{"product_id":"horenstein-mozart-coronation-mass-and-vesperae-solemnes-de-confessore-1956-paco124","title":"HORENSTEIN Mozart: Coronation Mass and Vesperae Solemnes de Confessore (1956) - PACO124","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e  Vesperae solennes de confessore, K. 339\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cp\u003e\u003cspan\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e  Mass in C, \"Coronation\", K.317\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 5, 6, \u0026amp; 9 October, 1956, Konzerthaus, Vienna\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 57:38\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/p\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJascha Horenstein  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eWilma Lipp \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e soprano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eChrista Ludwig\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e  alto\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eMurray Dickie\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e  tenor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eWalter Berry\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e  bass\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSingverein der Gesellschaft der Musikfreunde, Vienna\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eVienna Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\n\u003cp data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 30px\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fExtraordinarily satisfying listening578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eMany of us may remember these as rather\nthin-sounding monaural Vox releases. In fact the recordings were\nactually made in stereo in the Konzerthaus in Vienna in 1956, and Andrew\nRose’s Pristine label has done his usual superb restoration work and\ngiven them a completely new life. This hardly sounds like the same\nperformances as heard on my Vox LPs. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHorenstein’s Mozart is certainly not of\nthe HIP variety favored by many today, but neither is it the\nsoft-grained romantic view of some of his contemporaries. This is lean,\ntautly phrased Mozart with an extremely strong rhythmic pulse underlying\neverything. The result is music-making that is propulsive and deeply\ninvolving. While the performances lack the lightness of texture that\nearly music specialists give it, at no point do Horenstein’s richer\nsonorities turn leaden, nor do they impede the music’s momentum. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHorenstein as a conductor always paid\nparticularly keen attention to balance and texture, and he does so here\nboth in the choral and the orchestral forces. The great Vienna\nSingverein Chorus sings here with a wonderful combination of tonal\nrichness and clarity. The diction of its members is pointed and clear,\ntheir intonation is impeccable, and the quality of the sound they\nproduce is consistently beautiful and never forced. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHorenstein’s soloists represent a who’s\nwho of Mozart singing in the middle of the 20th century. Wilma Lipp’s\nsoprano solos are glowing, and all four voices blend perfectly with each\nother. The Vienna Symphony may not have quite the tonal palette\navailable to the Vienna Philharmonic, with a string sound just a tad\nless warm than the VPO’s, but it still plays very well and with a\npalpable sense of involvement not always present in either Viennese\norchestra. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThere are many wonderful recordings of\nboth pieces, particularly the Mass. There are performance styles to\nplease a wide range of tastes, from conductors as varied as Pinnock,\nHarnoncourt, Barenboim, Perahia, Karajan, and Koopman. Many of them\ncouple these two works together, and some add additional music. As \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ereaders\nknow, when it comes to great music with many recorded performances, I\ntend to avoid the game of trying to rank them. Music is too complicated,\nand too personal, to say something such as, “Horenstein is in third\nplace, between Koopman and Perahia.” There are a number of valid ways to\nperform this music, and to hear it. That is what makes it great. What I\ncan say is that the tensile strength and momentum given to the music by\nHorenstein, coupled with his strong instinct for choral and orchestral\nbalances and his ability to make music with an innately natural beauty\nand flow, work together to make this extraordinarily satisfying\nlistening. And if you did enjoy it in its Vox incarnation, you\nabsolutely must hear it in Pristine’s incredible remastering, heard here\nin natural stereo sound. A recording I always thought of as thin and\ncongested has been opened up to an astonishing degree. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:3 (Jan\/Feb 2016) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO124.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eJascha Horenstein conducts choral music by Mozart\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eEarly Vox stereo recordings in Pristine XR makeovers\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cspan\u003eAlthough in many ways a well-made recording for 1956,\nHorenstein's Mozart choral works suffered from rather inept handling of\nstereo, a recording technology that was still in its commercial infancy\nand experimental stage. This resulted in a recording that failed to\ncohere between two unusually separate left and right tracks, something\nwhich may have contributed to their lukewarm reception when first\nissued.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThis XR remastering has not only addressed the usual issues of\ntonal balance, but has also sought to rectify the sonic image of the\nrecording, bringing the two channels together in such a way as to\neliminate the large \"hole in the middle\", whilst retaining an impressive\nstereo spread across the sound stage. The sonic picture has been\nfurther enhanced by a \"relocation\" of the rather dry original in the\nacoustic space of York Minster, a large Gothic cathedral in the north of\nEngland with a particularly fine acoustic, after much experimentation\nand consultation with Misha Horenstein, as well as consideration of the\nintended performance spaces of these ecclesiastical works by Mozart.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe results are a revelation. Occasionally my remastering work\nhas led to comprehensive re-evaluations of performances and recordings,\nand I suspect this will be one such case. With all of the musicians and\nsingers working together within a credible sonic space and across a\nbelievable and beautiful sound stage, the whole performance seems to\ncome alive, demonstrating just how marvellous it was all along, but for\nthe rather ham-fisted efforts of those Vox engineers back in 1956,\nstruggling to make stereo work for the first time.