{"title":"Anton Dermota","description":null,"products":[{"product_id":"paco075","title":"FURTWÄNGLER Mozart: Die Zauberflöte, Symphony No. 39 (1951\/1944) - PACO075","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDie Zauberflöte\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 39 in E flat\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 9px;\"\u003eDie Zauberflöte\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 9px;\"\u003e Recorded Salzburg, 6 August 1951. Total duration: 2hr 51:54 \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 9px;\"\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 9px;\"\u003eSymphony No. 39\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 9px;\"\u003e Recorded Berlin, 8 February 1944. Total duration: 27:59 \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eWilma Lipp, \u003c\/b\u003eKönigin Der Nacht\u003cbr\u003e\u003cb\u003eIrmgard Seefried, \u003c\/b\u003ePamina\u003cbr\u003e\u003cb\u003eAnton Dermota, \u003c\/b\u003eTamino\u003cbr\u003e\u003cb\u003eVienna State Opera Chorus\u003cbr\u003eVienna Philharmonic Orchestra\u003cbr\u003eBerlin Philharmonic Orchestra\u003cbr\u003eWilhelm Furtwängler,\u003c\/b\u003e Conductor \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO075.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eTwo fabulous live Mozart recordings from Furtwängler\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eThe legendary 1951 Salzburg Magic Flute and his 1944 Berlin Symphony 39 sonically transformed!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eDie Zauberflöte \u003c\/b\u003eThat\n we have a recording of this superlative live performance at all is to \nan extent a matter of luck and good fortune. The original broadcast by \nAustrian Radio was apparently recorded, but the tapes were later \ndestroyed. Thus it has been reconstructed from off-air recordings, and \nas a result there are a number of additional hurdles to be jumped when \nrestoring such material. I have worked here from a secondary source. On \nthe whole this has been very successful - I've been able to rescue some \nfine sound quality, particularly in the musical sections. Some of the \nspeech sections, however, have suffered from very heavy-handed treatment\n before me, and it shows.\u003c\/p\u003e\u003cp class=\"body\"\u003eNevertheless, the overall impression is excellent. I've \nmanaged to greatly improve the general sound quality through 32-bit XR \nremastering , as well as deal with a number of wayward pitch issues \nwhich saw significant drifts up and down across the opera. A careful \nanalysis of the recording's residual electrical mains hum suggests an \noriginal tuning of somewhere around A=445, and it is to this pitch that \nI've tuned the final master.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eSymphony No. 39\u003c\/b\u003e This live recording was one of a \nnumber recorded during the Second World War for broadcast in Germany \nwhich ended up spending a number of years in the Soviet Union prior to a\n rash of reissues on different labels in recent years. The sound quality\n of the original was typically brash and harsh, making it quite a hard \nlisten (one reviewer of a previous issue referred to it as \"dismal\").\u003c\/p\u003e\u003cp class=\"body\"\u003ePristine's 32-bit XR remastering has made a huge \ndifference to this, and has really brought out the full and clear sound \nof Furtwängler's Berlin Philharmonic in a way previously unheard in this\n particular performance. It is one of those transformations which is \nboth stunning and - unfortunately - also revealing of some of the \ninsurmoutable faults of the original. There is inescapable peak \ndistortion in the louder sections, which also suggest a degree of \ncompression in the original recording, for example. It also feels odd to\n hear a Mozart symphony in the hands of such powerful forces as \nFurtwängler musters here. As with Die Zauberflöte there was clear \nevidence in the recording to suggest the orchestra was tuned to a pitch \nof A=445Hz.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eDie Zauberflöte\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Broadcast recorded at the Salzburg Festival, 6 August 1951\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"body\"\u003eTHE CAST\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003e\u003cb\u003eJosef Greindl\u003c\/b\u003e\u003cspan\u003e Sarastro\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eAnton Dermota\u003c\/b\u003e\u003cspan\u003e Tamino\u003c\/span\u003e\u003cbr\u003e \u003cb\u003ePaul Schöffler\u003c\/b\u003e\u003cspan\u003e Sprecher\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eFred Liewehr\u003c\/b\u003e\u003cspan\u003e Erster Priester\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eFranz Hobling\u003c\/b\u003e\u003cspan\u003e Zweiter Priester\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eWilma Lipp\u003c\/b\u003e\u003cspan\u003e Königin Der Nacht\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eIrmgard Seefried\u003c\/b\u003e\u003cspan\u003e Pamina\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eChristel Goltz\u003c\/b\u003e\u003cspan\u003e Erste Dame\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eMargherita Kenney\u003c\/b\u003e\u003cspan\u003e Zweite Dame\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eSieglinde Wagner\u003c\/b\u003e\u003cspan\u003e Dritte Dame\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eErich Kunz\u003c\/b\u003e\u003cspan\u003e Papageno\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eEdith Oravez\u003c\/b\u003e\u003cspan\u003e Papagena\u003c\/span\u003e\u003cbr\u003e \u003cb\u003ePeter Klein\u003c\/b\u003e\u003cspan\u003e Monostatos\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eHannelore Steffek\u003c\/b\u003e\u003cspan\u003e Erster Knabe\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eLuise Leitner\u003c\/b\u003e\u003cspan\u003e Zweiter Knabe\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eFriedl Meusburger\u003c\/b\u003e\u003cspan\u003e Dritter Knabe\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eHans Beirer\u003c\/b\u003e\u003cspan\u003e Erster Geharnischter\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eFranz Bierbach\u003c\/b\u003e\u003cspan\u003e Zweiter Geharnischter\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cb\u003e\u003cbr\u003e Vienna State Opera Chorus\u003cbr\u003e Vienna Philharmonic Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cb\u003e \u003cbr\u003e Wilhelm Furtwängler \u003c\/b\u003econductor \u003cbr\u003e \u003cbr\u003e \u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eSymphony 39 in E flat major, K543\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Broadcast performance recorded at the State Opera House, Berlin, 8 February 1944\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eBerlin Philharmonic Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e Wilhelm Furtwängler \u003c\/b\u003econductor \u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBroadcast performances, Salzburg 1951, Berlin 1944\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, March 2012\u003cbr\u003eCover artwork based on a photograph of Wilhelm Furtwängler and The arrival of the Queen of the Night - stage set by Karl Friedrich Schinkel (1781–1841) for an 1815 production. Gouache, Stiftung Preußischer Kulturbesitz, Staatliche Museen, Berlin.\u003cbr\u003eDie Zauberflöte Recorded Salzburg, 6 August 1951. Total duration: 2hr 51:54\u003cbr\u003eSymphony No. 39 Recorded Berlin, 8 February 1944. Total duration: 27:59\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO075.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO075.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Gramophone Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"body\"\u003e\"This is an antidote, perhaps too strong a one, to the \nswift, period-instrument versions to which we have been growing \naccustomed. Furtwängler's reading is deliberate, spiritually inclined, \nromantic in the extreme with long \u003cem\u003erallentandos\u003c\/em\u003e at cadential \npoints, stretching his singers to their limits yet, paradoxically, never\n becoming heavy because of the translucency of the playing. Whether his \napproach is 'right' or 'wrong' seems irrelevant in the light, and that \nis the right word, of the conductor's deep empathy with the depth and \nsincerity of the score's serious side— listen to the sense of conviction\n in the Priests' chorus. His reading also leaves room for the orchestra,\n intricately rehearsed, to project the details in the score, as for \ninstance, the pizzicato underlying the announcement of the three Boys, \nor the rnarcato in the upward string figure accompanying the second half\n of \"\u003cem\u003eIn diesen heil'gen Hallen\u003c\/em\u003e\". And would one really ask for a faster tempo for \"\u003cem\u003eBei Mannern\u003c\/em\u003e\" when Furtwängler's allows his Pamina and Papageno to sing it with such breadth and warmth?\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eAnd what a Pamina and Papageno we have here. Seefried \nand Kunz took those roles in the roughly contemporaneous EMI recording \n(November 1950) under Karajan, but there they were in a studio \nenvironment and not permitted any dialogue. Here, in the context of a \nlive performance at the Salzburg Festival, their interpretations are \nthat much more involving. Kunz, in particular, benefits; his is an \nendearing, light, smiling, unforced account of the birdcatcher's words \n(delivered in an \u003cem\u003eecht\u003c\/em\u003e Viennese accent) and music. It is one of \nthe most persuasive performances of Papageno on disc. Seefried's appeal \nin her role is well-known, and she is here at her most glowing and \nfervent, even managing the conductor's very slow speed for her G minor \naria. This being virtually the Vienna cast of the day, Dermota is again \nher Tamino, so smooth and fluent, yet characterful in his traversal of \nthe part, observing all the Mozart verities, even when sorely pressed by\n his conductor to maintain his line. What Innigkeit he brings to the \nscene with Pamina before the trials!\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eLipp's Queen of Night is not quite as fluent as for \nKarajan in the studio, with moments of variable pitch in her second \naria. Greindl, Salzburg's Sarastro over many years, also has his \nintonation problems, but presents a noble, grave portrait, very much in \nkeeping with, and trained to, his conductor's ideas. Klein's Monostatos \nis suitably vicious. We are consoled for a somewhat squally trio of \nLadies by the ethereal purity and beauty of the Boys, led by the young \nSteffek.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThe sound is on a par with the Furtwängler\/ EMI \u003cem\u003eFidelio\u003c\/em\u003e\n (12\/93) of the previous year, which means occasional distortion in the \nsoprano voices, a few stage noises and a deal of applause at the end of \nnumbers. However, considering this radio tape is not the original (which\n was destroyed) but one privately made and in the collection of the \nconductor's widow, the sound is truly remarkable. Even in those early \ndays, Austrian Radio achieved an excellent balance between stage and \npit. As with \u003cem\u003eFidelio\u003c\/em\u003e, we are once more present at a historic \noccasion, and share a tradition virtually lost today. It won't be \nanyone's first choice, yet I would put aside many more recent recordings\n in favour of this one. I even prefer it to the classic 1937-8 Beecham \nand 1964 Klemperer versions, set in the same mould, simply because it is\n live and includes dialogue, without which any \u003cem\u003eZauberflöte\u003c\/em\u003e is, for me, incomplete.\"\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eAlan Blyth, Gramophone \u003c\/b\u003eJanuary 1996 (EMI CD issue)\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":33844468365,"sku":null,"price":48.