Note, for example, how Szell's breathtakingly fast tempo for the "Haffner" Symphony's finale never seems even slightly rushed. Then there's the uncanny dovetailing concertmaster Rafael Drurian and violist Abraham Skernick achieve throughout the Sinfonia concertante, the high-alert podium support framing Leon Fleisher's imaginative romp through K. 503's outer movements, and the shapely unanimity that distinguishes rapid unison string passages, such as in the Marriage of Figaro Overture.

As a bonus, Sony includes Szell's 1955 mono recordings of the last three symphonies (all new to CD). Both the E-flat (K. 543) and G minor (K. 550) generally seem more animated and spontaneous next to their better-known stereo remakes. But the stereo "Jupiter" (K. 551) benefits from a more flowing, forward moving slow movement, warmer, more varied string tone (compare both Menuets and hear for yourself), and a sophisticatedly aligned, powerfully inflected finale that few conductors have equaled on disc.

Although Szell played down his keyboard prowess in later years, his 1946 quartets (with members of the Budapest String Quartet) and 1967 sonata collaborations with Drurian reveal all the skill and authority of a seasoned, full-time pianist. The collection's lone non-Szell disc features his assistant Louis Lane presiding over a marvelous D major Divertimento K. 334, the "Lacrimosa" from the Requiem led by Robert Shaw, and a rather inconsequential 1946 recording of Erich Leinsdorf conducting the C major Minuet K. 409. It goes without saying that anyone interested in what must be the definitive Szell/Mozart edition should take Sony's "limited edition" tag seriously and act fast.

--Jed Distler, ClassicsToday.com