansermet, also gave his fellow Swiss conductor much early encouragement. Critics recognisedMaagas a natural Mozartian, and his first seven Decca recordings were exclusively dedicated to the composer's serenades, symphonies and arias (accompanying Jennifer Vyvyan and Fernando Corena). In the late 1950s, Maagembarked on a fruitful relationship with the LSO, which yielded more Mozart and then classic accounts of Mendelssohn the ScottishSymphony and music for A Midsummer Night's Dream for which the conductor's lightness of touch and firm rhythmic hand were ideally suited. These qualities also found him at home in ballet there are beautifully sprung accounts here of Les Sylphidesand La Source and the Italian operatic repertoire. As well as a long-prized disc of Rossini overtures, this box gathers up Maag'spioneering recording of a forerunner to Fidelio, Paer'sLeonora, and Verdi's Schiller-rarity, Luisa Miller, with a cast led by Luciano Pavarotti (who had already worked on the piece with the conductor for Italian radio). Maagbrought the best out of both vocal and instrumental soloists, and many of his records find him in the role of accompanist, toJulius Katchennear the start of his career and Barry Tuckwell for his first Decca recording, with the late FouTs'ongin 1962, and to Peter Jablonski and Joshua Bell near the end. In between he made a trio of less-familaralbums for Deutsche Grammophon, a suave foil to Heinz Holligerin Baroque oboe concertos, to Edith Peinemannin Dvo k'sViolin Concerto and Ravel's Tzigane, and to the Danish Heldentenor TichoParlyfor a Wagner recital. Jablonski and Tuckwell contribute personal reminiscences of working with Maagfor the booklet notes. "The conductor, a name new to me, has the right Mozartian spirit." Gramophone, April 1951 (Mozart: Symphony No.29 K.201) "The performance is distinguished by an exceptionally successful blend of orchestral sonority, with the wind instruments gloriously alive The conductor is a musician of impeccable taste and the orchestra wonderfully responsive. If we add to all this aroom-filling sound of real 'presence', it becomes obvious that this is a model for Mozarteansto follow.' Musical Quarterly, April 1956 (Mozart: Serenade KV 203) 'It is now about a decade since Decca began to issue recordings by young Swiss conductor Peter Maag, who seemed then to be an especially adept Mozart conductor Maagbrings welcome power and vitality. At the same time, he is sensitive to subtle shadings of nuance and phrasing and he pursuesabroad, lyrical line. The results are marvelous Mozart.' Stereo Review, January 1960 (Mozart: Symphonies Nos. 32 & 38)