{"title":"Bruno Walter","description":"Bruno Walter (born Bruno Schlesinger, September 15, 1876 – February 17, 1962) was a German-born conductor, pianist and composer. Born in Berlin, he left Germany in 1933 to escape the Third Reich, settling finally in the United States in 1939. He worked closely with Gustav Mahler, whose music he helped to establish in the repertory, held major positions with the Leipzig Gewandhaus Orchestra, New York Philharmonic, Concertgebouw Orchestra, Salzburg Festival, Vienna State Opera, Bavarian State Opera, Staatsoper Unter den Linden and Deutsche Oper Berlin, among others, made recordings of historical and artistic significance, and is widely considered to be one of the great conductors of the 20th century.","products":[{"product_id":"pasc322","title":"WALTER Polydor Acoustics Volume 2: Overtures (1923-25) - PASC322","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Coriolan Overture \u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eCHERUBINI\u003c\/b\u003e Der Wasserträger - Overture\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eSCHUMANN\u003c\/b\u003e Manfred Overture \u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eMENDELSSOHN\u003c\/b\u003e Die Hebriden Overture (Fingal's Cave)\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eWAGNER\u003c\/b\u003e Faust Overture\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eBERLIOZ\u003c\/b\u003e Benvenuto Cellini – Overture\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cspan style=\"font-size: 10px;\"\u003eStudio recordings, 1923-25\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 61:34\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eBerlin State Opera Orchestra\u003cbr\u003econductor Bruno Walter\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fWalter admirers will find much to interest and intrigue in this selection578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eBruno Walter claimed that he first recorded around the turn of the 20th century, an assertion cited in the biography of the conductor by Erik Ryding and Rebecca Pechefsky. It was supposedly of music from Carmen, which he did record but more than two decades later. Whatever the truth, orchestrally speaking he first becomes audible in the series of acoustic Polydor recordings made from 1923 to 1925. Pristine Audio has already released his first major undertaking, Tchaikovsky’s “Pathétique” Symphony (1925, complete), coupled with Mozart overtures and two pieces from Carmen, on PASC142. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eWhat this latest release demonstrates is the canny nature of recording selections made by companies such as Polydor, which would have been well aware of rival releases. Of the six overtures, four were making their first-ever appearance on disc: those by Cherubini, Schumann, Wagner, and Berlioz. It’s easy to label musicians “discographic pioneers,” not least in a landscape where so much remained to be recorded, but in that respect Walter was treading new water. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe Coriolan Overture had already proved popular on disc. Thanks to Claude Graveley Arnold’s The Orchestra on Record 1896–1926 we know that Willem Mengelberg, Otto Urack, Landon Ronald, Leo Blech, and the more obscure Johannes Heidenreich had all recorded it by the time Bruno Walter set down his version in August 1923. Bass reinforcements, of course, were very much the norm. They work here with the desired strategic heightening effect, making audible what the acoustic horn could not pick up, though occasionally the balance is swampy despite the engineers’ best intentions. The performance has a degree of elasticity that must, to a large degree, accurately reflect Walter’s expressive position at the time—he was in his late 40s in 1923—not least in the slightly sentimentalized second subject and freedom of metrical pulse. A check of the turn-over point reinforces the fact that these were not decisions imposed on him, but were part of a more loosely structural approach. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThere are more overt portamenti in the performance of the Cherubini overture. The bass reinforcements are also rather more crudely employed than in Coriolan. One could attribute the greater portamenti to the players’ unfamiliarity with the work and thus their inability to coordinate slides before the recording session. Despite the sepulchral bass line, and some infelicities (tuttis are a bit muddled), the slow introduction is richly characterized. Where a decision may have been foisted on Walter is the side change at 5:05 in Schumann’s Manfred Overture, where he edges slowly to the end of the side. It makes for a rather sticky moment. Again, though, this was a premiere performance on disc and if the winds are not on their best behavior, being rather shrill, it adds to the generation of heat and energy. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe Hebrides Overture has a rather more steely surface, and a bit of scuffing, but Ward Marston has done a fine job here, as elsewhere, managing the Scylla and Charybdis business of surface noise and frequency response with his usual sensitive judgment; retention of the former enhances the latter. My only complaint is no one’s fault; those bass reinforcements sound a bit sleazy here. The longest overture is Wagner’s Faust, which was recorded on three shellac sides, and another first-ever recording. Like Coriolan it was recorded on August 1, 1923, and responds well to his direction. The final item is Berlioz’s Benvenuto Cellini Overture. I suspect that if you were in the habit of playing the “who recorded what first” game (a perilous one) you’d have come up with two dozen names before you’d come up with Walter’s. Yet Walter it was, and he directs in a rather charmingly ebullient way. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eDG (2740 259) reissued Coriolan, though I’ve not had access to it for comparative purposes. Walter remade the Schumann in Chicago in 1956 for a WGN-TV telecast, and the Mendelssohn with the New York Philharmonic Symphony live in 1948 (Music \u0026amp; Arts CD714), with which orchestra he also recorded the Berlioz, though I’m unaware if it’s been released commercially. In 1939, with the NBC, he recorded the Faust Overture. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eAs James A. Altena pointed out in his review in Fanfare 35:6, the orchestral attribution in Pristine’s documentation is a little shaky and omits reference to the contribution of the Berlin Philharmonic. Walter admirers will find much to interest and intrigue in this selection. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eJonathan Woolf \u003c\/b\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis article originally appeared in Issue 36:2 (Nov\/Dec 2012) of \u003cem\u003eFanfare\u003c\/em\u003e Magazine.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC322.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBruno Walter - witness the birth of a recording legend!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eSuperlative acoustic transfers of six rare early recordings by Ward Marston\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThis release at Pristine explores the earliest recordings of a\nlegendary twentieth century musician. Bruno Walter's career as a conductor may\nhave pre-dated these recordings by a number of years, but in these six rare\nacoustically-recorded overtures, with what was then perhaps the finest\norchestra in Germany, the Berlin State Opera Orchestra, we get to hear the\nfirst suggestions of the legend to come.\u003c\/p\u003e\u003cp class=\"body\"\u003eMultiple award-winning producer Ward Marston has worked miracles\nin the sound quality achieved from these 1923-25 discs - despite the\nlimitations of the pre-microphone era they really are an outstanding record of\nWalter's early recorded brilliance.\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\u003cul\u003e\n\u003cli\u003e\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Coriolan Overture\u003cbr\u003eRecorded 1 August 1923\u003cbr\u003eMatrices 73az and 74 az; Polydor 65928\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eCHERUBINI\u003c\/b\u003e Der Wasserträger - Overture\u003cbr\u003eRecorded 1 January 1924\u003cbr\u003eMatrices 647 az and 648az; Polydor 66073\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eSCHUMANN\u003c\/b\u003e Manfred Overture \u003cbr\u003eRecorded 1 March 1925\u003cbr\u003eMatrices 1836 1\/2 as 1837as; Polydor 66074\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eMENDELSSOHN\u003c\/b\u003e Die Hebriden Overture (Fingal's Cave)\u003cbr\u003eRecorded 1 August 1923\u003cbr\u003eMatrices 82 ½az and 83az; Polydor 65930\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eWAGNER\u003c\/b\u003e Faust Overture \u003cbr\u003eRecorded 1 August 1923\u003cbr\u003eMatrices 1519as, 71az and 72az; Polydor 65955\/56\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eBERLIOZ\u003c\/b\u003e Benvenuto Cellini – Overture\u003cbr\u003eRecorded 1 January 1924\u003cbr\u003eMatrices 621½az, 622az, and 623az; Polydor 66075\/76\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBerlin State Opera Orchestra\u003cbr\u003eBruno Walter \u003c\/b\u003econductor\u003c\/li\u003e\n\u003c\/ul\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eProducer and Audio Restoration Engineer: Ward Marston\u003cbr\u003eCover artwork based on a 1912 photograph of Bruno Walter\u003c\/div\u003e\u003cdiv\u003eWe are grateful for the use of the discs for these transfers from the collection of David Schmutz\u003cbr\u003e\n\u003c\/div\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\/PASC322.