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標　　題：福特萬格勒絕版CD復活？？﹗﹗
發 表 人：blue97(blue97.tw)
發表時間：2001/09/12 01:49:09

據可靠消息指出，
出版於1989年的福特萬格勒大戰期間10CD套裝紀念盤已經再版，
並分成4CD及5CD兩套發行，
以現今的CD容量重新整理，總共縮減一張。

事實上，早在今年初我就曾聽到台灣環球業務說過有這麼個傳言，
如今看來可性度極高。雖然我還沒完全證實，
不過這個訊息相當勁爆。

標　　題：DG版福特萬格勒大戰期間錄音
發 表 人：blue97(blue97.tw)
發表時間：2001/09/15 07:21:21

DG這套新的福特萬格勒再版CD，
台灣地區預計最快10月上市，
共9CD，按理說應該是發低價位。

標　　題：Re:DG版福特萬格勒大戰期間錄音
發 表 人：指揮大師(chopin31228)
發表時間：2001/09/15 11:20:09

>※ 引述<blue97(blue97.tw)>之銘言：
>DG這套新的福特萬格勒再版CD，
>台灣地區預計最快10月上市，
>共9CD，按理說應該是發低價位。

請問一下，這套CD的曲目，和日版的福特萬格勒大全集的錄音有重複嗎？

標　　題：Re:DG版福特萬格勒大戰期間錄音
發 表 人：Huangs(metaphysicalist)
發表時間：2001/09/15 22:43:51

>※ 引述<指揮大師(chopin31228)>之銘言：
>>※ 引述<blue97(blue97.tw)>之銘言：
>>DG這套新的福特萬格勒再版CD，
>>台灣地區預計最快10月上市，
>>共9CD，按理說應該是發低價位。
>>
> 請問一下，這套CD的曲目，和日版的福特萬格勒大全集的錄音有重複嗎？

當然是全部重覆
這套 CD的曲目和封面請看下面這張圖
http://www2.ee.ntu.edu.tw/~d85010/furtb ... d/10cd.jpg

標　　題：Re:DG版福特萬格勒大戰期間錄音
發 表 人：Huangs(metaphysicalist)
發表時間：2001/09/15 23:28:51

>※ 引述<Huangs(metaphysicalist)>之銘言：
>>※ 引述<指揮大師(chopin31228)>之銘言：
>>>※ 引述<blue97(blue97.tw)>之銘言：
>>>DG這套新的福特萬格勒再版CD，
>>>台灣地區預計最快10月上市，
>>>共9CD，按理說應該是發低價位。
>>>
>> 請問一下，這套CD的曲目，和日版的福特萬格勒大全集的錄音有重複嗎？
>
>當然是全部重覆
>這套 CD的曲目和封面請看下面這張圖
>http://www2.ee.ntu.edu.tw/~d85010/furtboard/wanted/10cd.jpg

忘了一提，上面這張圖是舊版的封面

標　　題：Re:DG版福特萬格勒大戰期間錄音
發 表 人：blue97(blue97.tw)
發表時間：2001/09/16 08:44:20

>※ 引述<指揮大師(chopin31228)>之銘言：
>>※ 引述<blue97(blue97.tw)>之銘言：
>>DG這套新的福特萬格勒再版CD，
>>台灣地區預計最快10月上市，
>>共9CD，按理說應該是發低價位。
>>
> 請問一下，這套CD的曲目，和日版的福特萬格勒大全集的錄音有重複嗎？

我建議各位多看書，尤其現成有翻譯的福特萬格勒相關錄音書籍，
如上述問的這些基本的常識全部都可以獲取。

標　　題：福特萬格勒的藝術，封面亮相
發 表 人：blue97(blue97.tw)
發表時間：2001/09/25 14:49:54

DG發行的福特萬格勒藝術CD封面已經亮相，
各位可以到我的網站瞧瞧。
這套CD也已經在海外發售，
國內的上市時間約在10月上旬。

標　　題：ARCHIPEL 再復刻Furtwangler名盤
發 表 人：blue97(blue97.tw)
發表時間：2001/09/26 23:21:26

1947年10月的崔斯坦伊索德是福特萬格勒著名的現場錄音之一，
雖然僅留下第二幕及第三幕，
但已經是最佳的戰後錄音。
最近ARCHIPEL再度發行這個錄音，
看來該廠牌準備把福特萬格勒的名盤完整地巡禮一遍。
如果各位買過ARCHIPEL出版的CD，
相信各位會對這個新發行有興趣。

