These performances are truly great and surprisingly well recorded too. Walter has masterful way to create maximum drama and profundity in the 2nd symphony without making much fuss, letting the music flow naturally and speak for itself. The final apotheosis is very powerful and awe-inspiring without resorting to Bersteinesque exaggeration. The first symphony is equally impressive, beautifully crafted and lavishing in orchestral colour. Definitely a must-buy for anyone after fine performances of the two symphonies.

In the early part of his musical career, before he became one of the most revered conductors of his time, Bruno Walter saw himself as a conductor-composer much like his friend and rôle model, Gustav Mahler. His large-scale Piano Quintet, couched in the late-Romantic idiom, is a powerful expression of Walter’s consummate compositional skill. The Violin Sonata in A major, Walter’s last chamber work, offers a study in expressive contrasts, its unsettled moods reflective of the time in which it was written.

If you can get past the 1940s monaural sound (and if you are not already familiar with this performance, you will get a shock). This is the gentlest, most right sounding rendition I have ever heard. The tempi are uncommonly brisk, though they never sound that way. The third movement has never sounded more beautiful. Halban is perfect in the finale. Walter passed away before he could record this work in stereo. His later performances were very different and I'm still not sure whether or not his later slower tempos and even greater expression were an improvement.

SOMM RECORDINGS announces the release of Kathleen Ferrier in New York, historic performances of Mahler and Bach by the much-loved contralto during her triumphant visits to the United States in 1948 and 1950. Recorded live on Ferriers only appearances in Carnegie Hall in January 1948, four months after her acclaimed performance at the inaugural Edinburgh International Festival, Mahlers Das Lied von der Erde reunited her with the conductor Bruno Walter and saw her making first appearances with tenor Set Svanholm and the New York Philharmonic Orchestra. Re-mastered by Norman White and Adrian Tuddenham, this remarkable account pre-dates Ferriers often-reissued 1952 recording by four years and finds her in exhilarating fresh voice a vivid, vital display of a great artist at her peak.

Symphony No. 2 by Gustav Mahler, known as the Resurrection Symphony, was written between 1888 and 1894, and first performed in 1895. This symphony was one of Mahler's most popular and successful works during his lifetime. It was his first major work that established his lifelong view of the beauty of afterlife and resurrection. In this large work, the composer further developed the creativity of "sound of the distance" and creating a "world of its own", aspects already seen in his First Symphony. The work has a duration of eighty to ninety minutes and is conventionally labelled as being in the key of C minor; the New Grove Dictionary of Music and Musicians labels the work's tonality as C minor–E♭ major. It was voted the fifth-greatest symphony of all time in a survey of conductors carried out by the BBC Music Magazine.

Bruno Walter was one of the last of the European-trained conductors who learned their craft at the feet of the great nineteenth-century composers and their students. Along with giants like Furtwangler, Ormandy and Toscanini, Walter had a depth of understanding that fades with each passing generation. But unlike most of the others Walter had the fortune to have remained active long enough to be able to commit dozens of performances to disc in the modern era of high-fidelity techniques, and with the superb orchestra that CBS once housed.

Bruno Walter was always a most persuasive advocate of the gentler Beethoven–at least, that's what everyone thought until his stereo Beethoven cycle was remastered onto CD, revealing a much stronger musical profile than had been suspected. But that just made the cycle's best performances sound better still–and here they are, together on one midpriced CD! It's amazing that a man in his 80s, as Walter was when these performances were recorded, could take what was essentially a pickup orchestra and turn in performances of such power and authority. Walter and the Columbia Symphony had a genuine chemistry between them–they play these two symphonies as if they had been making music together for years.

Bruno Walter is a conductor who knew how to stamp the works he conducted and recorded, especially those from the religious repertory, with the seal of his warm poetic sensitivity and his radiant humanity. Through these scores, he manages to communicate his vision to us, and, without ever forcing an already strong text, without false sentiment or gratuitous effect, he leaves us room for a more personal interpretation of the music. Brahms composed his Requiem at the beginning of his career, at under thirty-five- the age at which Mozart died (this means that both composers wrote their Requiems at about the same age).

Walter, at the end of his career, set out to record his signature pieces for posterity in what was then the new technology of stereo. And unlike von Karajan, who rushed to record his repertoire at the dawn of the video and digital era to often-mixed results, every Walter performance is absolutely brilliant. This recording of Beethoven's 5th and 7th Symphonies, made over 4 days during the week of January 27 - February 3, 1958, is no exception.