A gallery of Mozart performances from the mid-1950s, including many forgotten and newly remastered recordings.

Deutsche Grammophon marked the 200th anniversary of Mozart’s birth in 1956 with a 6-LP “Jubilee Edition”. Three “evenings” of orchestral, chamber and vocal music drew on DG’s most experienced and dynamic Mozartians, from Ferenc Fricsay and Clara Haskil to Maria Stader and Igor Markevitch. This is now republished complete for the first time, and expanded to three times its original length, including many other fine Mozart recordings made at the time such as the pianists Mieczysław Horszowski and Helmut Roloff in concertos; Bernhard Paumgartner in one of Mozart’s most substantial Salzburg divertimenti; Fritz Lehmann conducting early symphonies and opera overtures; and much more.

While DG was commemorating Mozart in grand style, its sister label Archiv released many new recordings of the composer which broke new ground either in terms of repertoire or performance style. The Piano Concerto, K414, and the Sonata, K331, were played on rare fortepianos from Mozart’s own time. The vocal canons – illustrating the composer’s ribald humour as well as his family’s use of music as a private means of communication – were recorded by the Choir of North German Radio.

Mozart’s treasury of song was also documented for the first time, and in delicious performances featuring the soprano Margot Guilleaume and the fortepianist Fritz Neumeyer. In 1956 itself, Archiv released a live performance of the Requiem which had been given at the Stephansdom in December the previous year, on the date of his death, by Eugen Jochum. Issued as a liturgical reconstruction of what the composer’s own funeral might have sounded like, this conveys a powerful mood of commemoration thanks to the conducting of Eugen Jochum and a line-up of soloists led by Irmgard Seefried.

Many of these Archiv albums have never been reissued in the digital era, until now. They bring valuable context to a gallery of Mozart as he was seen and heard, two centuries after his birth. Drawing on ideas and recollections from several of the artists represented in the box, such as Irmgard Seefried and Bernhard Paumgartner, the booklet essay by Peter Quantrill is complemented by a range of photographs as well as Original Cover artwork which evokes the mid-1950s.

“Lehmann deprecates solemnity in a burst of speed … in a record with the best distinction of timbre.” – High Fidelity, July 1953 (Opera overtures)

“Fritz Neumeyer plays in a style of quaintly roguish simplicity … The Concerto will win nothing but praise.” – High Fidelity, November 1955 (Sonata K331/Concerto K414)

“The unexaggerated warmth of Fricsay’s reading … shows the Berlin Philharmonic at its best.” – Gramophone, February 1956 (‘Jupiter’ Symphony)

“Extremely carefully played and well recorded … the sort of sound one presumes Mozart to have had in mind.” – Gramophone, October 1956 (Adagio and Rondo K617 – Bruno Hoffmann)

“Fresh, candid, pleasant, and natural tone from Schneiderhan in No. 4, and full, living sound from the orchestra, as good as any for this work.” – High Fidelity, December 1956 (Violin Concerto no.4)

“Mme Haskil’s careful, sensitive reading brings out beauties that pass unnoticed in more routine accounts … Fricsay is careful to get his players to make a perfect join with the piano.” – Gramophone, December 1956 (Piano Concerto K459)

“A positively hypnotic beauty [in V’amo di core] … the humorous canons come off very well.” – Gramophone, January 1957 (Vocal Canons)

“The piece gives an effect, as it should, of being thrown off with joy.” – Gramophone, January 1957 (Exsultate, jubilate)

“Margot Guilleaume gives a lovely performance of An die Einsamkeit; Lotte Wolf-Matthäus shows herself to be an intelligent Lieder singer with a fine voice … Krebs sings finely.” – Musical Times, April 1957 (Lieder & Vocal ensembles)

“Very good performances indeed … A clean line, not over-opulent in sound but always beautiful, and a bright and fresh treatment … The phrasing is beautiful and full of subtle touches that delight the listener.” – Gramophone, June 1957 (Violin Concertos)

“A beautifully polished, musical performance … For once one has the feeling that here is a pianist who really knows what is happening in the orchestra … Small touches make one realise that she is thinking about the music the whole time, and not just letting her fingers take charge.” – Gramophone, July 1957 (Concerto K488)

“Roloff shows himself a good Mozart pianist in both works, always phrasing musically and keeping the texture clean … most enjoyable in every way.” – Gramophone, July 1959 (Quintet K452, Concerto K466)

“An attractive group of pieces … Seemann gives the impression of trying to make his piano sound like one of Mozart’s time.” – Gramophone, November 1959 (Piano Works – Seeman)

“Guilleaume and Krebs sing prettily and with pure tone … the two ensembles are delicious music deliciously sung … the quality is all it should be.” – Gramophone, February 1964 (Lieder & Vocal Quartets)

“A sturdy and well-prepared Posthorn Serenade … An easy-going and affectionately phrased Haffner Serenade … A fluent and smoothly executed Gran Partita.” – Gramophone, May 2006

“Stader brings hints of the Countess to the Agnus Dei, and the whole performance has the aura of a very special occasion.” – Gramophone, November 2006 (Coronation Mass)