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":33844468429,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":33844468493,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":33844468557,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO075.jpg?v=1489155433"},{"product_id":"paco001","title":"KRAUSS Strauss: Die Fledermaus (1950) - PACO001","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cb\u003eJ STRAUSS II\u003c\/b\u003e Die Fledermaus\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr data_liveedit_tagid=\"000000000D7722F0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 1950\u003cbr\u003eTotal duration: 1hr 32:28\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb data_liveedit_tagid=\"000000000D7755A0\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eSoloists\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr data_liveedit_tagid=\"000000000D7756D0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eVienna State Opera Chorus\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eConductor: \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eClemens Krauss\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e\u003cbr\u003e\u003cp data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 30px;\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO001.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eKrauss's classic 1950 Decca Fledermaus\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eSuperb transfer from Peter Harrison\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\" align=\"left\"\u003eIn their 1956 book, \u003cem\u003eThe Record Guide\u003c\/em\u003e,\n Edward Sackville-West and Desmond Shawe-Taylor, not a pair to mince \ntheir words, sit on the fence or hold back from expressing an opinion, \nwrote of this recording:\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003e\"It is scarcely possible to imagine a more delightful pair of records than the complete Decca \u003cem\u003eFledermaus\u003c\/em\u003e.\n There is no spoken dialogue, but a virtually uncut performance recorded\n with good balance and a wonderful bloom on the vocal and orchestral \ntone. No better conductor could have been found for this delectable \nscore than Clemens Kraus; he handles the detail with as much care as \nthough it were Mozart...an almost incredible delicacy... Perhaps the \ngreatest musical pleasure comes from Julius Patzakand Hilde Gueden \u003cem\u003e[right, as Rosalinde]\u003c\/em\u003e: their duet in the second act \u003cem\u003e[Dieser Andstand]\u003c\/em\u003e...is\n particularly ravishing. Apart from its musical and technical \nexcellence, the recording has captured to a remarkable degree the \nillusion of a stage performance... This is one of the best opera sets \nyet published in England.\"\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003ePristine Audio is delighted to bring you an\n incredible brand new transcription and restoration of these discs from \nthe golden ears of Peter Harrison of \u003cem\u003edisk2disc\u003c\/em\u003e. When I put it to Peter that Sackville-West and Shawe-Taylor seemed to like it quite a lot, he replied: \u003cem\u003e\"So do I - and I have five other recordings of it! The only one that comes close is a DVD with Carlos Kleiber.\"\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eThis really is a masterful recording, \nlovingly restored from near-mint original vinyl, and sounding gorgeous -\n in this his first commercial remastering for Pristine Audio, Peter \nHarrison truly excelled!\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003e\u003cb\u003eNB.\u003c\/b\u003e \u003cem\u003eIn January 2010 we prepared \nan Ambient Stereo version of this recording, which was among Pristine's \noriginal set of twelve releases for our launch in February 2005. We also\n took the opportunity at this time to upgrade the MP3 files to a maximum\n possible 320kbps resolution and to make additions and minor \nmodifications to the cover notes.\u003c\/em\u003e\u003c\/p\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e\u003c\/em\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\u003cli\u003e\n\u003cb\u003eJ. STRAUSS II \u003c\/b\u003eDie Fledermaus\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\n\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e \u003cbr\u003eJulius Patzak \u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e - \u003c\/span\u003e\u003c\/b\u003eGabriel von Eisenstein\u003cbr\u003e \u003cb\u003eHilde Gueden \u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e - \u003c\/span\u003e\u003c\/b\u003eRosalinde\u003cb\u003e\u003cbr\u003e Kurt Preger - \u003c\/b\u003eFrank\u003cb\u003e\u003cbr\u003e Sieglinde Wagner - \u003c\/b\u003ePrince Orlofsky \u003cb\u003e\u003cbr\u003e Anton Dermota - \u003c\/b\u003eAlfred\u003cb\u003e\u003cbr\u003e Alfred Poell - \u003c\/b\u003eDr. Falke \u003cb\u003e\u003cbr\u003e August Jaresch - \u003c\/b\u003eDr. Blind \u003cb\u003e\u003cbr\u003e Wilma Lipp - \u003c\/b\u003eAdele\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eVienna State Opera Chorus\u003c\/b\u003e\u003cbr\u003e \u003cb\u003eVienna Philharmonic Orchestra \u003c\/b\u003e\u003cbr\u003e Conductor \u003cb\u003e Clemens Krauss \u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded: 16-22 September 1950, Musikvereinsaal, Vienna\u003cbr\u003eReleased as Decca LXT 2550-2551\u003cbr\u003e Producer: Victor Olaf\u003cbr\u003e Engineer:Cyril Windebank\u003cbr\u003e Location: Grosser Saal, Musikverein, Vienna\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO001.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO001.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":33989697037,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":33989697101,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320 kbps Mono MP3","offer_id":33989697165,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO001.jpg?v=1489417316"},{"product_id":"paco010","title":"SCHERCHEN Bach: B Minor Mass (1950) - PACO010","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cb\u003eJ. S. BACH \u003c\/b\u003eMass in B minor, BWV.232\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr data_liveedit_tagid=\"000000000D7722F0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded in 1950\u003cbr\u003eDuration: 2hr 04:40\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eEmmy Loose\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (soprano)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eHilde Ceska\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (soprano)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eGertrud Burgstaler-Schuster\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (contralto)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eAnton Dermota\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (tenor)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eAlfred Poell (\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003ebass)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eVienna Akademie Kammerchor\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eVienna Symphony Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003econductor: \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eHermann Scherchen\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fBill Rosen's Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fNone, for me, has ever touched the infinite the way his does578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: medium;\"\u003eMy\n grandmother gave me $15 in 1951 for my 19th birthday. She told me to \nspend it on some good music. I was in college at the time and I rather \nbrashly asked the choir director, \"What is the greatest piece of music \never written?\" With not much hesitation, he answered, \"The Bach B Minor \nMass\". At the time, I was very much into classical music, but I was \nquite unfamiliar with Bach or Handel or the Baroque style. Nonetheless, I\n went to the largest record dealer in Los Angeles and bought the \nWestminster recording of Hermann Scherchen's performance of the B Minor \nMass. \u003cbr\u003e\u003cbr\u003eWhen I played it, I was horribly disappointed. I couldn't \nmake head or tails out of it. I thought the music was harsh, unmelodic, \nweird. I was tempted to return it. I particurly hated the long, opening \nKyrie. The orchestration with the harsh trumpets I thought primitive and\n brutal. I made several more attempts, but finally put the album away in\n a drawer.\u003cbr\u003e\u003cbr\u003eAbout six months later, our college (UCLA) chorus \nbegan to rehearse the Mozart Requiem. I was utterly taken with the great\n fugue (Kyrie Eleison) and its repetition at the end of the work. I was \nso entranced with the music that I couldn't get it out of my mind. I \ndecided to take the Bach B Minor out and give it another listen and \nsuddenly I understood it and felt it. I played it over and over and I \ncould hear nothing else for a while (although we kept rehearsing the \nMozart). Since then (I was 20), the Bach B Minor Mass and especially the\n opening Kyrie has always appeared to me as the acme of musical \nspirituality. The first voice of the opening fugue has always seemed not\n music, but a pulse of the universe.\u003cbr\u003e\u003cbr\u003eIn the ensuing 53 years I \nhave collected many B Minor Masses, many much more finely recorded than \nthe Scherchen. But none, for me, has ever touched the infinite the way \nhis does.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: medium;\"\u003eReviewer: Bill Rosen\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO010.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eScherchen's 1950 classic Bach B Minor Mass\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eWhen Bill Rosen's Bach LPs arrived it was with some trepidation that I\n began the restoration. Bill had generously offered to start a \nsponsorship scheme with a recording which is perhaps the most dear to \nhim. I took the first LP out of its polythene sleeve, carefully cleaned \nit and placed it on the turntable, apprehensive of the six sides I had \npromised to work on. \u003cbr\u003e\u003cbr\u003eThe stylus lowers gently onto the treasured\n vinyl and the opening Kyrie eleison begins. I am horrified. The sound \nis dreadful - as if the master tape had been thoroughly mangled, chewed \nand spat out by a particularly unruly tape machine (which I suspect it \nhad). The prospect of two hours of this is terrifying. \u003cbr\u003e\u003cbr\u003eAnd then,\n after about 36 seconds, a silence - a pause - and the orchestra comes \nin perfectly, and I breathe a sigh of relief. Although the condition is \nto be revisited more mildly for a couple of seconds later in the same \nside, there is otherwise no repeat of it. \u003cbr\u003e\u003cbr\u003eIt took me five days \nof work, on and off, to correct those opening few bars to the degree you\n can now hear. Had the entire recording been in a similar condition I'd \neither be working on it still, or more likely locked up! \u003cbr\u003e\u003cbr\u003eI \ndecided therefore to make the full 15'50\" of this opening available as \nour sample movement - I hope you'll enjoy it as much as both Bill and \nnow I do.