標　　題：新發行消息： FURTWÄNGLER1942-1944錄音九CDs（DG）
發 表 人：FILA(fila1069)
發表時間：2001/10/08 13:39:37

DG又將推出低價版紙盒環保包裝五款，
其中兩款是福特萬格勒1942∼1944年間與柏林愛樂的錄音，
一為4CD裝，另一則為5CD裝，曲目繁多，後者還出現Edwin Fischer、 Walter Gieseking 兩位鋼琴大師，可惜DG網站中未一一詳列，
恐怕要能等到看到實物後才能見真章！
另外，還有10CD裝辛諾波里指揮英國愛樂樂團的馬勒交響曲全集，
只是DOUBLE DG低價兩片裝，大家都買的差不多了，吸引力實在有限！
倒是，阿巴多指揮倫敦交響樂團演出孟德爾頌五首交響曲，演錄俱佳，
值得期待，呵：）呵：），下一波會不會是阿巴多與歐洲室內樂團的舒伯特呢？！

標　　題：Contents of DG 10 CD WILHELM FURTWÄNGLER Wartime Record
發 表 人：blue97(blue97.tw)
發表時間：2001/10/08 14:18:59

WILHELM FURTWÄNGLER Wartime Recordings
(DG 1989)

(1) Bruckner: Symphonie No.5
(2) Beethoven: Symphonien Nos. 5 & 7
（這張CD一直到2000年都還在目錄當中）
(3) Haydn: Symphonie No. 104 （非Furt錄音已在新復刻版中刪除）
Mozart: Symphonie No. 39
(4) Beethoven: Symphonie No. 4
Händel: Concerto grosso op. 6 No. 10
(5) Brahms: Klavierkonzert/Piano Concerto No. 2
（Soloist: Edwin Fischer）
(6) Schumann: Klavierkonzert/Piano Concerto , Cellokonzert
（Solisten: Walter Gieseking • Tibor de Machula）
(7) Beethoven: Violinkonzert/Violin Concerto ,
»Coriolan« - Overtüre
（Soloist: Erich Röhn ）
(8) Schubert: Symphonie No. 9
Weber: »Freischütz« - Overtüre
(9) R. Strauss: Sinfonia Domestica • Don Juan
(10) Sibelius: En Saga
R. Strauss: Till Eulenspiegel op. 28
Ravel: Daphnis et Chloé - Suite No. 2

1989版請了不少名人撰寫該套CD的賀詞，
不曉得2001年復刻版是否收錄？

標　　題：FURTWÄNGLER RECORDINGS RETURN FROM MOSCOW （轉貼）
發 表 人：blue97(blue97.tw)
發表時間：2001/10/08 14:21:11

以下是1989年10CD大戰期間錄音的由來，
福迷必讀的經典資料：

FURTWÄNGLER RECORDINGS RETURN FROM MOSCOW
Klaus Lang
The historic performances presented here were rediscovered as the result of a project undertaken in 1986 by the West Berlin broadcasting station Sender Freies Berlin. Involving radio, television and a book, it was to be called The Warnings of Cassandra. The German-Austrian composer Grete von Zieritz, then 87 years old, was inspired by paintings by Christoph Niess to compose a chamber-music cycle that prophesied Chernobyl and uttered a warning against the global nuclear threat. The Armenian Mikael Tariverdiev was another composer who became involved in the project, and it was his help that led to tapes of recordings of concerts conducted by Wilhelm Furtwängler between 1942 and 1944 being returned by Moscow Radio to Broadcasting House (Haus des Rundfunks) in Berlin.
What had happened?
At the end of the war the Soviets occupied the headquarters of the Reich Broadcasting Company on Masuren-Allee and found some valuable recordings in the archives there. They knew very well who Wilhelm Furtwängler was, and the understood the importance of the concerts given in the old Philharmonie concert hall and in the State Opera House. These had been transmitted live, and recordings of the broadcasts had been made between 1942 and 1944, which were among the earliest such recordings in the history of radio in Germany. Included were works by Beethoven, Brahms, Schumann, Schubert, Mozart and Strauss, interpreted by such renowned artists as Walter Gieseking, Edwin Fischer, Peter Anders and, of course, Wilhelm Furtwängler himself. The unique intensity of Furtwängler's musical expressivity made the recordings of his performances, in particular, a quite spectacular find.
Beginning in the 1960s, the concerts with the Berlin Philharmonic Orchestra had been issued on record in the Soviet Union, but it had been a reluctant process, accompanied with little publicity, and only those in the know had been able to pick up the occasional signal audible through the Iron Curtain.
As the result of my talks with the director of the Music Department of Moscow Radio, Stanislav Stempnevsky, the green light was given for the return of the tapes to Berlin. On 15 October 1987 they arrived at Sender Freies Berlin, returning to where they had originated more than 40 years before. All admirers of Wilhelm Furtwängler will rejoice at the end of this odyssey.

