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Classical - Released January 1, 2005 | Deutsche Grammophon (DG)

Distinctions The Qobuz Ideal Discography - The Qobuz Standard
It is hard to remember back to a time when this cover photograph -- three geezers in ties and dark suits, two of them bald and one with thick, horn-rimmed glasses -- could have been considered hip. But, even then, of course, the last thing Deutsche Grammophon Gesellschaft wanted in a recording of Brahms' Double Concerto was hip. What DGG wanted was the big-boned tone of cellist Janos Starker, the hard-muscled technique of violinist Wolfgang Schneiderhan, and, most of all, the clear-eyed modernism of the RSO Berlin under Ferenc Fricsay. And that's exactly what it got: a Brahms' Double that had plenty of power and precision but that was cold-blooded in its execution. But, even coupled with Fricsay's recording of Beethoven's Triple Concerto again with Schneiderhan, but partnered this time with Pierre Fournier and Géza Anda, it's hard to imagine anyone in these digital times will find these performances hip. Fricsay was a cool and clear conductor with a lean and sinewy approach to tempo and form and, while his Beethoven Triple is lyrical, it is more objective than subjective, more steel than silk. While back in the early '60s, these recordings along with the three geezers on the cover might have been hip, one wonders if digital listeners will be able to dig it, daddy-o. DG's original early stereo sound was warmer and deeper than many of its original early digital recordings. © TiVo
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Symphonic Music - Released January 12, 2018 | Deutsche Grammophon (DG)

Booklet Distinctions 5 de Diapason - 4 étoiles Classica
These are the recordings of Mozart created by Ferenc Fricsay at the head of the Berlin RIAS orchestra, now known at the Deutsches Symphonie-Orchester Berlin, of which he was the musical director from 1948 to 1954, and then from 1959 to his premature death in 1963. More precisely, these recordings date from 1951 and 1952, still in mono (high-fidelity music lovers take note); the majority having been recorded in the studio, the last few in concert. They cover almost all the symphonies of Mozart's youth, from No. 1 to No. 9, and No. 23 and No. 27; as well as a number of serenades and cassations, and some rather less-usual concertos - the Concerto for bassoon, and the Sinfonia Concertante for Four Winds – and an air from the Noces with Suzanne Danco as well as a duet from Don Giovanni with Danco and Rita Streich. The impeccable sound recording by Radio Berlin, even in mono, attests to the immense musical talent and vitality of the conductor, a student of Bartók (whom he would always faithfully champion) and Kodály, who disappeared at the unreasonably-young age of 48. © SM/Qobuz
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Full Operas - Released December 25, 2009 | Les Indispensables de Diapason

Booklet Distinctions Diapason d'or
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Classical - Released January 1, 2011 | Deutsche Grammophon (DG)

Hi-Res Distinctions The Qobuz Ideal Discography
Only a chosen few can captivate listeners with a work that has been brought out over and over again hundreds of times. But that is what is achieved here with a Symphony "From the New World" byAntonin Dvořák which doesn't seem to have aged a bit. Recorded in 1959 in Berlin in excellent stereo, this feverish performance also shows the miracle that an invited leader can create. In a few short recording sessions, Ferenc Fricsay was able to bring forth from the Berlin Philharmonic a sound that was the polar opposite to Karajan's softness. Everything here, with the exception of an irresistibly dreamy Largo is sharp as a knife and whip-smart, in the the style of the Czech Philharmonic. It is the magic of an orchestra that can instantly adapt itself to the personality of a leader who knows how to convince. Recorded in 1960, but with Fricsay's Berlin RIAS (Radio in the American Sector) Orchestra, the symphonic poem by Franz Liszt, Les Préludes, is cut across by an epic gale, reinforced by a slow and majestic tempo. As for The Moldau (Vlatva) by Bedřich Smetana, so close to Czech hearts, Fricsay recorded it several times, most notably in 1960, with the Südfunk Orchester, the film of a rehearsal of which is one of the few visual records of the great Hungarian conductor. It was over the course of that same year that he made this recording, at the head of the Berlin Philharmonic. In 1948, Ferenc Fricsay had signed an exclusive contract with Deutsche Grammophon, becoming one of the few artists never to record for another label. On the occasion of the hundredth anniversary of the conductor's birth in 2014, the yellow label published an impressive box set (available on Qobuz) which brings together all of his recordings. It is a treasure trove for music lovers, because among the records which remain famous to this day, we find a whole series of forgotten works. The recordings were mainly de in the Titania-Palast in Steglitz in Berlin, which was the only concert hall which was spared the Allies’ bombs. © François Hudry/Qobuz
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Classical - Released September 26, 2019 | Les Indispensables de Diapason