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC322.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":34132993677,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34132993741,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC322.jpg?v=1489574722"},{"product_id":"paco046","title":"LEHMANN Schumann: Dichterliebe \u0026 Frauenliebe und -leben (1941) - PACO046","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003e \u003cspan\u003eDichterliebe, Op. 48\u003cbr\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003e Frauenliebe und -leben, Op. 42\u003cbr\u003e\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\"\u003eRecorded 1941\u003cbr\u003eTotal duration: 48:03\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eLotte Lehmann\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e, soprano\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eB\u003c\/span\u003e\u003cspan style=\"font-size: 14px;\"\u003eruno Walter\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e, piano\u003c\/span\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO046.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eLehmann \u0026amp; Walter: Astounding musicianship and sound quality\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003cem class=\"bodymid\"\u003eCelebrating Schumann's 200th birthday in style\u003c\/em\u003e at Pristine!\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThis week (as I write it's 11th June, 2010) marks the 200th birthday \nof Robert Schumann, and what better way to celebrate the music of this \ngreat composer than with a recording of some of his finest work, \nrecorded 101 years after it was written by two of the finest musicians \nof the twentieth century?\u003cbr\u003e\u003cbr\u003eI was rather surprised to find the LP \nwhich served as source material for this transfer tucked away in the \nlarge collection we recently acquired. Housed in a paper envelope within\n a protective plastic outer sleeve, it appears from the notes pencilled \nonto the paper (\"Historical value - not hi-fi[!] - heavy rumble[?!]\" was\n one comment [with my punctuation!], \"Fully justifies issue\" the other) \nthat this was the copy which did the rounds at Philips when they were \ndeciding whether or not to licence the recording for issue in Europe \nfrom Columbia. The red tick in the top right hand corner is presumably \nconfirmation that a sufficient number of initials had been accumulated \non the sleeve to justify going ahead.\u003cbr\u003e\u003cbr\u003eAlthough dating from the \nsummer of 1941, you'd be hard-pushed to guess the vintage when listening\n to this remastering. The original, still available in a decent transfer\n elsewhere, had relatively low background noise, but a musical tone \nwhich was strident and rather thin, with a piano that was unrealistic \nand a voice that was rather too obviously \"microphonic\" of its era, if \nyou know what I mean.\u003cbr\u003e\u003cbr\u003eWhen I first heard it, this LP sounded an \nideal candidate for XR remastering. Carefully-tailored re-equalisation \nbrought from it a truly believable piano and a glorious rendition of \nLehmann's voice, the realism of the former being an excellent guide to \nthe accuracy of reproduction of the latter. Careful application of \nfrequency-targeted noise reduction produced an incredibly clean and \nclear background which is, for the most part, just about inaudible.\u003cbr\u003e\u003cbr\u003eIt\n wasn't all plain sailing – there was a tendency to peak distortion in \nupper frequencies which has been largely tamed though is occasionally \nstill a little evident; there's some pre- and post-echo during sections \nof the first few tracks still just about audible; I've done a lot of \nwork on areas of swish and the clicks which inevitably arise from any \narchive disc-based recording, few though these were.\u003cbr\u003e\u003cbr\u003eHowever, I \nthink the end results will surprise many people, just as they've \nsurprised me – once again, it's hard to equate the actual vintage of the\n recording with the sound one hears when listening to it. A fitting \ntribute, therefore, both to the composer, Schumann, and to the artists, \nLotte Lehmann and Bruno Walter.\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\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003e \u003cspan\u003eDichterliebe, Op. 48 \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003eRecorded 13th August, 1941, Los Angeles\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003e Frauenliebe und -leben, Op. 42\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003eRecorded 24th June, 1941, Los Angeles\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cbr\u003e\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\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003eTransfer from Columbia Masterworks LP ML 4788 in the Pristine Audio collection\u003cbr\u003e XR remastering by Andrew Rose at Pristine Audio, May-June 2010\u003cbr\u003e Cover artwork based on a photograph of Lotte Lehmann\u003cbr\u003eTotal duration: 48:03\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eLotte Lehmann\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eBruno Walter\u003c\/b\u003e, piano\u003c\/span\u003e\u003c\/p\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\/PACO046.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO046.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":33979195533,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":33979195661,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":33979195789,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":33979195853,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO046.jpg?v=1489395799"},{"product_id":"paco117","title":"WALTER Beethoven: Fidelio (1941) - PACO117","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\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\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eFidelio\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eLive recording, 22 February 1941\u003cbr\u003eProducer and XR Remastering: Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Kirsten Flagstad\u003cbr\u003eTotal duration: 2hr 25:01  \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003eLeonore - \u003cb\u003eKirsten Flagstad\u003c\/b\u003e\u003cbr\u003eFlorestan - \u003cb\u003eRené Maison\u003c\/b\u003e\u003cbr\u003eDon Pizarro - \u003cb\u003eJulius Huehn\u003c\/b\u003e\u003cbr\u003eRocco - \u003cb\u003eAlexander Kipnis\u003c\/b\u003e\u003cbr\u003eSoloists, Orchestra and Chorus of the Metropolitan Opera\u003cb\u003e\u003cbr\u003eBruno Walter\u003c\/b\u003e, conductor\u003cbr\u003ewith introductions by \u003cb\u003eMilton Cross\u003c\/b\u003e \n\u003cp data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 30px;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIn Pristine Audio’s revivified sonics, a palpable sense of realism which gives the listener a “you are there” sense many thought we might never enjoy. Hear this, and be grateful.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOnce again, Andrew Rose has turned his \nattention and audio engineering expertise to a famed operatic broadcast \nof the past. This performance of Beethoven’s only opera, the second in a\n “run” of only three, was Bruno Walter’s second performance at New \nYork’s Met—his debut having occurred a week earlier, conducting the same\n work. The cast was not far removed from the previous sequence of \nperformances, in the 1938–39 season, conducted by Artur Bodanzky, and \nutilizing that conductor’s sung recitatives in place of Beethoven’s \nspoken lines. Bodanzky had instituted his music in the 1920s and the \npractice continued in 1936 and 1938–39 performances featuring Flagstad, \nMaison, Schorr, and List. By 1941, Kipnis was available for Rocco, and \nJanssen for Fernando—both providing vocal balm in good measure. Sadly, \nhowever, Schorr was no longer available and his young protégé, Huehn, \nhad taken over Pizarro. Walter, of course, restored the spoken lines. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThree years ago, in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e 35:5, James A. Altena discussed this performance in depth, along with Walter’s (and Flagstad’s) \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eother\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n MET broadcast of the work, just over a decade later, in March 1951. The\n occasion was a remastered double issue by West Hill which Altena \npraised in the main, preferring this broadcast to the later performance.\n \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe prime motivation for this issue \nseems—judging from the cover art and legend, and also the producer’s \nnote by Rose—to have been Flagstad’s performance and a chance to \nremaster a set of acetates previously unavailable. This was, surely, \nreason enough, but I agree strongly with Altena (we are friends who do \nnot always agree) that the real reason to listen to this broadcast and \nalso the 1951 performance is Bruno Walter. These are his performances, \nstamped with his unique character, authority, and a level of drive and \npassion which those familiar only with his last recordings might not \nassociate with his work. The 1941 broadcast has long been available, the\n most legitimate source prior to West Hill being the Met’s series of LP \nreleases of selected broadcasts. I’ve long owned an mp3 download of that\n mastering. The 1951 broadcast was remastered for the Met’s Sirius \nbroadcasts and sounds quite well in that guise. Flagstad’s 1938 \nbroadcast with Bodanzky conducting is available on a Music \u0026amp; Arts \nrelease; her 1950 Salzburg performance with Furtwängler and a \ndistinguished cast is readily available, and Walhall has issued over an \nhour of Walter’s 1945 Met broadcast in English with the young Regina \nResnik in the title role. No one need be uncertain as to how these \nartists performed this music. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThanks to Pristine’s XR sonic \nrestoration, we can be entirely certain as to the 1941 broadcast. The \nclarity of the sound is remarkable and gives an accurate representation \nof the voices on that Saturday afternoon. Even more remarkable, the \nsound of Walter’s orchestra has an impact and distinctive quality not \nmatched in the 1951 Sirius mastering. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBruno Walter had a distinctive \norchestral sound, which he seemingly carried in his hip pocket; as \ndistinctive as Stokowski or Ormandy, and one which, he could, to at \nleast some degree, draw from whatever orchestra he happened to be \nconducting. I heard all three conductors live on a number of occasions \nand have no doubt of this. Walter’s was a bass-heavy sonority with no \nfear of adding the brass into the mix. It was not heavy, but it was \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003esolid.\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n I recall asking cellist George Neikrug, Walter’s first cello in the \nlate-career Columbia Symphony how he did it. Neikrug shrugged and said, \n“He’d lift his baton and look around at the entire orchestra, and it was\n just there.” Listen in this new release, not only to the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFidelio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLeonore\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n No. 3 overtures, but also to the solid underpinning of the voices in \nact I, in particular. No other conductor—not Furtwängler, not Toscanini,\n not even Knappertsbusch—brings so much emphasis to the cellos and the \nbass lines. And now we can really hear it. It \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003esounds\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n like a Walter orchestra. The orchestral playing is quite good in both \n1941 and a decade later, but better in this earlier broadcast. Of \ncourse, it sounds better because of the new remastering. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe other thing I notice far more than \nin my mp3 transfer is how Walter cushions the voices throughout the \nperformance. This is true in both broadcasts. (I like the 1951 broadcast\n much more than does Altena, but am not seeking converts.) Walter was a \nsuperior operatic conductor. We don’t have a lot, but what we have is \nmostly choice: his studio Wagner from the 1930s, and, in addition to the\n two \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFidelio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e broadcasts, notable performances of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Giovanni, Le nozze di Figaro, La forza del destino\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eUn ballo in maschera\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e from the Met in war-time and a 1956 English-language \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMagic Flute\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n It is fascinating, after hearing him lead Farrell (in 1941) and Nadine \nConnor (in 1951) through Marzelline’s act I aria, to hear how different \nare his emphases and even some phrasing for Frances Greer singing in \nEnglish in 1945. He facilitates her breathing and articulation of the \ntext—just one mark of great operatic conducting. There is also great \nBeethoven conducting here. We hear a lot of it on these CDs. It is, I \nthink, the most intense Walter opera performance I know, matching the \nfamous studio Walkure act I and act II excerpts with Lehmann. I find the\n 1951 broadcast almost as convincing in this regard (Altena does not). \nNo two listeners hear the same way. In both performances, almost \nidentical in their timings, Walter keeps things moving, avoiding the \ntemptation to relax too much as the prisoners come out into the \nsunshine, prodding them with the orchestra back into their cells. After \nthe prison scene the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLeonore\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n No. 3 seems to grow organically out of the closing notes of “O, \nnamenlose Freude,” and, even more remarkable, the final scene follows \nthe overture organically as well. The 1941 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLeonore\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n No. 3 is a white-hot performance; the later one seems even a bit \nfaster, perhaps not quite so well controlled. In both performances, the \nconcluding scene is not an afterthought. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn 1941 this is true, in great part, \nbecause in Herbert Janssen, Walter had one of nature’s own Ministers: a \nperfect match of voice (size and timbre), temperament, and musicality \nfor the role. After an evening of beautiful singing by Flagstad and \nKipnis (which we had expected), to hear a role often undercast so \nperfectly sung is a plus. Kipnis is in his best 1940s voice, at 50 a \nlittle beyond his prime but probably still better, vocally, than anyone \nelse. I find him too smooth interpretively, too suave, without the blend\n of warmth and rusticity the role demands. But for such singing … I can \nendure. Similarly, although I prefer the 1951 broadcast for Flagstad’s \ninterpretive warmth and depth of feeling, this is no doubt the best \ntotal representation of her in the role. The 1938 broadcast may be even \nfresher vocally, but has a few imperfections, as does this one (the \nimproved sonics reveal a sense of strain in the highest arching lines of\n her great scena that I had not realized). She actually seems to \nnegotiate some aspects of the aria better a decade later and also in the\n Salzburg performance. Quibbling aside, this is surely the one to have; \nwhen she tells Pizarro he must kill her to get at her husband, the tonal\n presence and the force of her delivery are like a spear hurled across \nthe stage—a brilliant moment, musically, vocally, and dramatically. \nFlagstad first sang the role December 10, 1934 in Scandinavia, and 37 \ntimes in all. There were two performances in San Francisco, two in \nSwitzerland, and the rest were, so far as I know, at the Met. I don’t \nbelieve she sang the opera at Covent Garden or the Colón. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eMaison, who sang Florestan often in \nthis country, at the Met, with Flagstad in San Francisco in 1937, and \nelsewhere, is simply not in best voice for this broadcast. I own all or \nnearly all of his Met broadcasts, plus performances from the Teatro \nColón, and count myself a fan. He was a singer, I believe, who got up \nevery morning not knowing for sure what the voice was going to do that \nday. Altena described his performance very well three years ago in these\n pages. At times the tone is lachrymose, almost whiny. He does improve \nas he goes along. He and Flagstad conclude the prison scene well and he \nsounds more in voice in the final scene. I do not find the young Julius \nHuehn adequate as the villain of the piece, however. Not only does his \naria sound as though he is reading the lines; his lovely vocal timbre is\n all wrong for the character. Toscanini cast Janssen for the role in his\n 1944 broadcast with similar results, except that the German baritone \nknew what he was singing. Schorr’s voice was thought by some too \nbeautiful for the role, but I find his 1938 performance pretty fine. \nSchöffler, at Salzburg in 1950 and the Met in 1951, is perfect, as he \nwas years later when I saw him in the role in Los Angeles. However, in \ntheir long scene following Pizarro’s entrance aria, Huehn and Kipnis \nprovide a satisfactory vocal blend. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFarell is an adequate Marzelline (she \nwas better in 1938—Connor is excellent in 1951) and Laufkötter sounds \nold (he sounded a little younger in 1938). Darcy and Gurney are splendid\n prisoners—Walter always ensured good voices in those roles. (I was a \nchild but recall Gurney as a thunderous Monterone in the late 1940s.) \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eNot a perfectly balanced \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFidelio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n vocally (has there ever been such?), but very strong in some roles and \nextremely well led. Like so many of the “live” performances we have from\n the Met and other theaters in the pre- and post-World War II era, there\n is a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003efrisson \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eof \nexcitement, and in Pristine Audio’s revivified sonics, a palpable sense \nof realism which gives the listener a “you are there” sense many thought\n we might never enjoy. Hear this, and be grateful. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames Forrest\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:6 (July\/Aug 2015) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBack in 35:5 I reviewed in detail a \nprevious release of this performance by WHRA (coupled with a second \ncomplete surviving broadcast Met performance of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFidelio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n with Walter and Flagstad from 1951), and I refer readers there for more\n extended commentary on its various aspects. Briefly, while noting \ncertain shortcomings from some of the singers, I praised this as a \nlandmark performance of interest to collectors of performances by Walter\n and Flagstad, and to aficionados of historic Met broadcasts. But here \nwe have a new remastering from a previously unavailable (though \nunspecified) source, and the differences are sufficient to warrant not \nonly notice of this release but some re-evaluation of the performance as\n well. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe big news here is Pristine’s \nastounding new transfer. In my previous review, I commented on “the \nsuperb remastering of Ed Wilkinson” for WHRA, in which “the \nastonishingly fine sound quality—often nearly equal to that of many \nsurviving Met broadcasts from 20 years later—eclipses every other issue \nof this performance. The orchestra finally emerges from the dull, \nconstricted, muddy sonics of most rival releases to sound like a real \ninstrumental ensemble.” I have no reason to retract a word of that \nstatement; at the time, I thought that this performance had been brought\n as far forward in sound quality as one might ever reasonably hope to \nhave. But what Andrew Rose has accomplished here is simply \nmind-boggling, even miraculous. WHRA did indeed succeed in making the \norchestra sound like a real instrumental ensemble; but compared to the \ndepth and wealth of detail and color Rose has obtained, that issue now \nsounds comparatively tinny and constricted. Here, one finally gets the \nweighty bass line Walter favored without any muddying of the sound by \nartificial boosting of lower frequencies. The midrange has a newfound \nfullness and bloom, and the treble frequencies are enriched without any \ntendency toward harshness. Woodwinds now have tang and pungency; the \nbrass, more ripeness and bite; and the strings even evince a silken tone\n that Walter surely brought with him from Vienna. With the entire \nsoundstage now more forwardly placed, one does at times hear more \nbackground noise from tape hiss or acetate surfaces, and a certain \ndryness of the original NBC broadcast sound becomes evident; but I’ve \nheard surviving opera broadcasts from Italian radio sources in the 1970s\n with sound inferior to this 1941 performance. Rose has done some \nremarkable work in the past, but here he has truly outdone himself, and \nmade the greatness of Walter’s conception of the score even more evident\n than before. Somehow the 13 curtain calls for Walter in his Met debut \nin this work eight days before seem scarcely adequate. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWhile the dramatic improvement in sound\n has less impact on the voices, it makes enough of a difference there to\n cause me to reassess some of my previous comments. The main beneficiary\n is René Maison. While noting the “rich baritonal timbre that gained him\n renown in several Wagnerian roles,” I previously complained of “a \nlachrymose distortion of the vocal line that sometimes borders on \nhectoring.” Now, somehow, his characterization sounds significantly more\n balanced, with more heroism and less hysteria, which benefits the \nproceedings immensely. In particular, his top notes now ring out \nvibrantly instead of sounding forced. Flagstad also profits from the \nenriched sonic profile; one now hears more dynamic shading and womanly \nwarmth in what I previously described as a “regal voice” and \n“authoritative interpretation notable for its nobility and dignity,” \nthough the occasional difficulties in her runs also become more audible \nas well. Julius Huehn’s Don Pizarro gains in vocal weight, and \nconsequently in menace as well, making a fine characterization even \nbetter. Another major beneficiary is the chorus; with much improved \nclarity in its diction and sectional balances, it comes into its own in \nthis performance for the first time as a noteworthy contributor to the \nproceedings. Kipnis (superb), Janssen (also superb), Laufkötter \n(passable), and Farell (poor) sound much the same as before, with the \nimproved sonics unfortunately making the latter’s pitch problems even \nmore painfully evident. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAnother change, of lesser magnitude but\n one I still regard as an improvement, is that for the first time a \nrelease of this performance includes intact all of the commentary by \nMilton Cross, recreating for present-day listeners a sense of what it \nwas like to actually listen to a historic Met broadcast \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ein toto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n I do wish that Rose had followed the lead of WHRA in giving the \nstretches of spoken dialogue their own separate tracks. That, and the \nlack of full booklet notes (which as usual with Pristine must be \naccessed on its web site) are the only and minor drawbacks of this \nrelease compared to its WHRA predecessor. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eIs this performance now able to displace the Klemperer\/EMI set as the front-line \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFidelio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n for your collection? No; however, its full greatness is now finally \nevident. Do you still need the WHRA release? Yes, if like me you are a \nWalter (or Flagstad) devotee who also wants the 1951 Met \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFidelio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n and WHRA’s typically superb documentation. Does Andrew Rose deserve a \nstring of Penguin Rosettes here for his work on this set? Absolutely. Is\n this release guaranteed a slot on my 2015 Want List? You bet. This is \nnow an essential acquisition for any collection of historic opera \nperformances worthy of the name; emphatically and urgently recommended. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames A. Altena\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:6 (July\/Aug 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO117.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFlagstad and Walter's legendary 1941 Met Opera Fidelio\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e \"Walter's inner vision is made manifest everywhere - Flagstad here delivers her best Leonore\" - Gramophone, 1997\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eFebruary 22, 1941 was a good day to be an opera-lover in the USA \nblessed with a radio and a good signal. An incredible evening in the \nhands of Toscanini and his NBC Symphony Orchestra, broadcasting an \nall-Wagner concert from Carnegie Hall with soloists Lauritz Melchior and\n Helen Traubel (as heard to brilliant effect on Pristine PACO 105), was \nmerely the dessert course that followed the main meal of the day: Bruno \nWalter conducting Kirsten Flagstad in the Metropolitan Opera's full \nstage production of Beethoven's \u003cem\u003eFidelio\u003c\/em\u003e. In the words of Mark \nObert-Thorn: \"Toscanini's first choice to sing Siegmund and Siegfried in\n his broadcast was Rene Maison; but Maison was already committed to \nBruno Walter's Met \u003cem\u003eFidelio\u003c\/em\u003e on the same day. So, the Maestro had\n so settle for his second choice . . . some guy named Melchior(!) It \nshows what a high opinion Toscanini had of Maison. (He later did get to \nwork with him in Buenos Aires on a performance of the Beethoven 9th from\n the Teatro Colon in July of that year, a performance which has been \nissued on CD.)\"\u003c\/p\u003e\u003cp\u003eThe star of the show here is of course Kirsten Flagstad, and never \nhas she been heard so well in this performance as in this new \nXR-remastered edition. Taken from transfers supplied by the same (alas, \nanonymous) source as the Toscanini recordings of the same day, this is \nthe full broadcast, including commentaries by Milton Cross (with sponsor\n messages edited), in unprecented sound quality from original acetate \nmasters in generally excellent condition. An unforgettable experience on\n the night - and once again today: an all-time classic.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/b\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 Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eFidelio, Op. 72\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e \u003cbr\u003e\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eLeonore\u003c\/em\u003e - Kirsten Flagstad\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eFlorestan\u003c\/em\u003e - René Maison\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eDon Pizarro\u003c\/em\u003e - Julius Huehn\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eRocco\u003c\/em\u003e - Alexander Kipnis\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eMarzelline\u003c\/em\u003e - Marita Farell\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eJaquino\u003c\/em\u003e - Karl Laufkötter\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eDon Fernando\u003c\/em\u003e - Herbert Janssen\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eFirst Prisoner\u003c\/em\u003e - Emery Darcy\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eSecond Prisoner\u003c\/em\u003e - John Gurney\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eChorus and Orchestra of the Metropolitan Opera\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBruno Walter\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eRecorded live by NBC Radio, 22 February 1941\u003cbr\u003eMetropolitan Opera, New York City\u003c\/p\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\/PACO117.