標　　題：RECORDING THE CONCERTS （轉貼）
發 表 人：blue97(blue97.tw)
發表時間：2001/10/08 14:30:52

RECORDING THE CONCERTS
Klaus Lang
In the night of 29-30 January 1944 the old Philharmonie concert hall on Bernburger Strasse in Berlin was completely destroyed. Photographs show us a few walls still standing, the gaping roof and the smashed statuary decorations. Apart from one chair, virtually nothing else remained.
And yet this famous building, once the home of the Berlin Philharmonic Orchestra, survived at least in sound. Concert-goers still talk of "Jove's lightning" as unleashed by Furtwängler, but now the collectors of historic recordings can hear for themselves what happened in that hall between 1942 and 1944.
By 1940 microphone and tape technology was already sufficiently advanced for the Reich Broadcasting Company to begin recording complete concerts and operas. At last recording complete concerts and operas. At last recordings were freed from the four-minute constraints of the wax disc; and the annoying hiss that went with tape was now also reduced to an acceptable level.
A major witness who still has an important tale to tell of the first efflorescence of radio technology is Helmut Krüger. He joined Berlin Radio at the age of 25, in 1929. All new developments were made in the shadow of "der lange Lulatsch", the long-legged beastie: the Berlin Funkturm (radio tower) as it was properly known. The "Haus des Rundfunks" (broadcasting house) opened at its foot in 1931, to set new international standards with its large studio and technical facilities. It was here, as early as 1944, without the conductors' knowledge, that Helmut Krüger - director of the rehearsal department of the Reich Broadcasting Company since 1938, and later also responsible for the introduction of sound engineers into the Philharmonie - made the first experimental stereo recordings.
The facilities for stereo did not exist in the old Philharmonie itself. Yet for Helmut Krüger and Dr. Friedrich Schnapp - first Tonmeister (recording supervisor) at the Reich Broadcasting Company and the Deutschlandsender, who had been Furtwängler's personal Tonmeister since 1939, artistically responsible to the conductor and accompanying him at all recording sessions in Berlin and elsewhere - it was always an exciting experience not only to transmit Furtwängler's concerts with the BPO live but also to tape test-recordings of them. Seventeen such recordings were made in the old Philharmonie from the first on 15 February 1942 to the last on 12 January 1944, but with the addition of the three concerts Furtwängler conducted in the State Opera House after the destruction of the Philharmonie the number of complete programmes that might have been preserved for posterity rose to 20 In fact, however, very few recordings of complete concerts survived, because some of the material was lost in the circumstances of the war - and some of the tapes were erased. Fortunately the whole of the concert of 12 January 1944 survives, with Beethoven's Violin Concerto (soloist: Erich Röhn) and Richard Strauss's Sinfonia Domestica. This was the last concert Furtwängler ever gave in the old Philharmonie, just 17 days before it was destroyed by bombing.
How were the recordings made? Friedrich Schnapp and Helmut Krüger agree in recalling that the Philharmonie extended only a rather cramped welcome to the miracles of recording technology, providing just one small control-room from which they could neither see the artists nor communicate with them directly. In this "hutch" they had a primitive mixing desk with amplifiers for only four microphones. The principal microphone hung in the middle of the podium, backed up by others on either side of the orchestra and near the soloist as and when required. The omnidirectional mikes used in those days are responsible for the audibility of the coughs and sneeze emanating from Furtwängler's audiences. Normally only the principal microphone was on, as Friedrich Schnapp wished to transmit the original orchestral sound without any manipulation or falsification. That corresponded entirely with Furtwängler's intentions: "The best thing about your recordings is that you don't do anything al all!" But there was more than enough to "do" in the "Philharmonic broadcast-hutch": the monitoring of volume required a watchmaker's dexterity and precision; overmodulation could lead not only to distortion of the sound but, as Friedrich Schnapp recalls, to losing it altogether. The tape machines themselves were only capable of recording about 20 minutes at a time - one or two movements - and they could not be moved out of the Haus des Rundfunks, so the connection between there and the Philharmonie was by post-office landline.
These Furtwängler concerts from the old Philharmonie and the Berlin State Opera are as gripping to us today as they were to their original audiences - partly for artistic reasons, because of Furtwängler's personality; but there is also something about the recording techniques of those days that still fascinates us even now. The Tonmeisters were able to preserve the artistic edifice, the unique expressive statement that Furtwängler desired to make - and succeeded in making. The achievement still stands today.

