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Symphonies 4 and 5 - Beethoven - PASC236

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Symphonies 4 and 5 - Beethoven - PASC236-CD
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Royal Concertgebouw Orchestra
Willem Mengelberg
Recorded live in 1940, Amsterdam

Recorded in April 1940 at the Concertgebouw, Amsterdam by AVRO Radio
Transfers from mint Philips LPs 6597 012 and 6597 016 in the Pristine Audio collection
XR remastering by Andrew Rose at Pristine Audio, May-July 2010
Cover artwork based on a photograph of Willem Mengelberg at the Concertgebouw

Total duration: 68:23
©2010 Pristine Audio.


More superb Beethoven from Willem Mengelberg

Continuing the series in astonishing XR-remastered sound quality


  • BEETHOVEN Symphony No. 4 in B flat major, Opus 60 [notes / score]
    Concert of 25th April, 1940
  • BEETHOVEN Symphony No. 5 in C major, Opus 67 [notes / score]
    Concert of 18th April, 1940

    Played by Royal Concertgebouw Orchestra
    conductor Willem Mengelberg

Recorded live at the Concertgebouw, Amsterdam


Notes on the recordings:

Willem Mengelberg and the Concertgebouw Orchestra were recorded on a number of occasions by AVRO using high quality glass acetate discs, which produced significantly better results than those normally obtained by shellac discs of the era, with a much wider dynamic and frequency range than was usual at the time.

Many of Mengelberg's AVRO recordings have long been available on LP and, later, CD, and their sonic advantages have been immediately clear to listeners for decades.

However, using standard flat replay systems to produce those LPs and CDs has only told perhaps half of the story - the recordings gently rolled off both higher and lower frequencies. However, these essential details are often still intact, buried in the recordings as if awaiting a remastering method capable of extracting them and restoring their original levels.

This is, of course, precisely what Pristine's XR remastering system excels at. There are extended sections in both 1940 concert recordings present here where we've been able to present a true full-frequency, 20-20,000 Hz frequency response, coupled with a dynamic range more befitting of a 1960s or 1970s analogue recording - sound quality which is quite astonishing for its age.

Elsewhere the bottom end has seen considerable improvement, with a much fuller and richer sound than originally heard in the flat transfers. The use of multiple references for the remastering of the recordings has ensured that the tonal balance is as natural and realistic as possible, and that the two recordings resulted in an orchestral sound which was consistent for both recordings. One will rarely get closer to hearing a 1940 concert than this.

These transfers
Although the Fourth Symphony appears to get off to a slightly rough start, thanks to damage to the original acetates, and misses the characteristic clicks of Mengelberg's baton, things soon settle down and once again in this series, excellent sound quality can be heard in both recordings. Opening up the top end frequencies of these recordings has revealed flaws previuosly buried in the original - distortion and swishing both had to be tamed or eliminated, with many thousands of individual manual restoration interventions required for each symphony. Inevitably the odd shortcoming will remain audible, but ultimately the sonic impact of these restorations has been hugely satisfying and enjoyable.


Andrew Rose




Full Beethoven biography:



Willem Mengelberg

Biographical notes from Wikipedia


Mengelberg with
The New York Times

Joseph Willem Mengelberg (28 March 1871 – 21 March 1951) was a Dutch conductor.



Mengelberg was the fourth in fifteen children of German-born parents in Utrecht, Netherlands. He studied in the Cologne conservatory, including piano and composition and was chosen as General Music Director at age 21 of the city of Lucerne Switzerland, where he conducted an orchestra and a choir, directed a music school, taught piano lessons and continued to compose.

Mengelberg is renowned for his work as the principal conductor of the Concertgebouw Orchestra from 1895 to 1945. In addition, Mengelberg founded the long-standing Mahler tradition of the Concertgebouw. In 1902 he met Gustav Mahler and became friends with him. Mengelberg was instrumental in introducing most of Mahler's work to The Netherlands, and Mahler regularly visited The Netherlands to introduce his work to Dutch audiences. In fact, he edited some of his symphonies while in the Netherlands, making them sound better for the acoustics of the Concertgebouw. This is perhaps one reason that this concert hall and its orchestra is renowned for its Mahler tradition.