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO117.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":31976073037,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31976073101,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31976073165,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31976073229,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO117_8e6c134d-023e-4996-9caa-a2e7b56245d2.jpg?v=1487682745"},{"product_id":"pasc485","title":"WALTER conducts Brahms, Volume 1 (1947-54) - PASC485","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003eBRAHMS\u003c\/b\u003e Symphony No. 1 - Symphony No. 2 - Double Concerto - Song of Destiny - Tragic Overture - Hungarian Dance No. 17\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\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\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\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\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\"\u003eLive recordings, 1947-54\u003cbr\u003eTotal duration: 2hr 25:42 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eB\u003c\/b\u003e\u003cb\u003eruno Walter, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eJohn Corigliano, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eLeonard Rose\u003c\/b\u003e, cello\u003cb\u003e\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eHugo Strelitzer Choir\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eHollywood Bowl Symphony Orchestra \u003cbr\u003e\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003c\/div\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC485.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBruno Walter's 1951 Brahms Cycle with the NY Philharmonic - and more!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"These\n concerts apparently find Mr. Walter at the very zenith of his powers, \nabsorbed in a task which is especially dear to him\" - NY Times\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cbr\u003e\u003cp\u003eThis series is based around what survives of Bruno Walter's fabulous \n1951 series of Brahms concerts with the New York Philharmonic, together \nwith other live performances which either fill gaps in the 1951 \nrecordings or, in the case of the \u003cem\u003eGerman Requiem\u003c\/em\u003e (Vol. 3), add \nto the 1951 programme. A number of major recordings, including two of \nthe symphonies, have never been issued before; in other cases we have \ngained access to sonically superior sources to those used in previous \nreleases.\u003c\/p\u003e\n\u003cp\u003eThere is some variation in sound quality across the recordings, some \nof which have required extensive repair and restoration. What shines \nthroughout is the fabulous musicality of these truly historic concert \naccounts of Brahms' music, as given by Walter and the New York \nPhilharmonic. \u003c\/p\u003e\n\u003cp\u003eOne of the highlights of this first of three 2-CD volumes is a previously-unissued recording of the \u003cem\u003eFirst Symphony\u003c\/em\u003e. This was original played alongside the \u003cem\u003eTragic Overture\u003c\/em\u003e and the \u003cem\u003eViolin Concerto\u003c\/em\u003e,\n neither of which has apparently survived in usable recorded form (a \ncorrespondent reports \"a horrible transfer to a defective private LP\" of\n the \u003cem\u003eViolin Concerto\u003c\/em\u003e with Francescatti); here we've replaced the \u003cem\u003eOverture\u003c\/em\u003e with a later New York performance, a later disc will include a 1953 NY recording of the \u003cem\u003eViolin Concerto\u003c\/em\u003e. The \u003cem\u003eSong of Destiny\u003c\/em\u003e\n which completes the first disc was not performed at the New York \nconcerts - the present recording is taken from a 1947 Hollywood Bowl \nconcert, conducted in the open air by Walter to the (occasional) gentle \naccompaniment of crickets chirruping in the background.\u003c\/p\u003e\n\u003cp\u003eThe second disc here offers the third concert programme in full. Of the recordings it is the \u003cem\u003eDouble Concerto\u003c\/em\u003e\n which is perhaps of greatest interest to collectors - previous outings \non various dubious Italian labels have offered badly muffled, congested \nand inferior sound. By comparison it is clean and clear here, as are the\n other two recordings. I had to deal with occasional peak distortion in \nthe first movement of the \u003cem\u003eSecond Symphony\u003c\/em\u003e where it was \noriginally recorded at levels which overloaded during the loudest \nsections, something I've endeavoured to bring under control here.\u003c\/p\u003e\n\u003cp\u003eVolume Two in this series will complete the symphonies, accompanied \nby two concertos, whilst the final volume will include a previously \nunissued recording of the \u003cem\u003ePiano Concerto No. 1\u003c\/em\u003e from the 1951 New York series, together with a later performance of \u003cem\u003eA German Requiem\u003c\/em\u003e and other works.\u003c\/p\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\n\u003c\/li\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 align=\"center\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cdiv\u003e\n\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS Schicksalslied\u003c\/b\u003e (Song of Destiny), Op. 54\u003cspan style=\"color: #000080;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000080;\"\u003e\u003c\/span\u003e\u003cspan style=\"color: #888888;\"\u003e\u003cb\u003eHugo Strelitzer Choir, Hollywood Bowl Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cdiv\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS Tragic Overture\u003c\/b\u003e, Op. 81\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cdiv\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS Symphony No. 1\u003c\/b\u003e in C minor, Op. 68\u003cspan\u003e \u003c\/span\u003e\u003cspan style=\"font-size: small; color: #000080;\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cdiv\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS Hungarian Dance No. 17\u003c\/b\u003e in F-sharp minor \u003cspan style=\"color: #000080; font-size: small;\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cdiv\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS  Double Concerto\u003c\/b\u003e for violin and cello in A minor, Op. 102\u003cspan style=\"font-size: small; color: #000080;\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"color: #888888;\"\u003eJohn Corigliano, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"color: #888888;\"\u003eviolin\u003cb\u003e\u003cbr\u003eLeonard Rose, \u003c\/b\u003ecello\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cdiv\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS  Symphony No. 2\u003c\/b\u003e in D major, Op. 73\u003cspan\u003e \u003c\/span\u003e\u003cspan style=\"font-size: small; color: #000080;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cb style=\"font-size: medium;\"\u003e\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb style=\"font-size: medium;\"\u003e\u003cbr\u003eBruno Walter\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e, conductor \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003ePERFORMANCE DATES\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003e*Schicksalslied: 7 October 1947\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eTragic Overture: 19 December 1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eSymphony No. 1: 21 January 1951\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eHungarian Dance: 4 February 1951\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eDouble Concerto: 4 February 1951\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eSymphony No. 2: 28 January 1951\u003c\/span\u003e\n\u003c\/div\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\u003cspan style=\"font-size: x-small;\"\u003eAll performed at Carnegie Hall, New York \u003cbr\u003eexcept *Hollywood Bowl, Los Angeles\u003c\/span\u003e\u003c\/div\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\/PASC485.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC485.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fNY Times, 1951578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eNew York Times, 1951:\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eWALTER LAUNCHES HIS BRAHMS CYCLE\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003eHe Conducts Philharmonic in Concert of Master’s Works\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003cdiv\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eBruno\n Walter began his Brahms cycle with the Philharmonic-Symphony last night\n in Carnegie Hall, and gave us a wonderful concert. He played Brahms \nwithout the slightest affectation or mannerism, with all his heart, and a\n simplicity and nobility of spirit which matched the music.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eIt \nwas a great pleasure to hear the scores played without any attempt to \nmodify or beautify them. The rugged and melodic Brahms, whose \norchestration is quite often stringy and unsilky or glistening, fell \nupon our ears, “echt” Deutch and “echt” Brahms. Perhaps this is too \nprovincial a way to put it. The universality of the music rather frowns \nupon that.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eOn \nthe other hand, the very grandeur and universality of this immortal \nmusic comes from its soil and from the consciousness of an artist who \nwas profoundly German in his consciousness and his devotion to the \ntraditions of the German symphonic art.