[SACD-R][OF] Richard Strauss: Till Eulenspiegel, Don Juan, Death & Transfiguration (George Szell, The Cleveland Orchestra) - 1957/1999 (Orchestral, Expressionism)

George Szell conducts three of Richard Strauss’s orchestral works.
Reviews from SA-CD.net
On LP, then CD, and now SACD, this is easily one of the most enjoyable Strauss tone poem compilations. Szell’s Strauss differs noticeably from most conductors’ take on the composer’s music. The performances here are taunt, swift, transparent and urgent. Too often conductors play up the Strauss’ sonorities, creating a big lush sound to the point that their interpretation becomes all about the texture.
Out of the many devoted Strauss conductors during Strauss’ lifetime, Szell was his favorite. After hearing Szell conduct “Don Juan” once, Strauss said that he could now die a happy man. Talk about a ringing endorsement! (Incidentally, Szell conducted half of the world premier recording of “Don Juan” because Strauss showed up late to the recording session. After hearing the playback, Strauss said it was good enough to be sold under his name; he didn’t think he could do any better)
Sonically this disc is superb, offering night and day differences over past CD and LP incarnations. The music simply bursts out of the speakers with an impressive dynamic range. The sound is extremely clean, especially in the highs. Despite being one of Epic’s earliest stereo recordings (3/57), this is one of the best sounding Szell SACDs (probably due to it being recorded at the Masonic Temple instead of the acoustically dry Severance Hall).
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These performances have been around on Sony’s Essential Classics series for a while – the sound on this stereo non-hybrid SACD is a clear improvement with little or no hiss and a wide dynamic range. No small achievement for recordings made in 1957. They certainly belie their age.
Szell’s Till is superb, technically immaculate with razor-sharp precision, while Don Juan is also played wonderfully, with great passion and sweep – though I do feel he rushes this work slightly, in particular the central reflective passage. Other conductors like Kempe have perhaps brought greater sensual allure to this work, but Szell’s interpretation has its place as a foil to more expansive readings.
For Tod und Verklarung however I do prefer Karajan’s first DG recording which has a spiritual dimension not really matched by Szell and his orchestra here – but this is still a fine performance, make no doubt.

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