標　　題：THE BERLIN CONCERTS OF 1942-44 by Elisabeth Furtwängle
發 表 人：blue97(blue97.tw)
發表時間：2001/10/08 14:31:56

THE BERLIN CONCERTS OF 1942-44
Elisabeth Furtwängler
Thinking back, as a German, to the years 1942-44 is to relive the tragic situation of wishing that the war would be lost, linked with the hope that it would happen as quickly as possible; it was something one could only think, but never, ever, say. Concerts went on being given, but in steadily worsening conditions. Nevertheless, the damned for seats was so great that - from 1943 onwards - each of Furtwängler's concerts had to be repeated four times, and sometimes two took place on one day (for example, on 8 February 1944, at 11 a.m. and 3 p.m., and on 21 March 1944, at 11 a.m. and 4 p.m.). The old Philharmonie - originally a roller-skating rink - with its wonderful acoustic for both the orchestra and the audience was flattened by bombing during the night of 29/30 January 1944. At first the orchestra played in the rebuilt opera house; when that was destroyed for the second time, they moved into the Admiralspalast. The orchestra and their conductor accomplished miracles. Something about the concerts took your breath away, raising you up into a world of splendor which allowed you to forget everything mean, everything that made you despair. There is no comparison between those concerts and festival events nowadays, "five-star" though they may be.
For me personally there was something extra; I got to know Wilhelm Furtwängler in 1941, and we were married quietly in 1943.
When I visited Sender Freies Berlin in January 1988 to hear some of the tapes that had come back from Moscow, the past suddenly stood vividly before me again. I was deeply moved. The orchestra had played with total dedication: after all, every concert might have been the last. The audience, too, was unusual. Its members had often had to clamber over piles of rubble to get there at all, and from 1943 onwards the concerts were frequently interrupted by air-raid warnings. I met a friend on one occasion, who I had heard had been bombed the night before, and greeted him with the hope that the news, as it appeared, had been wrong. "No, I was bombed last night all right, but in the circumstances what could I do that would be more worthwhile than coming to a Furtwängler concert?" The journalist Rudolf Pechel, one of the few people to survive the concentration camps, said later that the Resistance went to the Furtwängler concerts. Certainly there were many who did, who lost their lives or went into hiding after the failed at tempt to assassinate Hitler on 20 July 1944; Furtwängler was a personal friend of some of them, like Ulrich von Hassell and Count Bernsdorf, who was shot in the neck in 1945.
I should like to quote Boleslav Barilog here, later intendance of the Berlin theatres: "A Furtwängler concert every week or two weeks was a reason for staying alive." How quickly those days were forgotten was brought home to me by an article published in Die Zeit on 14 October 1988, under the headline "The Last Tape". After hearing the broadcast of the concert of 12 January 1944 - that is, the last before the bombing of the old Philharmonie - the journalist wrote: "What sort of music is this? Beautiful, fantastic in a way I've never heard before … and full of horror", and then he let his imagination run riot, and painted a picture of the elegant audience, ladies in evening dress, lots of uniforms and swastikas. Grotesque and ill informed! He recognized the uncommon effect of these concerts, certainly, but he drew the wrong conclusion.
Soething survived: those dark days gave birth to an artistic achievement of the highest order…

標　　題：DG福特萬格勒大戰期間錄音再版CD上市
發 表 人：blue97(blue97.tw)
發表時間：2001/10/26 13:27:17

按唱片行說法已經到貨，
各家店最近已經陸續上架，
10年前向隅的樂迷這回不要再猶豫了。
倘若您已經有DG過去發行的33張日版CD，
那些重複的部分，可以拿去餵二手CD店。

