“This was an original four-channel recording from the "quad" days; and, as usual, the PentaTone producers and engineers have not tampered with it, respecting the artistic integrity of the original master tapes. The strings are spread across a soundstage with adequate width. The woodwinds sound forward yet still behind the strings, and the brass and timpani sound forth from the rear of the stage, using the hall's reverberation for maximum effect. The acoustics of the Concertgebouw are renowned, and the engineers have captured a warm acoustic that does not blur detail.”
---Rad Bennett, Soundstage (October 2003)


“Josef Krips, a conductor more autocratic than most, usually got what he wanted from an orchestra, and the one heard here, the Royal Concertgebouw of Amsterdam, is no exception. Here, Krips keeps things moving right along in performances that really bristle with excitement.”
---Dr. Phil Muse, Classik Reviews (December 2003)


“From 1972-1973 Josef Krips recorded all of the late Mozart symphonies beginning with No. 21. All of these are distinguished by superlative orchestral playing, but Krips' leisurely approach is far removed from the excitement built into the scores. Even Allegros and Prestos just plog along, albeit beautifully played. Volker Straus' production team well captured the warmth and resonance of the famed Concertgebouw. I enjoyed these performances in spite of Krips' slow tempi. All three of these works were on one LP; I understand these are the only Krips Mozart four-channel recordings which would explain the rather short playing time.”
---Bob Benson, www.classicalcdreview.com

“The recordings were made towards the end of the life of the former conductor of the London Symphony, Vienna State Opera and San Francisco Symphony. He had conducted Concertgebouw performances of some of Mozart’s later symphonies and word was that these performances were so unforgettable that Philips decided to record all of them. These two symphonies are named after probably the two most beautiful cities in Europe, are both in the same key, and are therefore frequently paired on recordings. The Prague drops the clarinets used in the Paris Symphony but is more festive in mood. A most worthwhile addition to the multichannel library of great music.”
--John Sunier, audiphile audition

“Krips’s distinguished readings of Mozart’s three-movement symphonies in D with a world-class orchestra warrant special interest for collectors with multiple speaker SACD systems. The recording, part of an incomplete Mozart symphony cycle the Austrian maestro made in the 1970s for Philips, has been beautifully remastered by Pentatone. Close your eyes and the illusion of being in the Concertgebouw is unmistakable.”
--Michael Fine, FANFARE