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eJ. S. BACH \u003c\/b\u003eMass in B minor, BWV.232\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003eRecorded in 1950\u003cbr\u003e\u003cbr\u003eReleased as 3 Westminster LPs: WL 50-37 - 50-39\u003cbr\u003eDuration: 2hr 4:41\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eCD1:\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003e 64:06  \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e    \u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eCD2: 60:35\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eEmmy Loose\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (soprano)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eHilde Ceska\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (soprano)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eGertrud Burgstaler-Schuster\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (contralto)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eAnton Dermota\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (tenor)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eAlfred Poell (\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003ebass)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e Vienna Akademie Kammerchor\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e Vienna Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e conductor: \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eHermann Scherchen\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover 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only in plastic sleeve (+MP3)","offer_id":40478109581,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO001.jpg?v=1782979844"},{"product_id":"pasc564","title":"WALTER conducts Mozart: The Pre-War Recordings (1928-38) - PASC564","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eSymphony Nos. 38 – 41\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003ePiano Concerto No. 20\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eEine Kleine Nachtmusik\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eRequiem\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eOvertures and Dances\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio Recordings, 1928 – 1938\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal Duration: 3hr 43:44\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eElisabeth Schumann\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eEnid Szánthó\u003c\/b\u003e, contralto\u003cbr\u003e\u003cb\u003eAnton Dermota\u003c\/b\u003e, tenor\u003cbr\u003e\u003cb\u003eAlexander Kipnis\u003c\/b\u003e, bass\u003cbr\u003e\u003cbr\u003e\u003cb\u003eVienna Philharmonic Orchestra\u003c\/b\u003e et al\u003cbr\u003econducted by \u003cb\u003eBruno Walter\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare magazine review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis discographic landmark warrants my highest possible recommendation578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eBruno Walter remains acknowledged as one of the \nleading Mozartians of the early-to-mid 20th century. (To place my own \ncards on the table, I would unreservedly say he was the supreme \nMozartian of the entire century.) The recordings collected here are \ngenerally quite famous, and most of them have been issued multiple times\n on CD on various labels. Yet, until now, virtually all of those issues \nhave been cruelly disappointing affairs. Depending on which sound \nengineer applied ham-handed butchery with reprocessing software, top \nfrequencies have been shorn off altogether, bottom ones pumped up into \nsonic mud, and\/or the mid-range slathered over with artificial \nreverberation. Or, on the opposite end of the scale, labels such as \nPearl and Opus Kura have issued unprocessed transcriptions of the \noriginal 78-rpm discs with enough surface noise, hiss, and crackle to \ndrive Rice Krispies out of the breakfast cereal market. The only \nexceptions were on Japanese EMI LPs from the 1970s (a number of which I \nstill own and treasure), which were laudable for the exquisite quality \nof the vinyl as well as the meticulous care taken with the transfers, \nand a long out-of-print four-CD set on Lys of Walter’s pre-war \nelectrical recordings of Mozart and Haydn, which provided solid though \nnot exceptional transfers (but first-rate documentation) and did not \ninclude the live Requiem offered here. (I also wish to correct a \nstatement I made in a review back in 37:5—on what basis I no longer \nrecall—that the Lys transfer of the Symphony No. 40 is flat. Obert-Thorn\n is meticulous in matters of correct pitching as well as other matters, \nand the timings for the older Lys transfer and his are identical.)  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThankfully, the sonic drought for these recordings\n is now at an end. Mark Obert-Thorn is justly famed for the elite \nquality of his remasterings, but this may well be his finest work on \nanything to date. Sonically, the results here have far exceeded my \nfondest hopes and even wildest dreams for what might be possible with \nthem. For all but a couple of older items, surfaces and background noise\n are almost whisper-quiet, yet with absolutely no impairment of \nfrequency ranges or dynamics. On the contrary: These performances now \nvirtually leap out of the speakers with all sorts of harmonics, inner \nvoicings, and instrumental colors now appearing with astonishingly \nvibrant presence and brilliance. The results are nothing less than \ntransformative, not only sonically but also in terms of re-evaluating \nrecordings that seemed thrice familiar but now emerge in an entirely new\n light.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eObert-Thorn has arranged these works in optimal \norder to fit them onto three well-filled CDs. The first disc opens with \nthe four overtures, followed by the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThree German Dances\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n and then the Piano Concerto No. 20 and Symphony No. 38. The second disc\n contains the other three symphonies, and the third disc the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEine kleine Nachtmusik\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and Requiem. The only electrical recording not included here is the previous 1931 recording of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEine kleine Nachtmusik\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n with the British Symphony, which Pristine Audio previously issued along\n with all of Walter’s acoustical recordings (see my review of that back \nin 40:6). The Overture to\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Die Zauberflöte\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n that opens this set is the oldest recording featured here, dating from \n1928. The Columbia disc has some extra surface noise and is a bit \ndull-sounding, but that does not inhibit the grandeur and gravity (free \nfrom all ponderousness) of Walter’s conception from coming through, with\n the tang of the French instrumentalists adding some piquant color. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFigaro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Overture from 1932, as with virtually all of Walter’s studio and live \naccounts of this piece, bristles with febrile energy at a brisk pace. \nBut the real musical gold, both sonic and interpretive, comes with the \nseries of Vienna Philharmonic recordings that follows, made between \nDecember 1936 and January 1938. The Overture to\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e La clemenza\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n could serve as an object lesson to modern HIP performances for pointed \nclarity, precisely chiseled phrasing, and depth of emotional expression.\n That to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa finta giardiniera\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is utterly charming—it’s hard to believing that less than two months \nlater the Nazis were marching down the streets of Vienna and Walter was a\n displaced exile—as are the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThree German Dances\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, served up with a glorious dollop of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSchlagsahne\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n on top. While all the other works in this set have multiple \nrepresentations in Walter’s discography, these are the only recordings \nwe have by him of these two overtures.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Piano Concerto No. 20 occupied a special place\n in Walter’s repertoire. Originally, before he elected to make his \ncareer as a conductor, Walter intended to become a concert pianist. \nAlthough his podium duties precluded much regular practice, Walter \nmaintained his keyboard skills enough to accompany some of his favorite \nsingers (Elisabeth Schumann, Lotte Lehmann, and Kathleen Ferrier) in \nconcert and the studio. This concerto was the one such work he kept in \nhis personal repertoire; in addition to this studio recording there \nsurvives a live performance with the NBC Symphony from 1939, plus \nperformances from 1950 and 1956 with Walter conducting the New York \nPhilharmonic and Rudolf Firkušný and Myra Hess as the respective \nsoloists. If Walter as a pianist does not command the subtle insights of\n those two keyboard masters, his is nonetheless a very satisfying \naccount—cleanly executed, light and transparent in texture, \nstraightforward and unfussy in interpretation. It is of particular value\n not only as a document of Walter the pianist, but also for the \ncompletely sympathetic collaboration with the Vienna Philharmonic, which\n gives the results a special cachet. On the third CD, the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEine kleine Nachtmusik\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n has rightly long been recognized as one of Walter’s finest achievements\n in the studio, utterly winsome and gracious if more full-bodied in \ntexture than current HIP accounts.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eOf the recordings of the four symphonies, those \nfrom Vienna of Nos. 38 and 41 predictably take pride of place. Walter \nessentially owned the “Prague” Symphony—as far as I’m concerned, he \nstill does—and this is an especially glorious rendition, radiating \nwarmth and geniality from every bar. The opening \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio-Andante\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e flows effortlessly from initial ceremonial pomp to scurrying bustle; the middle \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is a miracle of grace; the concluding \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePresto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n charms with elegant energy. Heretofore my favorite Walter account of \nthis score has been a live performance from 1956 with the New York \nPhilharmonic, with a frenetic finale that is almost incendiary, but now \nI’m not sure that this does not supplant it. The “Jupiter” likewise \nevinces ebullient spirits throughout; if the finale does not have the \nmagisterial grandeur of Walter’s stereo account with the Columbia \nSymphony, it still beguiles with incomparable elegance, and the lighter \ntread in the first three movements puts it well ahead of its stereo \nsuccessor in those. If the Symphony No. 39 with the BBC Symphony does \nnot quite match its Viennese sisters for elegance and charm (and the \nrecorded sound from 1934 is a shade less warm, particularly in the \nhigher frequencies), it is still a notable, stylish account in every \nway, at its best in the finale. It lacks only the sweetness of the \nAustrian strings, and an absolute \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eecht \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003efeel for Mozart’s music.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe recording of the Symphony No. 40—along with the Overture to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDie Zauberflöte\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n one of the two lesser-known items in this set—is the least felicitous \nperformance presented here. Recorded by Columbia in January 1929, it \nsuffers from intractably dull recorded sound and noisy shellac surfaces.\n Also, the work was one that Walter had added to his personal repertoire\n only three years earlier, at age 50; before then, he had felt too much \nreverence for the score to attempt to conduct it. Consequently the \ninterpretation, while it has all the basic outlines of his numerous \nsubsequent live and studio accounts (the best being the 1953 Columbia \nrecording with the New York Philharmonic), does not quite have the \n“lived-in” feel of the other works performed here, and feels a bit \ncareful and cautious.