標　　題：福特萬格勒的藝術採低價位發行
發 表 人：blue97(blue97.tw)
發表時間：2001/10/26 15:40:31

9CD，大概不到一千八吧？
（我忘了低價位現在賣多少？）

標　　題：Re:福特萬格勒的藝術採低價位發行
發 表 人：dragon(idarlwang)
發表時間：2001/10/26 16:37:41

>※ 引述<blue97(blue97.tw)>之銘言：
>9CD，大概不到一千八吧？
>（我忘了低價位現在賣多少？）

報告大大：
我已經拿到了。
平均一張約nt$180左右。

另有一私人事，
下週二我有事要到松山高中附近，
需要幫您買TFK的ECC189（6DJ8同等管）帶過去嗎？？？

標　　題：福特萬格勒與德奧大師的黃金時代
發 表 人：blue97(blue97.tw)
發表時間：2001/11/02 12:17:34

日本Dreamlife最近又推出一張DVD，
介紹福特萬格勒與德奧大師的黃金時代錄影，
包括福特萬格勒1951年與VPO的貝多芬第九片段，
費雪演奏莫札特26號協奏曲（可到我的公事包下載片段），
Knappertsbusch在1942年演出的貝多芬第九片段等，
尤其是後者，是相當貴重的紀錄，
過去在LD時期曾出版過，Kna唯一的貝九演出流傳。

DVD一張定價5800日幣，不便宜，台灣代理不曉得有沒有眼光進口？

標　　題：Re:福特萬格勒與德奧大師的黃金時代
發 表 人：blue97(blue97.tw)
發表時間：2001/11/02 12:18:39

>※ 引述<blue97(blue97.tw)>之銘言：
>日本Dreamlife最近又推出一張DVD，
>介紹福特萬格勒與德奧大師的黃金時代錄影，
>包括福特萬格勒1951年與VPO的貝多芬第九片段，
>費雪演奏莫札特26號協奏曲（可到我的公事包下載片段），
>Knappertsbusch在1942年演出的貝多芬第九片段等，
>尤其是後者，是相當貴重的紀錄，
>過去在LD時期曾出版過，Kna唯一的貝九演出流傳。
>
>DVD一張定價5800日幣，不便宜，台灣代理不曉得有沒有眼光進口？
>

補充一點，這張DVD與今年四月間日本福特萬格勒協會出版的DVD，
在內容上完全相同，也就是當時協會號稱有未曾發表的錄影，
如今不用加入該會也有辦法分享，
讓該會會員僅享受幾個月的獨佔權利。

標　　題：日本福特萬格勒協會網址
發 表 人：blue97(blue97.tw)
發表時間：2001/11/26 16:02:45

http://www.furtwangler.gr.jp/

台灣呢？會有這種協會嗎？

標　　題：日本福特萬格勒協會新SP復刻CD
發 表 人：blue97(blue97.tw)
發表時間：2001/11/28 06:01:55

日本福特萬格勒協會頒佈新SP復刻CD，
內容為福特萬格勒在1942年錄製的布魯克納七號第二樂章，
另有「指揮棒與軍靴」（The Baton and Jackboot）一書日文全譯本，
再加上一張名為「英雄交響樂」的DVD。
詳細內容請參閱該協會網站：
http://furtwangler.gr.jp/

標　　題：EMI再版的福特萬格勒貝多芬全集評論（Jed Distler）
發 表 人：blue97(blue97.tw)
發表時間：2001/12/04 09:28:26

The chief concern here for collectors is how EMI's latest remasterings of its Furwängler Beethoven cycle compare to previous ones. Symphonies One, Three, Four, Five, Six, and the live Bayreuth Ninth have marginally more bloom and less stridency on top, with richer, more defined bass response. The Seventh is slightly cleaner, while the relatively poor sound of the live Second and Eighth are heard to their best advantage. If you already own EMI's earlier Références Furtwängler Beethoven edition, there's no need to replace it. But if you're buying these recordings for the first time, this is the set to get, and it now takes up less shelf space. Contrary to received opinion, there are no fundamental differences between Furtwängler's studio Third, Fifth, and Sixth and their numerous live counterparts. True, the live versions (whether played by the Vienna or Berlin Philharmonics) boast flights of fanciful phrasing plus local dynamic and color effects unique to the occasion. Yet, by and large, the studio versions are more disciplined ensemble-wise, better engineered, and thus more conducive to repeated listening. Conversely, the famous 1951 Bayreuth Ninth yields to the altogether superior 1954 live Lucerne Ninth with the Philharmonia Orchestra. The Philharmonia simply outplays its Bayreuth colleagues section for section. Compare, for example, the horns in the slow movement, the winds in the scherzo, or the finale's cello recitatives and you'll hear what I mean. I also find the Furtwängler/Vienna 1954 Seventh from Salzburg (Orfeo) more exciting yet tightly controlled and benefiting from superior sound. In any event, EMI also has released these five discs individually for those who don't wish to go the whole hog. Richard Osborne's annotations are remarkably frank and informative.