Nevertheless, Mengelberg's importance as a conductor was not only due to his Mahler interpretations. He was also, for example, an exceptionally gifted performer of Richard Strauss; and even today his recordings of Strauss's tone poem Ein Heldenleben, which had been dedicated to him and the Concertgebouw Orchestra, are widely regarded by critics as among the best — if not the very best — of this piece ever made.

One criticism of Mengelberg's influence over Dutch musical life, most clearly articulated by the composer Willem Pijper, was that Mengelberg did not particularly champion Dutch composers during his Concertgebouw tenure, especially after 1920.

Mengelberg was music director of the New York Philharmonic Orchestra from 1922 to 1928. Beginning in January 1926, he shared the podium with Arturo Toscanini; Toscanini biographer Harvey Sachs has documented that Mengelberg and Toscanini clashed over interpretations of music and even rehearsal techniques, creating division among the musicians that eventually resulted in Mengelberg leaving the orchestra. However, the maestro did make a series of recordings with the Philharmonic for both the Victor Talking Machine Company and Brunswick Records, including a 1928 electrical recording of Richard Strauss' Ein Heldenleben that was later reissued on LP and CD. One of his first electrical recordings, for Victor, was a two-disc set devoted to A Victory Ball by Ernest Schelling.

The most controversial aspect of Mengelberg's biography centers around his actions and behavior during the years of the Nazi occupation of Holland between 1940 and 1945. Some newspaper articles of the time gave the appearance that he acquiesced to the presence of the Nazi's ideological restrictions on particular composers. Explanations have ranged from political naiveté in general, to a general "blind spot" of criticism of anything German, given his own ancestry. Because of Mengelberg's co-operation with the occupying regime in The Netherlands during World War II, he was banned from conducting in the country by the Dutch government after the war in 1945. He was stripped of his honours and his passport. The original judgment was that Mengelberg would be banned from conducting in the Netherlands for the remainder of his life. Appeals by his attorneys led to a reduction in the sentence to a banning of six years from conducting, retroactively applied to start from 1945. This notwithstanding, he continued to draw a pension from the orchestra until 1949 when cut off by the city council of Amsterdam. Mengelberg retreated in exile to Zuort, Sent, Switzerland, where he remained until his death in 1951, just two months before the expiration of his exile order.

Willem Mengelberg was the uncle of the musicologist and composer Rudolf Mengelberg and of the conductor, composer and critic Karel Mengelberg, who was himself the father of the improvising pianist and composer Misha Mengelberg.


Recorded Legacy

In addition to his acclaimed recordings of Richard Strauss' Ein Heldenleben, Mengelberg left valuable discs of symphonies by Beethoven and Brahms, not to mention a wildly controversial but gripping reading of Bach's St Matthew Passion.

His most characteristic performances are marked by a tremendous expressiveness and freedom of tempo, perhaps most remarkable in his recording of Mahler's Fourth Symphony but certainly present in the aforementioned St Matthew Passion and other performances as well. These qualities, shared (perhaps to a lesser extent) by only a handful of other conductors of the era of sound recording, such as Wilhelm Furtwängler and Leonard Bernstein, make much of his work unusually controversial among classical music listeners; recordings that more mainstream listeners consider unlistenable will be hailed by others as among the greatest recordings ever made.

Many of his recorded performances, including some live concerts in Amsterdam during World War II, have been reissued on LP and CD. While he was known for his recordings of the German repertoire, Capitol Records issued a powerful, nearly high fidelity recording of Cesar Franck's Symphony in D minor, recorded in the 1940s by Telefunken with the Concertgebouw Orchestra.

Due to the Dutch government's six-year ban on Mengelberg's conducting activities, he made no more recordings after 1945. Some of his performances in Amsterdam were recorded on the innovative German tape recorder, the Magnetophon, resulting in unusually high fidelity for the time.

Sound films of Mengelberg conducting the Concertgebouw Orchestra, during live concerts in Amsterdam, have survived. Among these are a 1931 performance of Karl Maria von Weber's Oberon overture and a 1939 performance of Bach's St Matthew Passion.





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