C1381. FELIX WEINGARTNER Cond. Vienna Phil.: Symphony #1 in C - recorded 19 Oct., 1937; Weingartner Cond. London S.O.: Symphony #2 in D - recorded 2 March, 1938; Egmont - Larghetto; 11 Mödlinger Tänze - recorded 8 Oct., 1938 (all Beethoven). (Canada) St Laurent Studio YSL 78-279. Transfers by Yves St Laurent.
"Those who include Weingartner in their lists of revered performances in record often bemoan the relatively poor sound of his legacy, but no such claim can be pressed here, whose figures lilt with studied nuance, rhythmic and dynamic. The ease of musical transition appears as naturally as any we hear in contemporary, politically-correct readings by the so-called ‘Baroque specialists’... I can recommend this rendition with few reservations, having noticed only in retrospect how singularly quietly the 78 rpm surfaces have preserved their...glories in this restoration.”
—Gary Lemco, AUDIOPHILE AUDITION, 19 Feb., 2015
“Weingartner was among the first great conductors to insist on a meticulous interpretation of the composer's score and steady, moderate tempi. While in Hamburg, he clashed with Hans von Bülow, whom he criticized for romantic exaggeration and wayward performances. In 1895, Weingartner wrote a book, ON CONDUCTING, in which he accused von Bülow of ‘wanting to divert the attention of the audience from the music to himself’.
His baton technique was refined and simple. The English critic Neville Cardus wrote this of his podium style: ‘Weingartner does not use the familiar gestures of the modern 'dictator' conductors; he retains the old fashioned belief that an instrumentalist understands how to play his notes correctly, and does not need illumination in the form of arts that scarcely belong to a conductor - the arts of Terpsichore and declamation. His gestures are quiet; he is always dignified.... He belongs to the cultured epoch of music, the epoch of good manners, good taste and scholarship’.”
- Roy Brewer, allmusic.com
“Each of these disks, from Canadian engineer Yves St Laurent… [feature] St Laurent's natural transfer – made without filtering, like all his dubbings – it is easy to listen to, despite the surface noise.”
- Tully Potter, CLASSICAL RECORD QUARTERLY, Summer, 2011