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis live 1937 performance of the Requiem, given \nat the Paris International Exposition, is one that I hitherto had \nwritten off as one of the great disappointments in the Walter \ndiscography; it had comes across as suffocatingly ponderous, with all \nthe soloists but Dermota being badly off form. Walter himself had \nrejected its planned commercial release, and it was not published intact\n until the CD era (though EMI belatedly issued it on LP in 1986). But \nwith access to an extremely rare set of vinyl 78-rpm test pressings, to \nwhich he has applied his remastering wizardry, Obert-Thorn here has \nmiraculously transmuted sonic water into aural wine. The entire \nperformance has far more presence, with many previously muffled \ninstrumental and choral lines now coming through clearly. Though still \nweighty, it now moves with inexorable momentum instead of plodding along\n with sluggish torpor. Perhaps the most radical improvement, however, \ncomes with the solo voices. Elisabeth Schumann, who previously had \nseemed fragile and wan, now has justice done to her radiant, uniquely \npure, flute-like soprano. While Alexander Kipnis remains too bullish in \nhis solo entrance at the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTuba mirum\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (and both he and the solo trombonist have intonation issues there), \nafter that he too is now heard to far greater advantage and flattering \neffect. Anton Dermota remains a prince of Mozart tenors, as before, and \nthe single most beautiful aspect of this performance. Only Kerstin \nThorborg seems off form here, or perhaps out of her proper Wagnerian \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFach\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e;\n she sounds somewhat hard-toned and a bit ungainly, and does not blend \nwell with the other quartet members, though hers is still obviously a \nmajor voice. If for various reasons this is not a first choice for a \nMozart Requiem even among Walter’s versions—that honor goes to the live \n1956 performances in its stellar refurbishment by Richard Caniell at \nImmortal Performances (reviewed by Henry Fogel in 41:4)—it is now quite \nestimable in its own right, and at last justifies its niche in the \nconductor’s discography.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn sum, this set is a triumph on every level—a \nveritable object lesson in Mozartean style as well as the art of sound \nrestoration. It should be acquired not only by all devotees of historic \nperformances, but by all lovers of Mozart’s music, even if they normally\n do not listen to recordings of such vintage. My one regret is that my \n2019 Want List is already so overflowing with candidates (a good 20 or \nmore) that I’m not sure I will be able to fit this set into that \ncategory. But whether it appears there or not—it certainly deserves \nto!—this discographic landmark warrants my highest possible \nrecommendation. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames A. Altena  \u003c\/span\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\n      \n    \n  \n  \u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 43:1 (Sept\/Oct 2019) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC564.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    The present set brings together nearly all of Bruno Walter’s pre-war\n    recordings of Mozart, including his unissued-on-78-rpm world première\n    recording of the \u003cem\u003eRequiem\u003c\/em\u003e. It duplicates all the works contained on\n    the 1991 EMI Références 3-CD set, and adds two recordings from the 1920s\n    omitted there: the overture to \u003cem\u003eDie Zauberflöte\u003c\/em\u003e and the Symphony\n    No. 40. The only items not included here are those which have already appeared\non Pristine releases: two acoustic Polydor overture recordings (\u003cem\u003eCosì fan tutte\u003c\/em\u003e and \u003cem\u003eIdomeneo\u003c\/em\u003e, reissued on PASC 142) and\n    earlier electric versions of the overture to \u003cem\u003eLe nozze di Figaro\u003c\/em\u003e\n    and \u003cem\u003eEine Kleine Nachtmusik\u003c\/em\u003e (PASC 492).\n\u003c\/p\u003e\n\u003cp\u003e\n    In an era which boasted such notable Mozart interpreters as Sir Thomas\n    Beecham, Arturo Toscanini and Fritz Busch, Bruno Walter stood out for his\n    distinctive approach, one which combined energy and forward momentum with\n    warmth and heartfelt affection. Walter’s Mozart was a Romantic-era\n    creation: he would often slow the tempo at the introduction of a second\n    subject; insert an extra beat before the Trio section of a Minuet; and vary\n    his tempi and dynamic levels to make an interpretive point, even if nothing\n    was explicitly indicated in the score. (Listen, for example, to the last\n    movement of \u003cem\u003eEine Kleine Nachtmusik\u003c\/em\u003e – straightforward on paper but\n    with so many personal touches in performance).\n\u003c\/p\u003e\n\u003cp\u003e\n    Two items here merit particular note. The first is Walter’s recording of\n    Mozart’s D minor Piano Concerto, K. 466, with the conductor also performing\n    the solo part. This was done at a time when it was even less common for\n    conductors to double as soloists than it is today. Walter’s original intent\n    was to be a concert pianist, a goal which changed the first time he heard a\n    performance of \u003cem\u003eTristan und Isolde\u003c\/em\u003e. But he continued to play\n    privately, and occasionally in public as an accompanist to lieder singers.\n    As late as the 1950s, Pablo Casals lamented that Walter had not kept up his\n    playing, as he thought him “a very great pianist”. In this performance, if\n    not “great”, Walter proves at least a very capable and sensitive\n    interpreter, and one who was able to get the Vienna Philharmonic to play\n    like chamber music collaborators.\n\u003c\/p\u003e\n\u003cp\u003e\nThe other noteworthy performance is the live recording of the    \u003cem\u003eRequiem\u003c\/em\u003e, made when the Philharmonic was on tour during the 1937\n    Paris Exposition. Its distinction lies not so much in its execution, which\n    by all accounts is rather variable (Walter himself rejected the recording,\n    citing “a trombone solo being not clear” and some “false” singing by the\n    solo quartet), but in its primacy as the first complete recording of the\n    work, as well as a chance to hear such legendary singers as Elisabeth\n    Schumann and Alexander Kipnis.\n\u003c\/p\u003e\n\u003cp\u003e\n    For the first time here, the original recording made by French HMV on\n    fifteen 78 rpm sides can be heard absolutely complete, from the opening\n    applause onward, with no cuts shortening the time between movements except\n    that between the \u003cem\u003eLacrimosa\u003c\/em\u003e and \u003cem\u003eDomine Jesu\u003c\/em\u003e. On the\n    original recording, there is more than four minutes of audience noise\n    during which Walter (and perhaps the soloists as well) apparently left the\n    stage, then returned to thunderous applause. This portion has been edited\n    out in the present transfer.\n\u003c\/p\u003e\n\u003cp\u003e\n    All of the issued Vienna recordings were transferred from pre-war US Victor\n“Gold” label pressings except for the first side of the    \u003cem\u003eGerman Dances\u003c\/em\u003e, which came from a British HMV copy because the\n    Victor release used a dubbed side. The \u003cem\u003eRequiem\u003c\/em\u003e was transferred\n    from vinyl 78 rpm test pressings. The Columbias came from American\n“Viva-Tonal” (\u003cem\u003eZauberflöte\u003c\/em\u003e Overture) and “Royal Blue” (    \u003cem\u003eNozze di Figaro\u003c\/em\u003e Overture) pressings. The Symphony No. 40 was\n    originally recorded at a very low volume level. As a result, when the\n    volume was increased for this transfer, the surface noise was also\n    increased. I used here an early laminated English Columbia copy, as it\n    proved to be less problematic than the more rumble-prone US Columbia “Royal\n    Blue” shellac pressings.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eBRUNO WALTER conducts MOZART: The Pre-War Recordings\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony Nos. 38 – 41\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ePiano Concerto No. 20\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eEine Kleine Nachtmusik\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRequiem\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eOvertures and Dances\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eStudio Recordings ∙ 1928 – 1938\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cdiv\u003e\n    \u003cp\u003e\n        \u003cstrong\u003e \u003c\/strong\u003e\n    \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 1 (73:11)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. \u003cstrong\u003eMOZART Die Zauberflöte, K. 620 – Overture\u003c\/strong\u003e (6:45)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003eMozart Festival Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 14 June 1928 in Paris\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: WAX 3841-1 \u0026amp; 3842-1 ∙ Columbia L 2549\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    2. \u003cstrong\u003eMOZART Le nozze di Figaro, K. 492 – Overture\u003c\/strong\u003e (4:08)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003eBritish Symphony Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 15 April 1932 in Central Hall, Westminster\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix: CAX 6387-2 ∙ Columbia LX 232\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e3. \u003cstrong\u003eMOZART La Clemenza di Tito, K. 621 – Overture \u003c\/strong\u003e(4:19)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 15 January 1938 in the Musikvereinsaal, Vienna\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix: 2VH 7047-2 ∙ HMV DB 6032\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e4. \u003cstrong\u003eMOZART La finta giardiniera,\u003c\/strong\u003e    \u003cstrong\u003e K. 196 – Overture \u003c\/strong\u003e(2:14)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 15 January 1938 in the Musikvereinsaal, Vienna\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix: 2VH 7048-2A ∙ HMV DB 6032\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003eMOZART Three German Dances\u003c\/strong\u003e\n    \u003cstrong\u003e, K. 605\u003c\/strong\u003e\u003cbr\u003e5. No. 1 in D major (1:30)\u003cbr\u003e6. No. 2 in G major (1:27)\u003cbr\u003e7. No. 3 in C major (“Sleigh Ride”) (2:38)\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 5 May 1937 in the Musikvereinsaal, Vienna\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix: 0VH 277-1A \u0026amp; 278-1A ∙ HMV DA 1570\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eMOZART Piano Concerto No. 20 in D minor, K. 466\u003c\/strong\u003e\u003cbr\u003e8. 1st Mvt. – Allegro (Cadenza: Reinecke) (13:21)\u003cbr\u003e9. 2nd Mvt. – Romance (7:59)\u003cbr\u003e10. 3rd Mvt. – Rondo (Allegro assai) (Cadenza: Reinecke) (6:17)\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003eBruno Walter (piano)\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 7 May 1937 in the Musikvereinsaal, Vienna\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix: 2VH 285-1, 286-1, 287-1A, 288-1, 289-1A, 290-2, 291-2A \u0026amp; 292-2A\n    ∙ HMV DB 3273\/6\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eMOZART Symphony No. 38 in D major, K. 504, “Prague”\u003c\/strong\u003e\u003cbr\u003e11. 1st Mvt. – Adagio – Allegro (9:30)\u003cbr\u003e12. 2nd. Mvt. – Andante (8:51)\u003cbr\u003e13. 3rd. Mvt. – Finale (Presto) (4:09)\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 16 December 1936 in the Musikvereinsaal, Vienna\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: 2VH 238-2, 239-3, 240-2, 241-2A, 242-2 \u0026amp; 244-1 ∙ HMV DB\n    3112\/4\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 2 (76:12)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e MOZART Symphony No. 39 in E flat major, K. 543\u003c\/strong\u003e\u003cbr\u003e1. 1st Mvt. – Adagio – Allegro (8:59)\u003cbr\u003e2. 2nd Mvt. – Andante con moto (8:53)\u003cbr\u003e3. 3rd Mvt. – Menuetto (Allegretto) \u0026amp; Trio (4:03)\u003cbr\u003e4. 4th Mvt. – Finale (Allegro) (3:45)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003eBBC Symphony Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 21 May 1934 in Abbey Road Studio No. 1, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: 2B 6949-2, 6950-2, 6951-2, 6952-1, 6953-1 \u0026amp; 6954-2 ∙ HMV DB\n    2258\/60\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eMOZART Symphony No. 40 in G minor, K. 550\u003c\/strong\u003e\u003cbr\u003e5. 1st. Mvt. – Allegro molto – Andante (6:19)\u003cbr\u003e6. 2nd Mvt. – Andante (8:27)\u003cbr\u003e7. 3rd Mvt. – Menuetto (Allegretto) \u0026amp; Trio (4:09)\u003cbr\u003e8. 