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eMr. Walter, in arranging and \u003c\/span\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003efinding\n the almost ideal tempi and inflection for this music, pointed out \nsomething else to us, which is that Brahms, popularly conceived as the \nneo-classic master of his period—and ours too, for that matter—is not \nonly a romantic composer, but, in the appropriate circumstances, is to \nbe interpreted as such.\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cem\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eContrast in Interpretation\u003c\/span\u003e\u003c\/em\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eThis\n refers especially to the reading of the C minor symphony, which ended \nthe program, and the contrast between its interpretation and that of the\n “Tragic” overture which opened it. In the “Tragic” overture Brahms is \ncompletely a classicist. There is mysteriously communicated, in this \nmusic, the tragedy of human existence, and the grandeur of destiny. The \nstyle is singularly austere, impersonal, like destiny. There is no \nself-pity, no caterwauling at fate. Wherefore, Brahms is here a \nclassicist not only in form and workmanship,\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eThe form\n of the great C minor symphony is also classic. The symphonic methods \nare those of the classical masters of composition in whose footsteps \nBrahms was both proud of and also diffident about treading. But \nactually, in this work, he is a wild-eyed romanticist\u003c\/span\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003e—as was Beethoven in a certain other C minor symphony. And Mr. Walter read the music in the flaming romantic spirit—“sturm und \u003c\/span\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003edrang”—with\n all sorts of grand rhetoric. He did not hesitate for an instant to \nretard or accelerate, or entirely differentiate the contrasting phrases \nof the introduction, in the instance of the lyric phrases which \nimmediately follow the initial motive, heard over the pounding drums.\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eLater\n on, the way in which he maintained the pace of the choral melody which \nopens the finale, after the prelude with a horn-call, was a \nmaster-stroke of classic architecture. And this finale was tonal drama \nof the most thrilling kind; We need not particularize farther. The \ntranscending value of this concert was the conviction, the rugged \nstrength and unfeverish, unmodern, absolutely real faith and emotion \nwhich vibrated in every measure.\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003eOlin Downes \u003c\/b\u003eThe New York Times, 19 January 1951\u003c\/p\u003e\n\u003c\/div\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":31976073357,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31976073421,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31976073485,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC485_c140bea6-0a25-4a5a-bada-9758d6544d08.jpg?v=1487682747"},{"product_id":"pasc489","title":"WALTER conducts Brahms, Volume 2 (1951\/53) - PASC489","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003eBRAHMS\u003c\/b\u003e Symphony No. 3 - Symphony No. 4\u003cbr\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Piano Concerto No. 2 - Violin Concerto\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\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\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\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\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\"\u003eLive recordings, 1951\/53\u003cbr\u003eTotal duration: 2hr 35:06 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eB\u003c\/b\u003e\u003cb\u003eruno Walter, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eErica Morini, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eMyra Hess\u003c\/b\u003e, piano\u003cb\u003e\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003e\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003c\/div\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC489.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBruno Walter's 1951 Brahms Cycle with the NY Philharmonic continues\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eRare and previously unissued live Brahms recordings from Carnegie Hall\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eThis series continues here with what survives of Bruno Walter's fabulous\n 1951 series of Brahms concerts with the New York Philharmonic, together\n with a later live performance of the Violin Concerto which fills the \ngap in the 1951 recordings left by the apparent loss of a performance \nwith Zino Francescatti.\u003cbr\u003e\u003cli\u003e\n\u003cbr\u003ePreparing this release has required some major technical \ninnovation, both in the Symphony No. 3, previously unissued, and the \nViolin Concerto. As outlined in the quoted review in our CD liner notes \nof a previous issue of the latter, things went wrong during the first \nmovement, culminating in a momentary silence from the soloist - the \nresult of a broken string. Morini quickly borrowed the violin offered by\n the orchestra's leader, John Corigliano and carried on playing while he\n replaced her broken string.That gap here is filled by the seamless \nmixing in of Morini's 1956 studio recording for Westminster at around 11\n minutes to patch the gap whilst instruments were exchanged.\u003cbr\u003e\u003cbr\u003eMore challenging was the Symphony No. 3, where two source \nrecordings were used for several sections of the recording. One was \ndamaged in upper frequencies, the other in the lower frequencies. \nFollowing digital pitch and tempo stabilisation and synchronisation I \nwas able to digitally copy and paste good upper frequencies over good \nlower frequencies to produce a perfectly matched and utterly convincing \nnew whole, a technique I believe may never have been successfully \nattempted before, and which restores what would otherwise have been \nunusable sources to their full glory. \u003cem\u003e\u003c\/em\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003c\/li\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\n\u003cli\u003e\n\u003cdiv\u003e\n\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003ePiano Concerto No. 2 in B-flat major, Op. 83\u003cspan style=\"color: #000080;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000080;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cdiv\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 3 in F major, Op. 90\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cdiv\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eViolin Concerto in D major, Op. 77\u003cspan\u003e \u003c\/span\u003e\u003cspan style=\"font-size: small; color: #000080;\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cdiv\u003e\n\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 4 in E minor, Op. 98 \u003cspan style=\"color: #000080; font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small; color: #000080;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cb style=\"font-size: medium;\"\u003e\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003e\u003cb\u003eErica Morini, \u003c\/b\u003eviolin\u003cbr\u003e\u003cb\u003eMyra Hess\u003c\/b\u003e, piano\u003c\/p\u003e\n\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb style=\"font-size: medium;\"\u003eBruno Walter\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e, conductor \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\u003cp\u003e\n\n\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003ePERFORMANCE DATES\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003ePiano Concerto No. 2: 28 January 1951\u003cbr\u003eSymphony No. 3: 28 January 1951\u003cbr\u003eViolin Concerto: 20 December 1953\u003cbr\u003eSymphony No. 4: 11 February 1951\u003cbr\u003e\u003cbr\u003eAll performed at Carnegie Hall, New York \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\/PASC489.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC489.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":31976073549,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31976073613,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31976073677,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC489.jpg?v=1487682750"},{"product_id":"pasc446","title":"WALTER conducts Bruckner \u0026 R. Strauss (1953\/54) - PASC446","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\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\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003eBRUCKNER\u003c\/b\u003e Symphony No. 9\u003cb\u003e\u003cbr\u003eR. STRAUSS \u003c\/b\u003eTill Eulenspiegels lustige Streiche\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\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eLive and recordings, 1953 and 1954\u003cbr\u003eTotal duration: 65:47 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eBruno Walter, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\n\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIf I had to have only one Walter Bruckner Ninth it would be this 1953 New York broadcast578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBruno Walter is more difficult to \ncharacterize in a few adjectives than most conductors. This is partly \nbecause his interpretive view seemed to change late in life, \nparticularly in post-heart attack years, but more importantly it is \nbecause he brought a somewhat improvisatory outlook to his conducting \nand because he refused to apply any kind of “one-size-fits-all” \napproach. Thus he could be seen (or heard) alternatively as genial, \nfierce, majestic, fiery, dramatic, warm, tumultuous, and lyrical. For \nthose who like to sum up a great artist in a word or two, he presented a\n real challenge. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHis seven surviving recorded \nperformances of Bruckner’s incomplete Ninth Symphony (only one a studio \nrecording, and one live version still unpublished) give plenty of \nevidence about the spontaneity and flexibility of Walter as a musician. \nWhile the general interpretive viewpoint remains relatively constant \nuntil the 1959 studio recording, with similar overall tempos for each \nmovement and even similar tempo relationships within movements, there \nare still meaningful differences among the ones with which I am \nfamiliar. The studio recording is significantly slower than his live \nperformances (some three-plus minutes longer in the outer movements, and\n a bit over a minute in the briefer scherzo), and it is less incisive, \nless propulsive. James Altena, in a very perceptive review of a Pristine\n reissue of Columbia’s original in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e37:1,\n makes a good case for this performance. I tend to agree with his \noverall assessment based on that superior transfer, but if I had to have\n only one Walter Bruckner Ninth it would be this 1953 New York \nbroadcast, a performance that has never been available before in \nadequate sound. Pristine found (from a collector) a superb source, and \nhas drawn fine monaural sound from the original, and then added its XR \nambient stereo touch which gives the music some space. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThere was initial confusion when this \nwas first released, due to what turned out to be incorrect information \nthat it was a newly discovered 1950 performance. In fact, on the \nFebruary 5, 1950 weekly NYP radio broadcast, the Bruckner Ninth that was\n performed on the February 2 and 3 concerts was replaced by works of \nMozart. It is easy to see why this Pristine release wasn’t initially \nrecognized as the 1953 one, because the sound quality is so much \nsuperior here to prior reissues that it indeed does not sound like the \nsame performance. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSome of the five alternative available \nversions merit very little space here. The 1946 New York Philharmonic \nbroadcast suffers from poor sound. I have not heard the 1948 \nPhiladelphia Orchestra broadcast, only released on Memories and Music \n\u0026amp; Arts. The only transfer I have heard of the 1953 Vienna \nPhilharmonic performance, on the Andromeda label, is muddy and \ncompressed and offers little pleasure. Jeffrey J. Lipscomb, in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e32:3,\n reviewed the only real competition to this Walter performance, the 1957\n New York Philharmonic performance released by Music \u0026amp; Arts in quite\n good sound. This 1953 performance is preferable, partly because of \nPristine’s quite wonderful transfer and partly because of the even \ngreater energy and sense of deep commitment that Walter and his New York\n musicians bring to the music here. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWalter uses the Alfred Orel edition of \nBruckner’s original score, a version that does not differ in any \nsignificant way from Nowak’s, and Walter makes a few adjustments along \nthe way. But the editorial details are minor points for Bruckner \nscholars to study. For most of us, it is the quite unusual combination \nof raw power and heartfelt warmth that distinguishes this performance. \nThe strings have a lovely glow when they are stating the first \nmovement’s main tune (listen at 16:09 of the first movement to the \nunanimity of phrase-shaping and tonal balance that the violins exhibit).\n \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBruckner has always seemed to me to be \nthe one truly important composer whose music is completely dependent on \nthe conductor if it is to make its effect. It is not, of course, that \nBeethoven, Brahms, Tchaikovsky, Dvořák, or even Mahler play themselves. \nAll composers benefit from committed, stylistically unified and \nappropriate performances. But many can survive less than that. Bruckner \ncannot. His music will seem shapeless, meandering, repetitive, and \nultimately pointless if the conductor does not master the overall \narchitecture of the score. Conductors who, for example, lack patience to\n give Bruckner’s pauses their full measure, think they are helping move \nthings along. In fact they are damaging the very essence of the music, \nand making it seem longer, not shorter. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWhat seems to distinguish Walter’s \nBruckner is his ability to encompass the wide range of the spiritual and\n emotional content of the music, particularly in his prime years before \nthe heart attack that sapped his strength before his final stereo \nrecordings for Columbia (with too small an orchestra as well, something I\n suspect a stronger, younger Walter would not have accepted). The \nscherzo here is big-boned and lusty at one moment, intimate and smiling \nthe next. The outer movements combine drama and power with an unusual \nintimacy in a way quite unlike that of any other performance I know. \nAdherents of Horenstein, Furtwängler, Barenboim, Wand, and others will \nfind touches in Walter’s reading that reminds them of their favorites. \nHowever, in the end it sounds like none of them. This is a unique vision\n that has about it the sense of being improvised on the spot. Walter \nengages in some strong tempo fluctuations, but the transitions are so \nperfectly judged and executed that at no point does the music’s \nstructure weaken. The conductor’s sense of appropriate rubato is nowhere\n more apparent than in the finale, and it is complemented by his keen \near for dynamic shadings, and the infinite variety of dynamics that he \nbrings to the score. The harmonic crisis at the core of the finale is \nterrifying here, with the dissonances emphasized in a way that is not \nthe case in Walter’s studio recording. Pristine’s transfer brings all of\n this to life vividly. Walter was one of Bruckner’s early and important \nadvocates, and the fact that he performed this work with the New York \nPhilharmonic in 1946, 1950, 1953, and 1957, at a time when Bruckner \nperformances were a rarity, demonstrates his devotion to the composer. I\n do not believe that devotion has come across in a more impassioned way \nthan in this performance. The Philharmonic of 1953 is not the most \nrefined or accurate of orchestras, but it is more than good enough to \nbring off the power and beauty of Walter’s performance. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAndrew Rose of Pristine admits that the recorded sound of the 1954 New York \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill Eulenspiegel \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\n not of the same quality as the Bruckner. The sense of compression at \nclimaxes is frustrating, as are the limitations on frequency response at\n both extremes of the spectrum and the almost non-existent dynamic range\n (Rose has done what he can to expand the latter). It is worth having \nbecause Walter did not leave us much in terms of this piece. I haven’t \nheard the Los Angeles Philharmonic broadcast (on Nuovo Era and a \nJapanese Bruno Walter Society LP), which I believe is the only \nalternative. So it is good to have this, especially since Walter’s way \nwith the score is boisterous and robust, and the general interpretive \noutline comes through despite the sonic difficulties. The Bruckner is \nthe reason for this disc, and it is reason aplenty. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eEven if you own this 1953 New York \nperformance in an earlier incarnation (I have heard it on both Tahra and\n Nuova Era), replacement with this version is almost mandatory. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:3 (Jan\/Feb 2016) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis release is a vital addition to the\n Walter discography, though not quite for the reasons originally \nanticipated. Back in issue 36:3, when I reviewed a Music \u0026amp; Arts \nrelease of live performances by Walter of Bruckner’s Symphonies Nos. 4 \nand 9, and Mozart’s Symphony No. 35, I provided the following list of \nWalter’s performances of the Ninth in circulation among collectors (with\n only the Sony issue being a studio recording rather than a live \nperformance): \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003ctable class=\"main\" frame=\"box\" rules=\"all\" border=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cb\u003eDate\u003c\/b\u003e \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cb\u003eOrchestra\u003c\/b\u003e \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cb\u003eCD Issue (if any)\u003c\/b\u003e \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cb\u003eTimings\u003c\/b\u003e \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e03\/17\/46 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eNYP \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eMusic \u0026amp; Arts CD-1110 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e21:42 9:37 19:42 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e02\/28\/48 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003ePO \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eMusic \u0026amp; Arts CD-1262 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e21:19 