Eloquence The Peter Maag Edition (20CD)

Newly compiled for the first time, the Decca career of a pre-eminent Mozart conductor, complemented by his recordings for Deutsche Grammophon and Westminster. Peter Maag began 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 Romande Orchestra whose founder-director, Ernest Ansermet, also gave his fellow Swiss conductor much early encouragement. Critics recognized Maag as a natural Mozartian, and his first seven Decca recordings were exclusively dedicated to the composers serenades, symphonies and arias (accompanying Jennifer Vyvyan and Fernando Corena). In the late 1950s, Maag embarked on a fruitful relationship with the LSO, which yielded more Mozart and then classic accounts of Mendelssohn the Scottish Symphony and music for A Midsummer Nights Dream for which the conductors 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 Sylphides and La Source and the Italian operatic repertoire. As well as a long-prized disc of Rossini overtures, this box gathers up Maags pioneering recording of a forerunner to Fidelio, Paers Leonora, and Verdis Schiller-rarity, Luisa Miller, with a cast led by Luciano Pavarotti (who had already worked on the piece with the conductor for Italian radio). Maag brought the best out of both vocal and instrumental soloists, and many of his records find him in the role of accompanist, to Julius Katchen near the start of his career and Barry Tuckwell for his first Decca recording, with the late Fou Tsong in 1962, and to Peter Jablonski and Joshua Bell near the end. In between he made a trio of less-familar albums for Deutsche Grammophon, a suave foil to Heinz Holliger in Baroque oboe concertos, to Edith Peinemann in Dvoraks Violin Concerto and Ravels Tzigane, and to the Danish Heldentenor Ticho Parly for a Wagner recital. Jablonski and Tuckwell contribute personal reminiscences of working with Maag for 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 a room-filling sound of real presence, it becomes obvious that this is a model for Mozarteans to 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 Maag brings welcome power and vitality. At the same time, he is sensitive to subtle shadings of nuance and phrasing and he pursues a broad, lyrical line. The results are marvellous Mozart. Stereo Review, January 1960 (Mozart: Symphonies Nos. 32 & 38) The present performance, stylishly conducted by Peter Maag, is close to ideal, especially in the casting of the three lead roles All three artists, and the conductor, are at their best where Verdi asks the most of them in the final act. Here, and especially in the beautifully sung closing trio, this performance sets a standard that will be hard to surpass. Musical Quarterly, July 1978 (Verdi: Luisa Miller) Peter Maag conducts with the affection and admiration that radiate from his writing, and the orchestral playing is first-class. Stereo Review, January 1980 (Paer: Leonora) Maag produces from the London Symphony playing that is every bit as beautiful as the Philharmonias but is also bracingly robust and alert. So this is certainly a record to acquire. Fanfare, July 1982 (Mozart: Horn Concertos) Under Maag, the Scottish symphony is played most beautifully, and its pastoral character is amplified by a Kingsway Hall recording of great warmth. The response of the LSO has quite remarkable freshness in this highly spontaneous performance. Penguin Guide to Compact Discs (Mendelssohn) Maag gives the tuttis a fine sense of momentum and precision these performances are more graceful than virtuosic Recommended. Fanfare, May 1993 (Mozart: Violin Concertos)