[477 6502]: The high point of this set is the Brahms D major Serenade (No. 1) . . . This is Stokowski at his most direct and inspiring, drawing playing of great commitment from the Symphony of the Air. The first movement . . . has irrepressible energy but there's also plenty of affection in the phrasing. The other movements are similarly successful -- have the two scherzos ever sounded so dance-like? -- and the whole performance has a youthful vigour and freshness that seems absolutely right . . . The 1950 mono sound of these performances has come up extremely well, and the Stokowski items (both in stereo) have never sounded better . . . [477 6352]: . . . in the Gershwin . . . the results are very winning provided . . . outstanding: a very slow, radiant and intense reading of the Barber, and a quite lovely account of "Appalachian Spring" which combines buoyant rhythms and great expressiveness with an essential simplicity of utterance. [477 6353]: These are undeniably impressive . . . Throughout . . . Pollini's rhythmic control and virtuosity are stupendous . . . these performances are very powerfully projected and have the benefit of Abbado and the Chicago orchestra on stunning form. As an intelligent coupling DG has added the "Two Portraits", Op. 5, played by Shlomo Mintz with Abbado and the LSO. [477 6349]: This is a disc of such straightforward excellence that it is unlikely to disappoint even the most jaded palate. Mintz's playing is beautifully shaped and completely secure, and he performs these works with great affection but also with a strong sense of direction. As a filler, DG has included three Kreisler pieces in which Mintz is superbly stylish, accompanied by Clifford Benson. [477 6537]: . . . DG hit the jackpot with a new version. The Schubert Quintet has seldom had a recording which combines polish and drama in a more satisfying way than the Melos Quartet with Rostropovich. There's not only poetry and incredible responsiveness here but a feeling of dramatic engagement that grips the listener . . . listening to the Melos/Rostropovich is a moving and powerful experience. The 1977 sound is excellent.

These Stokowski recordings . . . make a lasting, positive impression . . . In the Brahms Serenade, Stokowski coordinates precision, character (nicely rasping horns in the fifth movement), and breadth to achieve a loving performance of genuine grandeur and poise.

. . . the performance quickly won me over. Stokowski doesn't mess with Brahms's scoring, and he turns out a reading that is remarkably disciplined, refreshingly brisk, and one that conveys the impression of a young man filled with emerging springtime yearnings out on an invigorating ramble through the countryside, singing joyfully as he goes. Stokowski captures the essence of the piece with acuity sharper than that of just about any modern version I've heard. And the sound of the 1960 recording is nothing short of fantastic . . . urgently recommended.

Mitropoulos gibt dem . . . Quintett op. 39 und der kammermusikalischen "Ouvertüre über hebräische Themen" von Sergej Prokofjew den nötigen Biss, Stokowski bringt das erste Orchesterwerk von Johannes Brahms, die lichte D-Dur-Serenade zum Blühen. Die Mitropoulos-Aufnahmen von 1950 sind in guter Mono-, die Stokowski-Aufnahmen von 1960 und 1963 in exzellenter Stereo-Qualität, so dass man mit Recht von einer spektakulären Ausgrabung sprechen kann.

. . . les deux Prokofiev . . . montrent une différence assez spectaculaire de timbres et de prise de son avec Brahms . . . [Mitropoulos]: . . . ses lectures offrent comme toujours une sincérité et une spontanéité irrésistibles . . . A noter la prestation du pianiste William Masselos, interprète majeur du répertoire américain en général, et de Copland en particulier.

El primero [Mitropoulos] destaca más por su búsqueda del color orquestal ... el segundo [Stokowski] se centra en la intensidad derivada de su prodigiosa memoria. ... gran calidad de sonido ...