4th Mvt – Finale (Allegro assai) (4:15)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003eBerlin State Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 10 January 1929 in the Beethovensaal, Berlin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: WAX 4570-2, 4571-1, 4572-2, 4573-2, 4574-1 \u0026amp; 4575-1 ∙\n    Columbia DX 31\/3\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eMOZART Symphony No. 41 in C major, K. 551, “Jupiter”\u003c\/strong\u003e\u003cbr\u003e9. 1st Mvt. – Allegro vivace (8:05)\u003cbr\u003e10. 2nd Mvt. – Andante cantabile (8:11)\u003cbr\u003e11. 3rd. Mvt. – Menuetto (Allegretto) \u0026amp; Trio (4:31)\u003cbr\u003e12. 4th Mvt. – Molto Allegro (6:34)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 10 January 1938 in the Musikvereinsaal, Vienna\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: 2VH 7020-1A, 7021-1A, 7022-1A, 7023-1, 7024-1, 7025-2A \u0026amp;\n    7026-2A ∙ HMV DB 3428\/31\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 3 (74:26)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n    \u003cstrong\u003e\n        MOZART Serenade No. 13 in G major, K. 525, “Eine Kleine Nachtmusik”\u003c\/strong\u003e\u003cbr\u003e1. 1st Mvt. – Allegro (4:12)\u003cbr\u003e2. 2nd Mvt. – Romanze (Andante) (4:35)\u003cbr\u003e3. 3rd Mvt. – Menuetto (Allegro) \u0026amp; Trio (2:07)\u003cbr\u003e4. 4th Mvt. – Rondo (Allegro) (4:09)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17 December 1936 in the Musikvereinsaal, Vienna\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: 2VH 234\/7 (All Take 1) ∙ HMV DB 3075\/6\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eMOZART Requiem in D minor, K. 626\u003c\/strong\u003e\u003cbr\u003e5. Applause (0:44)\u003cbr\u003e6. I. Introitus: Requiem aeternam (5:48)\u003cbr\u003e7. II. Kyrie Eleison (3:28)\n\n\u003c\/p\u003e\u003cp\u003e\n    III. Sequenz\u003cbr\u003e8. Dies Irae (1:47)\u003cbr\u003e9. Tuba Mirum (4:04)\u003cbr\u003e10. Rex Tremendae (2:28)\u003cbr\u003e11. Recordare (6:31)\u003cbr\u003e12. Confutatis (3:04)\u003cbr\u003e13. Lacrimosa (3:31)\n\u003c\/p\u003e\n\u003cp\u003e\n    IV. Offertorium\u003cbr\u003e14. Domine Jesu (4:58)\u003cbr\u003e15. Hostias (6:05)\n\u003c\/p\u003e\n\u003cp\u003e\n    16. V. Sanctus (1:50)\u003cbr\u003e17. VI. Benedictus (5:14)\u003cbr\u003e18. VII. Agnus Dei (3:24)\u003cbr\u003e19. VIII. Communio: Lux aeterna (6:26)\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eElisabeth Schumann (soprano)\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cb\u003eEnid Szánthó\u003c\/b\u003e, \u003cstrong\u003e(contralto)\u003cbr\u003eAnton Dermota (tenor)\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003eAlexander Kipnis (bass)\u003c\/strong\u003e\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e Vienna State Opera Chorus\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003eVienna Philharmonic Orchestra\u003c\/strong\u003e\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded during the performance of 29 June 1937 in the Théâtre des\n    Champs-Elysées, Paris\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: 2LA 2005\/19 (All Take 1) ∙ Unissued on 78 rpm\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eBruno Walter \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003econductor\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n    \n    \u003ca name=\"OLE_LINK4\"\u003e\n        \u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003ca name=\"OLE_LINK4\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\n    \u003c\/a\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Special thanks to Nathan Brown, Ward Marston and Charles Niss for providing\n    source material\n\n\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003eTotal Duration: 3hr 43:44\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC564.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC564.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fVintage Review Excerpts578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003cem\u003ePiano Concerto No. 20 in D minor\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    “The solo work [in the first movement] is workmanlike, strong in passage\n    work, well balanced and planned in the light of the orchestral interplay as\n    one would expect of this conductor, and as is keenly necessary in a work so\n    closely knit between the two parties, who are entirely happy in consort.\n    The pianism, whilst not lacking delicacy, is of a forthright expository\n    kind that fills out well in recorded quality, even if a run here and there\n    is not quite faultless. Unfortunately, the cadenzas by ‘Reinicke’\n    (presumably Reinecke) are used. The mood of the first movement is quite\n    dissipated by the sentimental touch . . .\n\u003c\/p\u003e\n\u003cp\u003e\n    “The slow movement simply wants a clear sensitive setting forth of the\n    piano theme, with a still more tender accompaniment, and that we get. It is\n    a pleasure to hear the soloist’s gentle, masculinely persuasive style . . .\n    The orchestra’s wood-wind in this movement is especially gracious and\n    expressively tender . . .\n\u003c\/p\u003e\n\u003cp\u003e\n    “The pianism [in the finale] is rather more of a conductor’s brand, showing\n    some signs of little inequalities the overcoming of which calls for so many\n    thousand hours of almost spirit-breaking practice: one reason why the\n    finest pianists are so rare . . .\n\u003c\/p\u003e\n\u003cp\u003e\n    “A strong, clean, sensible recording, in which perhaps the orchestra has\n    the best presentation. The performance is sufficiently taut for most tastes\n    . . .”\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cem\u003eW.R.A. in \u003cu\u003eGramophone\u003c\/u\u003e, October, 1938\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cem\u003eSymphony No. 41 in C major, “Jupiter”\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    “I have long lived in hope of finding a recording that makes the finale of\n    this work sound as big as the notes look. I have heard it so in the concert\n    room, but not even (I venture to say) in Beecham’s fine recording . . .\n\u003c\/p\u003e\n\u003cp\u003e\n    “The recording seeks that large, lucid brightness which we have come to\n    expect from Vienna. It adds a familiar super-shine that I cannot quite so\n    greatly take to, but if ever music could stand a high polish and strong\n    sunlight (not limelight), it is this. The playing shines equally, in\n    accomplishment, so you \u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":29438560763965,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205540200782,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC564_f3739d08-7920-46cb-bf0f-2f232d0a930e.jpg?v=1621862159"},{"product_id":"pasc564-cd","title":"WALTER conducts Mozart: The Pre-War Recordings (1928-38) - PASC564 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC564.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"3 CDs with case \u0026 artwork (+MP3)","offer_id":28533853454397,"sku":null,"price":50.0,"currency_code":"EUR","in_stock":false},{"title":"3 CDs only in plastic sleeve (+MP3)","offer_id":55205540168014,"sku":null,"price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC564_ce992610-f24e-4852-b176-9e260c714ff2.jpg?v=1658746225"},{"product_id":"pasc651","title":"KLEIBER Beethoven: Symphonies 5, 6 and 9 (1952\/53) - PASC651","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eSymphony No. 5\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eSymphony No. 6 'Pastoral'\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eSymphony No. 9 'Choral'\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1952\/53\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration:  2hr 18:34 \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eHilde Gueden\u003c\/b\u003e (soprano) \u003cbr\u003e\u003cb\u003eSieglinde Wagner \u003c\/b\u003e(contralto)\u003cbr\u003e\u003cb\u003eAnton Dermota\u003c\/b\u003e (tenor) \u003cbr\u003e\u003cb\u003eLudwig Weber\u003c\/b\u003e (bass) \u003cbr\u003e\u003cb\u003eSingverein der Gesellschaft der Musikfreunde\u003cbr\u003eVienna Philharmonic Orchestra\u003cbr\u003eConcertgebouw Orchestra of Amsterdam\u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e Erich Kleiber\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC651.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"margin-left: 25px;\"\u003e\n   \n        “Five \u003cem\u003eFifths\u003c\/em\u003e; and they really do now include one that\n        approaches perfection. Their progress has been quite systematic - each\n        release has been, arguably, in turn “the best \", to be superseded\n        eventually by the next comer. Now Kleiber and the Amsterdam orchestra\n        will take a great deal of superseding; a performance full of fire and\n        tension is matched by a flawless recording.\n    \n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\n    In fact the onslaught on the first movement will take many people by\n    surprise; but balance, both within the movement, and of the movement within\n    the whole symphony, is assisted by making the initial repeat—a highly\n    desirable one. A more lyrical style can be enjoyed in the slow movement, in\nwhich Kleiber nearly makes history by actually observing Beethoven’s    \u003cem\u003epiù mosso\u003c\/em\u003e towards the end—whether we think it improves the music\n    or not, it is certainly in the score, and now is equally certainly\n    audible…“ (M.M., Jan 1954)\n\u003c\/p\u003e\u003cp style=\"margin-left: 25px;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\n    “Beethoven’s hymn of thanksgiving can certainly be joined in on this\n    occasion; this is a fine record, fully worthy of being put alongside last\n    month’s \u003cem\u003eFifth\u003c\/em\u003e from the same conductor and orchestra.\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\n    The recording is superlative. It has warmth \u003cem\u003eand\u003c\/em\u003e virility; if a\n    quibble is to be made, it is that now and again the balance of strings and\n    wind could usefully be adjusted to allow the latter to sing through rather\n    more readily. But the defect, hypothetical in any case, is negligible in\n    relation to the recording's outstanding other qualities.\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\n    The performance is straightforward, and immensely effective. Kleiber, in\n    general, is well on the way to becoming the world's Beethoven conductor by\n    what you would think is the simple process of letting his orchestras play\n    just what they see, which is just what Beethoven wrote in the first place.\n    But it is not so simple as it sounds, though the problem is more human than\n    musical; it is that it is difficult to live the life of a star conductor\n    for some years and still believe that Beethoven knew best…” (M.M., Feb\n    1954)\n\u003c\/p\u003e\u003cp style=\"margin-left: 25px;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\n    “…Some crackling ushers in the Decca last side, but settles down with the\n    music in full swing. I can only mention memorable point: the 'cellos and\n    basses make their comments with a single and almost verbal voice; the\n    “tune” sounds exquisite on these Vienna strings; Ludwig Weber strikes the\n    exact attitude on the first vocal entrance, with words and notes (unlike\n    Hotter s in the Karajan) of precise clarity; words all through are good;\n    Hilde Gueden is dramatic and striking, though she uncomfortably snatches\n    her breath here and there; the quartet blends well; Dermota has liquid\n    nasals and a beautifully free delivery; the quiet chorus in “Ihr stürzt\n    nieder” and the following passage is superb; and there is a tremendous\n    driving energy that does not seek exaggerated effects. But for all its\n    excellence, and with the most sympathetic handling. Kleiber's recording\n    does not flood us with warm, embracing, inspiring sound in the way Karajan\n    does on his 78s, And words of special praise should be allotted to the\n    singers of the \u003cem\u003eMusikfreunde\u003c\/em\u003e — the chorus in both recordings — for\n    their persistence, variety and control.