Distinctions Diapason d'or
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Classical - Released January 1, 2001 | Deutsche Grammophon (DG)

Hi-Res Distinctions The Qobuz Ideal Discography
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Full Operas - Released January 1, 1955 | Deutsche Grammophon (DG)

Distinctions Diapason d'or
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Classical - Released January 1, 2014 | Deutsche Grammophon (DG)

Booklet Distinctions Diapason d'or
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Symphonic Music - Released January 1, 1999 | Deutsche Grammophon (DG)

Distinctions The Qobuz Ideal Discography
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Classical - Released January 1, 2014 | Deutsche Grammophon (DG)

Booklet Distinctions Diapason d'or
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Classical - Released January 1, 2003 | Deutsche Grammophon (DG)

Distinctions Diapason d'or
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Full Operas - Released March 8, 1959 | Deutsche Grammophon (DG)

Hi-Res Booklet
An absolute classic of music history is making a comeback with a carefully restored sound. Performed in the favourable acoustics of the Jesus Christus Church in Berlin in 1958 by Deutsche Grammophon, this recording came right after Josef Krips’ (Decca), and before Giulini’s (EMI), both of which are considered the very best recordings of Don Giovanni. The main hero of this recording is undeniably Ferenc Fricsay. The Hungarian conductor, a great Mozartean, injects this version with tremendous theatrical vibrancy thanks to sharp and fast tempo. The stereophonic sound recording is particularly clear. The casting features some of the greatest voices of the time, such as Dietrich Fischer-Dieskau, Sena Jurinac, Irmgard Seefried, Maria Stader and Ernst Haefliger, while the style (and pronunciation) for this Italian version remains Germanic. Therefore, the re-release should be recognised above all else for its extraordinary musical direction, a rare testament of the art of a legendary conductor, who died much too young. © François Hudry/Qobuz
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Sacred Vocal Music - Released December 2, 2013 | Tahra

Booklet
Tahra's Mozart: Grosse Messe consists of a glorious stereo recording made of Mozart's "Great" Mass in C minor featuring conductor Ferenc Fricsay leading the Berlin Radio Symphony Orchestra with the Choeurs de la Cathédrale Ste. Hedwig and soloists led by Maria Stader and Ernst Haefliger in Berlin on September 29, 1959. It was recorded the day before a very famous and long established Deutsche Grammophon catalog item of the Great Mass was made, with the same conductor, soloists, and forces, so one might wonder "why bother to put this out?" It runs within in a minute of the same duration of the studio recording that followed it! Because this live recording -- like the DG studio recording -- is excellent; Fricsay was an outstanding Mozart conductor and used essentially the same usual suspects that peopled Karl Richter's Bach recordings. Tahra's historical recording is remarkably stable and full, the performance is moving, dynamic, and Stader is right on the money in terms of the soprano solo part; she is arrestingly intense in the opening "Kyrie" and remains that way for most of the disc. There is an exception in that Stader is a little unsteady in the first section of "Et incarnates est," but for that matter Fricsay's band seems to have lost its bearings at the start of this movement, with the vagaries of live recording, no doubt, at foot. But overall this is a powerful recording that commands one's attention throughout, and listeners will be astonished at the range, gravity, and clarity of the recording quality, which seems hardly possible for a recording more than five decades old. © TiVo
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Classical - Released January 1, 2006 | Deutsche Grammophon (DG)

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Classical - Released September 7, 2018 | Sony Classical

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Classical - Released February 1, 2011 | Audite

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Classical - Released August 15, 2014 | BnF Collection

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Classical - Released January 1, 1957 | BnF Collection

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Classical - Released October 29, 2008 | Audite