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e  Vesperae solennes de confessore, K. 339\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cb\u003eMOZART\u003c\/b\u003e  Mass in C, \"Coronation\", K.317\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"bodybigblue\" style=\"font-size: small;\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 5, 6, \u0026amp; 9 October, 1956, Konzerthaus, Vienna\u003c\/span\u003e\u003cbr\u003eProducer and XR Remastering: Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Jascha Horenstein\u003cbr\u003eSpecial thanks to Misha Horenstein for the archive recordings, photographs and notes used in preparing this release\u003cbr\u003eTotal duration: 57:38\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cb\u003eJascha Horenstein  \u003c\/b\u003econductor\u003cbr\u003e\u003cb\u003eWilma Lipp \u003c\/b\u003e soprano\u003cbr\u003e\u003cb\u003eChrista Ludwig\u003c\/b\u003e  alto\u003cbr\u003e\u003cb\u003eMurray Dickie\u003c\/b\u003e  tenor\u003cbr\u003e\u003cb\u003eWalter Berry\u003c\/b\u003e  bass\u003cbr\u003e\u003cb\u003eSingverein der Gesellschaft der Musikfreunde, Vienna\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eVienna Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO124.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO124.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eby \u003c\/span\u003e\u003cb style=\"font-family: georgia, palatino; font-size: small;\"\u003eMisha Horenstein\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003eJascha Horenstein\ndeveloped his lifelong enthusiasm for vocal and choral music during his\nstudent days at Berlin's Hochschule für Musik, where for three years he\nserved as an assistant to Siegfried Ochs, head of the school's choral\ndepartment and founder and long-time director of the Berlin Philharmonic\nChoir.  It was during choir rehearsals for Ochs at the Hochschule for a\nperformance of Bach's \u003cem\u003eB Minor Mass\u003c\/em\u003e in November 1921 that\nHorenstein was first noticed by Furtwängler, who encouraged him to\npursue a conducting career, while Ochs himself described his assistant\nas “ one of the few conductors who really understood something about\nvocal music”.  According to Berthold Goldschmidt, a fellow student at\nthe Hochschule, “it was from Ochs, the  collaborator of Nikisch and\nMahler, that Horenstein learned the important technique of approaching\nthe large scale developing traits of a composition from a psychological\nperspective.”[1]\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003eHorenstein's first\nregular conducting experience also started during his student years\nwhen, in May 1922, he succeeded Hermann Scherchen as conductor of two\nlarge choruses in Berlin, the \u003cem\u003eSchubertchor\u003c\/em\u003e and the \u003cem\u003eGemischtechor Gross-Berlin\u003c\/em\u003e, positions he held for six years. Goldschmidt recalled the occasion in his memoirs:\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Quotations\" style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003e[Horenstein]\nsoon left our master class for composition and Schreker’s seminar, in\norder to occupy himself with the more practical side of music making. He\nfounded a choir of factory workers, with which he gave astonishingly\ngood and lively concerts. These concerts were mostly without\ninstrumental accompaniment, and included difficult works by Bartók and\nSchoenberg. The a capella choir and its radical conductor soon obtained a\nremarkable reputation.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003eHorenstein was a\ndifficult taskmaster. Membership in the choirs involved participation in\na comprehensive concert and educational program that included weekly\nlessons in solfeggio, sight-reading and voice training, as well as\ncourses on the history and sociology of music. At some point into his\nstewardship he instituted the regular keeping of attendance lists,\nexcluding people from the choirs for absenteeism or undisciplined\nbehavior, conduct that always tried his patience, which caused a certain\namount of friction and member turnover. Horenstein’s programs were also\na subject of contention. One choir member complained that the choral\nworks of Bartók and the Finnish composer Selim Palmgren, which were\nperformed regularly, were too difficult and wrote that “many singers\nwere of the opinion that the conductor made almost unachievable\ndemands.” In some instances these included Horenstein's insistence that\nthe choirs learn and perform difficult pieces by heart. Despite or\nbecause of this, during the Weimar years his choral concerts attracted\nmuch favorable attention from Berlin's most important critics, which led\nto engagements with orchestras and eventually to his appointment at the\nDüsseldorf Opera in September 1928, the start of a five year period of\nintense activity with singers and choruses.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003eAfter leaving Germany\nin 1933 Horenstein had much less contact with choral music but always\nrelished the chance to include it in concerts when opportunities came\nhis way. In 1953 he wrote to Karol Rathaus that he “enjoyed immensely”\nworking with the chorus for a performance of \u003cem\u003eBoris Godunov\u003c\/em\u003e in\nItaly and that “there is simply nothing so wonderful in interpretation\nlike working with voices”. He later described the human voice as “the\nmost musically expressive instrument there is”, and whenever he included\nchoral music in his concerts he invariably insisted on taking separate\nchoir rehearsals himself, sometimes against the wishes of the chorus\nmasters concerned. Indeed, some of his most successful performances,\nfrom Beethoven's \u003cem\u003eMissa Solemnis\u003c\/em\u003e to the Brahms Requiem to\nMahler's Eighth Symphony, involved extensive work with choirs and\nsoloists and the same can be said for the two Mozart items presented\nhere, possibly Horenstein's first stereo recordings, in which the\ncelebrated Viennese chorus and soloists give him their most refined,\nstylish and rhythmically vital singing, with phrasing of unusual\nattention and delicacy.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cbr clear=\"all\"\u003e\n\u0026lt; width=\"33%\" size=\"1\" align=\"left\"\u0026gt;\n\u003cdiv\u003e\n\u003cp\u003e[1]\u003cem\u003e    Berthold Goldschmidt - Komponist und Dirigent : ein Musiker-Leben zwischen Hamburg, Berlin und London\u003c\/em\u003e, Von Bockel Verlag, Hamburg (2003)\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":44064782712922,"sku":"uvm1789304915234","price":14.48,"currency_code":"USD","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":44064782745690,"sku":"ukg1789304915235","price":7.78,"currency_code":"USD","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":44064782778458,"sku":"dck1789304915236","price":7.62,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/horenstein-mozart-coronation-mass-and-vesperae-solemnes-de-confessore-1956---pac_1.jpg?v=1789304923","url":"https:\/\/vestorawear.shop\/products\/horenstein-mozart-coronation-mass-and-vesperae-solemnes-de-confessore-1956-paco124","provider":"My Store","version":"1.0","type":"link"}