\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\n    Casting my mind back over these long listening sessions, I think that if I\n    had no recording of the Ninth in my library, I would buy the Kleiber. If I\n    had the Karajan already, I should be very contented. As a final judgment,\n    Kleiber's is in my view the slightly better performance.” (H.F., Oct 1952)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eAs these three reviews from \u003ci\u003eThe Gramophone\u003c\/i\u003e indicate, this is Beethoven\n    playing of the highest calibre. All three recordings - and especially that\n    of the Ninth - have been improved greatly in sound quality thanks to these\n    Ambient Stereo XR remasters, giving, body, air, space and breadth to these\n    three timeless masterpieces.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphonies 5, 6 and 9\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e (72:54)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 5 in C minor, Op. 67\u003cbr\u003e1. 1st mvt. - Allegro con brio  (7:16)\u003cbr\u003e2. 2nd mvt. - Andante con moto  (9:13)\u003cbr\u003e3. 3rd mvt. - Scherzo. Allegro - Trio  (5:20)\u003cbr\u003e4. 4th mvt. - Allegro  (9:31)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erecorded Concertgebouw, Amsterdam, 26 September 1953\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 6 in F major, Op. 68, 'Pastoral'\u003cbr\u003e5. 1st mvt. - Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande.  (9:08)\u003cbr\u003e6. 2nd mvt. - Scene am Bach. Andante molto moto  (14:05)\u003cbr\u003e7. 3rd mvt. - Lustiges Zusammensein der Landleute. Allegro  (5:12)\u003cbr\u003e8. 4th mvt. - Gewitter. Sturm. Allegro  (3:27)\u003cbr\u003e9. 5th mvt. - Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm. Allegretto  (9:41)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erecorded Concertgebouw, Amsterdam, 25 September 1953\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eConcertgebouw Orchestra of Amsterdam\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 12px;\"\u003eDISC TWO\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (65:40)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 9 in D minor, Op. 125, 'Choral'\u003cbr\u003e1. 1st mvt. - Allegro ma non troppo, un poco maestoso  (15:49)\u003cbr\u003e2. 2nd mvt. - Scherzo. Molto vivace - Presto  (10:17)\u003cbr\u003e3. 3rd mvt. - Adagio molto e cantabile  (15:55)\u003cbr\u003e4. 4th mvt. - Presto - Allegro assai  (23:39)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erecorded Grosser Saal, Musikverein, Vienna, 1-5 June 1952\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eHilde Gueden\u003c\/b\u003e (soprano) \u003cbr\u003e\u003cb\u003eSieglinde Wagner\u003c\/b\u003e (contralto)\u003cbr\u003e\u003cb\u003eAnton Dermota\u003c\/b\u003e (tenor) \u003cbr\u003e\u003cb\u003eLudwig Weber\u003c\/b\u003e (bass) \u003cbr\u003e\u003cb\u003eSingverein der Gesellschaft der Musikfreunde\u003cbr\u003eVienna Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003econducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003e Erich Kleiber\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by  Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Erich Kleiber\u003cbr\u003eOriginal recordings made by Decca Records\u003cbr\u003e\u003cbr\u003eTotal duration:  2hr 18:34  \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC651.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC651.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":39589046648893,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205523947854,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205523980622,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC651.jpg?v=1642137305"},{"product_id":"pasc651-cd","title":"KLEIBER Beethoven: Symphonies 5, 6 and 9 (1952\/53) - PASC651 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC651.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2 CDs with case \u0026 artwork (+MP3)","offer_id":39589039571005,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205523915086,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC651_c477457f-8958-4711-9ddb-fa90a4c668e7.jpg?v=1658751892"},{"product_id":"paco228","title":"KLEIBER Strauss: Der Rosenkavalier (1954) - PACO228","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Der Rosenkavalier\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recording, 1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 3hr 16:58\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Reining\u003c\/b\u003e - Feldmarschallin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eLudwig Weber \u003c\/b\u003e- Baron Ochs\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eSena Jurinac\u003c\/b\u003e - Octavian\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAlfred Poell \u003c\/b\u003e- Faninal\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eHilde Gueden \u003c\/b\u003e- Sophie\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eVienna State Opera Chorus\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eVienna Philharmonic Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003cb\u003eErich Kleiber\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO228.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp data-start=\"829\" data-end=\"1282\"\u003eWhen Richard Strauss and his librettist Hugo von Hofmannsthal created \u003cem data-start=\"899\" data-end=\"918\"\u003eDer Rosenkavalier\u003c\/em\u003e, they fused Viennese nostalgia with modern psychological insight. Premiered in 1911, the opera evokes the elegance of the eighteenth century while exploring universal themes of love, time, and renunciation. Its mixture of farce and melancholy, its memorable characters, and its luxuriant score quickly secured a place as Strauss’s most enduringly popular opera.\u003c\/p\u003e\n\u003cp data-start=\"1284\" data-end=\"1867\"\u003eBy the time Strauss composed \u003cem data-start=\"1313\" data-end=\"1332\"\u003eDer Rosenkavalier\u003c\/em\u003e, he was already established as the leading German opera composer of his generation, famed for the audacity of \u003cem data-start=\"1443\" data-end=\"1451\"\u003eSalome\u003c\/em\u003e and \u003cem data-start=\"1456\" data-end=\"1465\"\u003eElektra\u003c\/em\u003e. With \u003cem data-start=\"1472\" data-end=\"1487\"\u003eRosenkavalier\u003c\/em\u003e he took a deliberate turn towards warmth and accessibility, blending the sophistication of Mozartian comedy with his own lush orchestration. Its success was immediate and overwhelming, securing the financial security of both composer and librettist and ensuring Strauss’s reputation not only as a modernist provocateur but also as a master of theatrical charm and human comedy.\u003c\/p\u003e\n\u003cp data-start=\"1869\" data-end=\"2298\"\u003eThis 1954 Decca set, recorded in the Grosser Saal of Vienna’s Musikverein, stands as a cornerstone of \u003cem data-start=\"1971\" data-end=\"1986\"\u003eRosenkavalier\u003c\/em\u003e’s recorded history. It brings together the Vienna Philharmonic, the Vienna State Opera Chorus, a truly distinguished cast, and the conductor Erich Kleiber, who was nearing the end of a long and distinguished career. He would die suddenly less than two years later, making this one of his final major projects.\u003c\/p\u003e\n\u003cp data-start=\"2300\" data-end=\"2764\"\u003eKleiber was long admired as one of Strauss’s most exacting interpreters. His affinity with the composer’s idiom dated back to the 1920s, when he conducted \u003ci\u003eDer Rosenkavalier\u003c\/i\u003e, \u003ci\u003eAriadne auf Naxos\u003c\/i\u003e and \u003ci\u003eElektra \u003c\/i\u003ein the world’s leading opera houses. His approach to Strauss combined structural discipline with lyrical warmth, qualities equally evident here. The result is a performance that feels at once unsentimental and affectionate: tempos are keenly judged, textures transparent, and the flow of the score entirely natural. Rooted in Viennese tradition yet free from indulgence, it reveals both the wit and the humanity at the heart of the opera.\u003c\/p\u003e\n\u003cp data-start=\"2766\" data-end=\"3310\"\u003eThe cast assembled reflects Vienna’s operatic golden age in the 1950s. Maria Reining, a mainstay of the State Opera, sings the Feldmarschallin with dignity and pathos, conveying both aristocratic poise and vulnerability. Sena Jurinac is a radiant Octavian, ardent and impulsive, her warm mezzo perfectly suited to Strauss’s demanding lines. Opposite her, Hilde Gueden gives a Sophie of youthful freshness and silvery tone, creating a partnership with Jurinac that makes the presentation of the silver rose sparkle with authenticity and charm.\u003c\/p\u003e\n\u003cp data-start=\"3312\" data-end=\"3685\"\u003eBaron Ochs, Strauss’s genial comic creation, is brought to life by Ludwig Weber, one of the great Viennese basses of his era. His performance is full-bodied and steeped in buffo tradition, comic without vulgarity, pompous yet genuinely human. Alfred Poell provides a solid and sympathetic Faninal, while Judith Hellwig’s Leitmetzerin adds elegance to the great ensembles.\u003c\/p\u003e\n\u003cp data-start=\"3687\" data-end=\"4093\"\u003eThe supporting roles are cast from strength. Hilde Rössl-Majdan and Peter Klein relish the scheming of Annina and Valzacchi; Walter Berry, still at the outset of his career, makes an imposing Police Commissioner; and Anton Dermota lends refinement to the cameo of the Italian Singer. Even the smallest roles are memorably characterised, underscoring the care with which the entire enterprise was planned.\u003c\/p\u003e\n\u003cp data-start=\"4095\" data-end=\"4535\"\u003eThe Vienna Philharmonic responds to Kleiber with playing of distinction, capturing both the opulence of Strauss’s waltzes and the delicacy of his chamber-like writing. Strings shimmer, winds sparkle, and the horns add their customary glow. Decca’s engineering, though limited to mono, achieved a remarkable balance of warmth and clarity, preserving both the grandeur of Strauss’s climaxes and the intimacy of the conversational ensembles.\u003c\/p\u003e\n\u003cp data-start=\"4537\" data-end=\"5004\"\u003eThis recording is more than a star-studded cast album: it is a portrait of a particular Viennese style of Strauss interpretation, shaped by musicians for whom the idiom was second nature. The mixture of aristocratic refinement, youthful ardour, and deep cultural instinct makes it uniquely compelling. For Kleiber, it represents both a culmination and a farewell, summoning all his characteristic discipline and humanity in one of opera’s most bittersweet comedies.\u003c\/p\u003e\n\u003cp data-start=\"5006\" data-end=\"5394\"\u003eSeven decades later, this \u003cem data-start=\"5032\" data-end=\"5047\"\u003eRosenkavalier\u003c\/em\u003e retains its special place in the catalogue. It offers not just Strauss’s masterpiece in vivid sound but also a snapshot of post-war Vienna’s operatic tradition at its finest. In this newly restored edition, listeners can savour afresh the warmth, wit, and humanity that make Kleiber’s interpretation one of the great \u003cem data-start=\"5365\" data-end=\"5381\"\u003eRosenkavaliers\u003c\/em\u003e on record.\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Der Rosenkavalier\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003edisc one\u003c\/b\u003e (71:37)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eACT ONE\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e1. Introduction  (2:51)\u003cbr\u003e2. Wie du warst!  (7:48)\u003cbr\u003e3. Marie Theres'! - Octavian!  (4:16)\u003cbr\u003e4. Quinquin, es ist mein Mann!  (3:28)\u003cbr\u003e5. Selbstverständlich empfängt mich Ihre Gnaden  (8:19)\u003cbr\u003e6. Hat Sie schon einmal mit einem Kavalier  (6:18)\u003cbr\u003e7. Nein, er agiert mir gar zu gut!  (3:39)\u003cbr\u003e8. I komm' glei  (2:16)\u003cbr\u003e9. Di rigori armato il seno  (2:54)\u003cbr\u003e10. Als Morgengabe  (3:11)\u003cbr\u003e11. Mein lieber Hippolyte  (3:39)\u003cbr\u003e12. Da geht er hin  (4:53)\u003cbr\u003e13. Ach! Du bist wieder da!  (5:32)\u003cbr\u003e14. Die Zeit ist... Mein schöner Schatz... Ich werde jetzt  (8:59)\u003cbr\u003e15. Ich hab' ihn nicht einmal geküßt  (3:35)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003edisc two \u003c\/b\u003e(60:06)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eACT TWO\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e1. Introduction - Ein ernster Tag  (2:00)\u003cbr\u003e2. In dieser feierlichen Stunde  (3:35)\u003cbr\u003e3. Mir ist die Ehre widerfahren  (6:14)\u003cbr\u003e4. Ich kenn' Ihn schon recht wohl  (3:44)\u003cbr\u003e5. Jetzt aber kommt mein Herr Zukünftiger  (3:50)\u003cbr\u003e6. Eh bien! Nun plauder Sie... Wir kommen über Nacht  (6:58)\u003cbr\u003e7. Wird Sie das Mannsbild da heiraten  (6:06)\u003cbr\u003e8. Herr Baron von Lerchenau!  (5:36)\u003cbr\u003e9. Mord! Mord! Mein Blut!  (2:12)\u003cbr\u003e10. Herr Schwiegersohn! Wie ist ihm denn?  (3:13)\u003cbr\u003e11. Blamage! Mir auseinander meine Eh'  (2:39)\u003cbr\u003e12. Is gut! Is gut! Ein Schluck  (2:07)\u003cbr\u003e13. Da lieg' ich!  (5:16)\u003cbr\u003e14. Ohne mich, ohne mich, jeder Tag dir so bang  (6:36)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003edisc three\u003c\/b\u003e (63:53)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eACT THREE\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e1. Introduction and Pantomime  (5:52)\u003cbr\u003e2. Hab'n Euer Gnaden noch weitre Befehle?  (4:08)\u003cbr\u003e3. Nein, nein, nein ... Die schöne Musi!  (6:47)\u003cbr\u003e4. Es ist ja eh all's eins  (2:56)\u003cbr\u003e5. Da und da und da und da  (4:19)\u003cbr\u003e6. Halt! Keiner rührt sich!  (3:15)\u003cbr\u003e7. Zur Stelle! Was wird von mir gewünscht?  (5:09)\u003cbr\u003e8. Sind desto eher im klaren  (2:29)\u003cbr\u003e9. Bin glücklich über Massen  (2:44)\u003cbr\u003e10. Laß er nur gut sein und verschwind Er  (6:50)\u003cbr\u003e11. Leopold, wir gehn!  (2:22)\u003cbr\u003e12. Mein Gott, es war nicht mehr als eine Farce  (6:42)\u003cbr\u003e13. Marie Theres'! - Hab mir's gelobt, Ihn lieb zu haben  (4:34)\u003cbr\u003e14. Ist ein Traum, kann nicht wirklich sein - Spür nur dich  (7:10)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eCAST\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eMaria Reining\u003c\/b\u003e (soprano) Feldmarschallin\u003cbr\u003e\u003cb\u003eLudwig Weber \u003c\/b\u003e(bass) Baron Ochs\u003cbr\u003e\u003cb\u003eSena Jurinac\u003c\/b\u003e (soprano) Octavian\u003cbr\u003e\u003cb\u003eAlfred Poell \u003c\/b\u003e(baritone) Faninal\u003cbr\u003e\u003cb\u003eHilde Gueden\u003c\/b\u003e (soprano) Sophie\u003cbr\u003e\u003cb\u003eJudith Hellwig\u003c\/b\u003e (soprano) Leitmetzerin\u003cbr\u003e\u003cb\u003ePeter Klein\u003c\/b\u003e (tenor) Valzacchi\u003cbr\u003e\u003cb\u003eHilde Rössl-Majdan \u003c\/b\u003e(mezzo-soprano) Annina\u003cbr\u003e\u003cb\u003eWalter Berry \u003c\/b\u003e(bass-baritone) Police Commissioner\u003cbr\u003e\u003cb\u003eHarald Pröglhöf\u003c\/b\u003e (bass) Major Domo\u003cbr\u003e\u003cb\u003eAugust Jaresch\u003c\/b\u003e (tenor) Faninal’s Major Domo\u003cbr\u003e\u003cb\u003eFranz Bierbach\u003c\/b\u003e (bass) Notary\u003cbr\u003e\u003cb\u003eAnton Dermota\u003c\/b\u003e (tenor) Singer\u003cbr\u003e\u003cb\u003eBerta Seidl \u003c\/b\u003e(soprano) Milliner\u003cbr\u003e\u003cb\u003eErich Majkut \u003c\/b\u003e(tenor) Landlord \u0026amp; Animal Seller\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eVienna State Opera Chorus\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eVienna Philharmonic Orchestra \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eErich Kleiber\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eRecorded 29 May-28 June, 1954 \u003cbr\u003eGrosser Saal, Musikverein, Vienna\u003cbr\u003e\u003cbr\u003eDecca Producers: Victor Olof \u0026amp; James Walker \u003cbr\u003eEngineers: Cyril Windebank \u0026amp; Jack Law\u003cbr\u003e\u003cbr\u003eXR remastered in Ambient Stereo by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Erich Kleiber\u003cbr\u003e\u003cb\u003e\u003cbr\u003eTotal duration: 3hr 16:58\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO228.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO228.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":54947315417422,"sku":null,"price":48.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205503926606,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205503959374,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO228_7b50c0a4-f446-4554-a95b-5da566010652.jpg?v=1760370749"},{"product_id":"paco228-cd","title":"KLEIBER Strauss: Der Rosenkavalier (1954) - 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Evangelist\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\r\n\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDietrich Fischer-Dieskau\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, baritone - Jesus\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\r\n\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eOtto Edelmann\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, bass - arias, Peter, Pilate, Judas\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\r\n\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eWiener Philharmoniker\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\r\n\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eWiener Singakademie\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\r\n\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eWiener Sängerknaben\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\r\n\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWilhelm Furtwängler\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO234.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cspan style=\"font-size: 14px;\"\u003eRecorded in Vienna in April 1954, and drawing on a montage from live Konzerthaus performances given between 14 and 17 April, Wilhelm Furtwängler’s account of Bach’s \u003ci\u003eSt Matthew Passion\u003c\/i\u003e stands among the most individual and searching interpretations of this work to have come down to us from the pre-period-instrument era. It brings together the Vienna Philharmonic and the Wiener Singakademie under a conductor whose approach to Bach was shaped less by questions of historical reconstruction than by a lifelong engagement with the central Austro-German tradition.\u003c\/span\u003e\u003cbr\u003e\n\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eBy the time of these performances, Furtwängler was widely regarded as one of the defining musical figures of his age, and his interpretations of Beethoven, Brahms and Wagner had already assumed near-legendary status. Bach, while never central to his public image in quite the same way, nevertheless occupied an important place in his musical thinking. When he conducted it, he did so not as a Baroque specialist but as a musician for whom the music spoke in universal, almost metaphysical terms. The result, in performances such as this, is Bach heard through a distinctly twentieth-century lens: expansive in scale, flexible in tempo, and profoundly concerned with long-breathed musical line.\u003c\/span\u003e\u003cbr\u003e\n\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eThe opening chorus, \u003ci\u003eKommt, ihr Töchter\u003c\/i\u003e, sets the tone immediately. Rather than presenting the music with choral precision and architectural clarity, Furtwängler shapes it as a vast unfolding procession, the two choirs moving with a sense of weight and inevitability that recalls his readings of Bruckner as much as any conventional notion of Bach style. Throughout the work, tempi are elastic, phrases are moulded with great freedom, and transitions are guided by a deeply instinctive sense of musical direction.\u003c\/span\u003e\u003cbr\u003e\n\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eCentral to the success of the performance is the Evangelist of Anton Dermota, whose clear, unaffected delivery anchors the narrative with remarkable poise. His account avoids operatic excess while maintaining a strong sense of line, allowing the drama to emerge naturally from the text. Opposite him, the young Dietrich Fischer-Dieskau brings tonal nobility and a strongly individual presence to the role of Christ, combining authority with a distinctive expressive profile. Among the soloists, Elisabeth Grümmer is notable for the purity and radiance of her singing, while the supporting cast contributes to a performance that, for all its scale, retains a strong sense of ensemble.\u003c\/span\u003e\u003cbr\u003e\n\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eThe Vienna Philharmonic and choirs respond to Furtwängler with playing and singing of warmth and commitment, if not always with the degree of textual clarity that later generations would come to expect. Yet it is precisely this sonorous weight and blend that form part of the performance’s distinctive character. The chorales, in particular, are shaped as collective statements of reflection, their broad phrasing and rich tonal palette reinforcing the work’s overarching sense of gravity.\u003c\/span\u003e\u003cbr\u003e\n\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eHeard today, this \u003ci\u003eSt Matthew Passion\u003c\/i\u003e inevitably stands at some remove from current performance practice. The rise of historically informed approaches has brought with it lighter textures, faster tempi and a greater emphasis on Baroque articulation. Furtwängler offers something quite different: a reading in which Bach is treated as part of a continuous musical tradition, his music understood in terms that link it directly to the great symphonic repertoire of the nineteenth century.\u003c\/span\u003e\u003cbr\u003e\n\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eThese performances were given only a few months before Furtwängler’s death in November 1954, at a time when there was little sense that his career was nearing its end. Plans were already in motion for further major projects, including a new \u003ci\u003eRing\u003c\/i\u003e cycle. In that light, the \u003ci\u003eSt Matthew Passion\u003c\/i\u003e heard here is not a conscious farewell but rather a continuation of an artistic journey still very much in progress. Even so, it remains one of his most profound statements on sacred music, capturing a conductor at the height of his interpretative powers, engaging with Bach in a manner that is at once deeply personal and unmistakably of its time.\u003c\/span\u003e\u003cbr\u003e\n\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eThis present restoration offers an enhanced perspective on the original recording, addressing certain harshness in the upper frequencies and allowing a greater sense of space to emerge around the performers. Without altering the fundamental character of the source, it brings a measure of clarity and ease to the sound, enabling the listener to engage more fully with the breadth and depth of Furtwängler’s conception.\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eFURTWÄNGLER\u003c\/b\u003e BACH St. Matthew Passion\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cbr\u003e\n\n\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDISC ONE: ST. MATTHEW PASSION, PART ONE\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (79:31)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 1. Kommt, ihr Töchter helft mir klagen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:26)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 2. Da Jesus diese Rede vollendet hatte\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:55)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 3. Herzliebster Jesu\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:41)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 4. Da versammleten sich die Hohenpriester\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:32)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 5. Ja nicht auf das Fest\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:18)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 6. Da nun Jesus war zu Bethanien\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:39)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 7. Wozu dienet dieser Unrat?\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:37)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 8. Da das Jesus merkte, sprach er zu ihnen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:58)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 9. Du lieber Heiland du\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:24)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 10. Buß und Reu\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:18)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 11. Da ging hin der Zwölfen einer\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:43)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 12. Blute nur, du liebes Herz!