Jed Distler

標　　題：SWF即將發行Beethoven 1943-49
發 表 人：blue97(blue97.tw)
發表時間：2001/12/20 22:52:04

SWF（法國福特萬格勒協會）通知，2002年即將發行的新CD內容敲定，
名稱為Beethoven 1943-49。
包括
2 1/2 Quatrieme Symphonie de 1943, Coriolan de 1943, Concerto pour violon avec Erich Roehn, Egmont et Cinquieme symphonie du 27 mai 1947, Leonore II de 1949

標　　題：Furtwangler指揮Mozart歌劇
發 表 人：will(willju9879)
發表時間：2001/12/27 13:05:29

EMI有費加洛婚禮和唐喬望尼兩部，
其中費加洛婚禮是德文版。

有家人有這兩套嗎？
能否談一談？錄音、詮釋......等等

費加洛婚禮本來不就是用德文寫的嗎？
印象中Mozart想用方言創作一部歌劇，
後來的成果是費加洛婚禮？還是後宮誘逃？
（恕小弟健忘）

身為Furtwangler的愛好者，
沒買過他的Mozart似乎有點對不起他 :p
雖然他的Beethoven買了一堆...

標　　題：Re:Furtwangler指揮Mozart歌劇
發 表 人：blue97(blue97.tw)
發表時間：2001/12/27 17:10:33

>※ 引述<will(willju9879)>之銘言：
>EMI有費加洛婚禮和唐喬望尼兩部，
>其中費加洛婚禮是德文版。
>
>有家人有這兩套嗎？
>能否談一談？錄音、詮釋......等等
>
>費加洛婚禮本來不就是用德文寫的嗎？
>印象中Mozart想用方言創作一部歌劇，
>後來的成果是費加洛婚禮？還是後宮誘逃？
>（恕小弟健忘）
>
>身為Furtwangler的愛好者，
>沒買過他的Mozart似乎有點對不起他 :p
>雖然他的Beethoven買了一堆...
>

費加洛婚禮的序曲很精彩，錄音史上大概再也見不到如此即興的演奏，
但聽慣義大利語版，
聽德文版坦白說很不習慣。
就費加洛婚禮此部歌劇的特色來分析，
Furtwangler版呈現的是很極端的面貌，
老克萊巴的版本的風格倒是比較貼近莫札特此齣作品。

標　　題：Orfeo新發行福特萬格勒CD
發 表 人：blue97(blue97.tw)
發表時間：2002/03/07 11:06:50

Orfeo最近推出幾款卡司很強的CD，包括Kna的布魯克納第三、第八、第九，樂團是Bavarian State Orchestra ，日期分別為1954.10.11、1955.12.5、1958.2.10，錄音地點在慕尼黑。
如果各位要比較過去的出版記錄，請連結以下網站：
http://www.syuzo.com/angel/kna.html

此外，Orfeo還發行福特萬格勒的錄音，包括1951年10月在1951年在Stuttgart的海頓第八十八號交響曲，1951年10月29日一整場在慕尼黑的錄音，演出布魯克納第四、貝多芬Coriolan序曲、舒曼第一號，樂團都是維也納愛樂。兩場演出相隔一週。

最後一個令人矚目的出版則是華爾特指揮Bavarian State Orchestra 的馬勒第一號及舒伯特第八號，這兩場演出都是首度發行正規盤，1950年10月2日的錄音。華爾特的馬勒第一共有六次錄音，1950年就佔了兩次。10月這個版本在日本私人盤曾流傳過。未完成也曾留下七次錄音，50年版則是1950年初唯一的一次演出紀錄，距離1958年在CBS的正式盤整整八年光景。