For the "Ouverture spirituelle", featuring sacred music within the Salzburg Festival, Nikolaus Harnoncourt chose two seldom heard works by Mozart. Together with the Arnold Schoenberg Chor and his Concentus Musicus Wien ensemble, he conducts the Litaniae de venerabili altaris sacramento K.243 and the Missa longa in C major K.262 in the unique venue that is Salzburg Cathedral, a jewel of Baroque architecture. These two highly expressive works were written by Mozart when he was a mere twenty years old.
Allan Pettersson composed his Ninth Symphony in 1970, two years after the Seventh had been given a triumphant première conducted by Antal Dorati. This had brought him greater recognition than ever before, but at the same time his health was deteriorating even further, and shortly after completing the Ninth Pettersson was hospitalized for a period of nine months. It is striking that he at such a time should have chosen to compose what is the longest of all …..
Among the symphonies by Allan Pettersson, the Seventh is often accorded a special importance, partly because of the immediate success it enjoyed at its first performance, in 1968, but also because it has come to be perceived as more closely associated than other works with the personal life of its composer. As a result, Symphony No.6, which was premièred less than a year before the seventh, has come to be overshadowed by its successor. It is …..
"…Recorded in 1955 and 1958, respectively, these performances with the phenomenal Boston Symphony Orchestra sound magnificent with the spacious separation and the close simulation of a real orchestral environment made possible by DSD and multichannel remastering. Beyond the superb audio quality, these recordings are fascinating documents of Münch's elegant interpretations of Schubert…."
Admirers of Karajan will probably own most or all of these symphony cycles from what was probably the pinnacle of the conductor's prolific career. However, if you are unfamiliar with Karajan's work, or well enough acquainted with it to desire further exploration, then this amazingly inexpensive anthology can be enthusiastically recommended. I purchased all of these sets when they came out in DG's previous mid-priced "Karajan Symphony Edition," and I can testify to their consistently oustanding quality, both as performances and as interpretations. As recordings, however, it must be admitted that the sound is of variable quality; sometimes admirably vivid and well balanced, but frequently tending toward harshness, even garishness–particularly in those which come from the early digital era (cf. Bruckner's symphonies 1-3). Too bad Universal didn't see fit to give this magnificent legacy a sonic facelift. Still, the performances are sufficiently worthy of your attention to warrant purchase regardless of these sonic limitations.
Mozart's Missa brevis was well done but this Requiem lacked strength and passion. Colin Davis and the London Philharmonic performed an earlier work which still stands out for me.
The French composer Antoine Dard doesn't have an entry in the New Grove. As this encyclopedia contains information about many composers who are unknown to the music loving public at large we can safely say that he is really unknown. […]
Kristin von der Goltz […] plays the six sonatas  in a version for cello. This was indicated in the advertisement which announced the publication of the sonatas: "6 sonatas for bassoon (…) It is said that these sonatas are unique amongst their kind, and can also be successfully played on the violoncello". That is what Kristin von der Goltz impressively proves on this disc. […] (Johan van Veen, musica-dei-donum.net, 2009)