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:40)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 13. Aber am ersten Tage der süßen Brote\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:16)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 14. Wo willst du, dass wir dir bereiten\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:28)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 15. Er sprach\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:01)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 16. Ich bin's, ich sollte büßen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:32)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 17. Er antwortete und sprach\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:10)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 18. Wiewohl mein Herz in Tränen schwimmt\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:53)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 20. Und da sie den Lobgesang gesprochen hatten\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:34)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e20.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 21. Erkenne mich, mein Hüter\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:56)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e21.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 22. Petrus aber antwortete und sprach zu ihm\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:18)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e22.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 24. Da kam Jesus mit ihnen zu einem Hofe\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:13)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e23.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 25. O Schmerz!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:06)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e24.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 26. Ich will bei meinem Jesu wachen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:25)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e25.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 27. Und ging hin ein wenig\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:59)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e26.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 28. Der Heiland fällt vor seinem Vater nieder\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:32)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e27.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 30. Und er kam zu seinen Jüngern\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:38)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e28.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 31. Was mein Gott will, das g'scheh allzeit\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:03)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e29.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 32. Da kam er zu seinen Jüngern und sprach\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:42)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e30.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 33. So ist mein Jesus nun gefangen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:44)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e31.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 34. Zu der Stund sprach Jesus zu den Scharen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:22)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e32.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 35. O Mensch, bewein dein Sünde groß\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:27)\u003c\/span\u003e\u003cbr\u003e\n\u003cbr\u003e\n\n\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDISC TWO: ST. MATTHEW PASSION, PART TWO\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e \u003cspan style=\"font-size: 12px;\"\u003e(44:23)\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e33.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 36. Ach, nun ist mein Jesus hin!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:47)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e34.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 37. Die aber Jesum gegriffen hatten\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:42)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e35.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 39. Und der Hohepriester stund auf und sprach zu ihm\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:36)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e36.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 42. Petrus aber antwortete und sprach zu ihm\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:53)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e37.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 43. Da speieten sie aus in sein Angesicht\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:48)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e38.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 44. Wer hat dich so geschlagen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:43)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e39.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 45. Petrus aber saß draußen im Palast\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:22)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e40.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 46. Da hub er an, sich zu verfluchen und zu schwören\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:35)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e41.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 47. Erbarme dich\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:00)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e42.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 52. Jesus aber stund vor dem Landpfleger\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:06)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e43.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 53. Befiehl du deine Wege\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:01)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e44.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 54. Auf das Fest aber hatte der Landpfleger Gewohnheit\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:52)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e45.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 56. Der Landpfleger sagte\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:16)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e46.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 57. Er hat uns allen wohlgetan\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:42)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e47.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 58. Aus Liebe will mein Heiland sterben\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:12)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e48.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 59. Sie schrieen aber noch mehr und sprachen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:21)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e49.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 60. Erbarm es Gott!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:47)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e50.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 62. Da nahmen die Kriegsknechte\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:24)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e51.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 63. O Haupt voll Blut und Wunden\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:16)\u003c\/span\u003e\u003cbr\u003e\n\u003cbr\u003e\n\n\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDISC THREE: ST. MATTHEW PASSION, PART TWO CONCLUDED\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (39:03)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e52.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 64. Und da sie ihn verspottet hatten\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:56)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e53.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 65. Ja freilich will in uns das Fleisch und Blut\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:47)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e54.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 66. Komm, süßes Kreuz\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:24)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e55.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 67. Und da wurden zween Mörder\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:21)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e56.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 68. Desgleichen schmäheten ihn auch die Mörder\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:15)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e57.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 69. Golgatha, unseliges Golgatha!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:34)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e58.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 71. Und von der sechsten Stunde an\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:49)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e59.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 72. Wenn ich einmal soll scheiden\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:36)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e60.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 73. Und siehe da\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:51)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e61.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 74. Am Abend, da es kühle war\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:37)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e62.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 76. Und Joseph nahm den Leib\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:40)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e63.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 77. Nun ist der Herr zur Ruh gebracht\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:41)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e64.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNo. 78. Wir setzen uns mit Tränen nieder\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:33)\u003c\/span\u003e\u003cbr\u003e\n\u003cbr\u003e\n\n\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eElisabeth Grümmer\u003c\/b\u003e, soprano\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMarga Höffgen\u003c\/b\u003e, contralto\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eAnton Dermota\u003c\/b\u003e, tenor - Evangelist\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDietrich Fischer-Dieskau\u003c\/b\u003e, baritone - Jesus\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eOtto Edelmann\u003c\/b\u003e, bass - arias, Peter, Pilate, Judas\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWiener Philharmoniker\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWiener Singakademie\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWiener Sängerknaben\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 18px;\"\u003econductor \u003cb\u003eWilhelm Furtwängler\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cbr\u003e\n\n\u003cspan style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eRecorded live in the Großer Konzerthaussaal, Wien, 14-17 April 1954\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eTotal duration: 2hr 41:58\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO234.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO234.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":59292505375054,"sku":null,"price":48.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":59292505407822,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":59292505440590,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO234_9690f593-7e70-4b14-9c9d-fc4f817503a0.jpg?v=1775174410"},{"product_id":"paco234-cd","title":"FURTWÄNGLER Bach: St. Matthew Passion (1954) - 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