Richard Strauss's recordings of other composers' works were confined to a period between 1926 and 1928. The earliest of these, which include Mozart's Symphonies Nos. 39 and 41, were captured by means of the Brunswick ''Light-Ray'' electrical system. This was an improvement on the recently superseded acoustic process, but was inferior to the Western Electric system used by other companies, for it produced an acid treble sound and a curiously boxy bass. Early in 1927 Polydor started to use the Western Electric system, but for a year or two yet their orchestral recordings would still have a characteristically edgy sound.
DG's issue of Strauss conducting Mozart's Symphonies Nos. 40 and 41, plus the Zauberflote Overture ((CD) 431 874-2 GDO) was reviewed by LS in December, but duplication with Koch's new release is less than at first might appear. DG's inadequate documentation suggests a recording date of 1927 for Symphony No. 40, but in fact it is the comparatively well-known 1928 version which appears on their disc. There is, however, a very rare, six-sided account which dates from 1927, and it is this performance which appears on Koch's disc. The reason for the re-recording is not clear. The later version enjoys slightly improved but better-balanced sound. The original 78rpm set spilled over on to a seventh side, with the last movement—some 20 seconds longer than in the 1927 version—split between Sides 6 and 7.
In general differences between the two performances are not great, but I do rather prefer the earlier one, which in the first movement particularly has more flexibility of phrase, conveys the musical argument more strongly, and has a slightly greater sense of commitment. After having escaped from the claustrophobic-sounding Brunswick process, Polydor's engineers gave the 1927 recording a distant balance. There is, however, more detail and a better balance in the 1928 performance.
That Strauss could be a great conductor when he felt like it is clear from the number of excellent judges who heard him live and were mightily impressed; but the process of making records did not always inspire him. To me everything on the DG and Koch discs sounds under-rehearsed, and conducted in a slightly remote, even impatient fashion, so that the orchestra often sounds ill at ease. Ensemble is frequently poor and the playing itself technically fallible. These problems, and those which LS described in his review, clearly detract from Strauss's recorded Mozart, yet for me there are at least hints of greatness in his conducting. Everything is always perfectly clear and lucid. Detail is less important than that the shape of each movement should be clearly defined. There is often a strong, forward-leaning sense of line, and a certain classical elegance and beauty which surmount the flat, unflattering recorded sound. And in spite of drawbacks it is surely of considerable historical interest that we can hear one of the great romantic composers conduct Mozart.
DG's transfer of the Jupiter Symphony is a little cleaner than on the new disc, but in general Koch's transfers are very satisfactory.'