9:43 19:28 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e02\/02\/50 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eNYP \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003enone (private collection) \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e20:12 9:55 19:15 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e08\/20\/53 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eVPO \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eAndromeda ANDRCD 9092 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e21:10 10:09 19:17 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e12\/27\/53 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eNYP \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eTahra TAH 571 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e20:32 10:09 19:46 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e02\/10\/57 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eNYP \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eMusic \u0026amp; Arts CD-1212 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e19:59 10:01 19:14 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e11\/13\/59 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eLAP \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003enone (private collection) \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e22:30 10:53 21:58 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e11\/16–19\/59 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eCSO \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eSony SMK 64 483 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e23:51 11:29 23:16 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis list now requires revision, for \nthe putative February 2, 1950 performance is now proven to be a chimera,\n due to some dedicated detective work by several knowledgeable persons. \nAn unnamed collector acting in good faith provided Andrew Rose with a \ncopy of what purported to be that unpublished performance. Rose duly \nrefurbished it according to his usual exceptional standards (more on \nwhich below) and released it. A sharp-eared collector of historic \nrecordings, David Griegel of San Diego, who has a track record of \nidentifying performances of unknown provenance and mistaken attribution,\n spotted that the release is in fact the December 27, 1953 performance \npreviously released by Tahra and Palladio. Griegel in turn made contact \nwith noted historic recordings expert Mark Kluge (who has written \nbooklet notes for many previous releases of Bruno Walter material) and \nJohn F. Berky, editor of the redoubtable abruckner.com web site. They \nperformed further research, did A-B comparative listening tests of the \nPristine Audio disc against the previous Tahra release, and verified \nthat Griegel was correct. (February 2, 1950 was not a broadcast concert \ndate—for the broadcast on February 5, Mozart’s “Haffner” Symphony and \nPiano Concerto No. 20 were substituted for the Bruckner. The concerto \nperformance with Rudolf Firkušný once appeared on a “pirate” Italian CLS\n LP with the Symphony No. 40 from the same concert, while the “Haffner” \nhas circulated privately among collectors.) Berky duly made a notation \non his web site; \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n reader and friend Robert Alps spotted that notation and (knowing of my \ndedication to Bruno Walter) notified me. I in turn contacted first Berky\n and then Andrew Rose; the latter duly also verified the misattribution \nand has now corrected the notes and other materials for this release. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHaving now heard both the original \nunprocessed master that Rose received and his remastered version, it is \nnot surprising that this misidentification went undetected heretofore; \nnot only do the inferior original sonics effectively conceal a number of\n tell-tale details that reveal its identity when brought to the fore, \nbut it is also pitched about a semitone sharp. So, scratch one item from\n the list of surviving live performances attributed to Bruno Walter and \nreduce the number of his surviving renditions of the Bruckner Ninth from\n eight to seven, with one (the live Los Angeles performance, a subpar \nperformance in poor sound) remaining unreleased. But, to quote the \nvenerable Latin tag, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eO felix culpa!\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (O, happy fault!). For, even though this is not a completely new \naddition to the published Walter discography, it might as well be. Rose \nhas lavished his now customary superb remastering skills on this new \nsource with his trademark XR process, and the marvelous result \ncompletely outstrips all previous issues. The sound is exceptionally \ngood for its era; only occasional minor distortion remains at a few \ngreat orchestral climaxes. Even more importantly, this release gives us \nfor the first time a real sense of Walter’s typical way with this work. \nAlthough Pristine’s superb remastering of the 1959 studio recording \nprompted a major reassessment by me of that version in a review in issue\n 37:1, its significantly broader pacing and more rounded contours make \nit an atypical representative. Here, while Walter’s trademark lyricism \nand humane warmth are as always ever-present, there is also an almost \nfierce determination and urgency in what is one of the fastest \nperformances of the work by any conductor. Bruckner famously dedicated \nthe score to “Dem lieben Gott” (To the beloved God); but this is no \nserene view of the Almighty enthroned in majesty, but rather one of Him \nenacting awe-inspiring justice in the great and terrible day of the Last\n Judgment. Walter fully captures all this in a truly remarkable \ncombination of tautness of line, sudden but always apt tempo \nfluctuations, and liberal use of rubato. Although the details vary only \nslightly from his other live performances—Philadelphia in 1948, Vienna \nin 1953, and New York in 1946 and 1957 (see my aforementioned review \nfrom 36:3 for additional details)—in those some of the transitions are \nnot quite ideally calculated and come off as a little abrupt, whereas \nhere all the shifts mesh well-nigh ideally. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eTo add icing to the cake, Rose also \nprovides an authentic premiere addition to the published Walter \ndiscography, the previously unreleased broadcast of the December 26, \n1954 New York Philharmonic performance of Richard Strauss’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill Eulenspiegel\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n This is especially welcome on three counts. First, Walter never \nrecorded the work in the studio. Second, the only other surviving \nperformance of Walter conducting this score, a broadcast performance \nwith the Los Angeles Standard Symphony dating from either 1949 or 1950 \n(I would much appreciate hearing from anyone who can provide the precise\n date for this!), is in inferior sound and performed (with considerable \nspirit) by an inferior orchestra. Third, there is Walter’s own \ninimitable way with this score. Not as metaphysical as Furtwängler, nor \nas bitingly ironic as Reiner or Solti, nor as slyly good-humored as the \ncomposer’s own 1942 Vienna version, it instead features a Till who is a \ntrue \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eJedermann\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, a\n warmly humane three-dimensional person rather than a caricature or \nsymbol, fleshed out in both his hijinks and his foibles with \naffectionate warmth. While the recorded sound is inferior to that of the\n Bruckner from a year earlier, with more distortion at climaxes and some\n congestion, it is still quite listenable and has plenty of orchestral \ncolor. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThis is, then, a major release of \ninterest not just to fans of Bruno Walter such as myself, but to all \ncollectors of historic orchestral recordings of music by Bruckner or \nRichard Strauss, and merits a top-notch recommendation accordingly. This\n has “Want List 2016” written all over it for me. Or, at least, it \nshould, except for one possible complication. As I write these lines, \nPristine has just released a two-CD set of Walter recordings, containing\n among other items all of his LP recordings that have not previously \nbeen released on CD. When I first became a critic for \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n I originally vowed that, to spare readers excessive indulgence of my \ndevotion to Bruno Walter, an annual Want List would not feature more \nthan one Bruno Walter recording. I’m now in the position of either \nmaking an excruciatingly painful choice, or of breaking my vow. Well, I \nhave another 10 months to decide—stay tuned! \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames A. Altena\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:3 (Jan\/Feb 2016) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOtto Klemperer said, “Bruno Walter is a\n very good conductor, but he is a moralist. I am an immoralist.” There \nis much truth in that statement. Bruno Walter was a believer. He liked \nto say that in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Magic Flute\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n Mozart was near to God. Bruckner, for Walter, was someone who had found\n God. The conductor was devoted to discovering the sources of spiritual \nwisdom in Bruckner’s work. Not for him was the bromide of Mahler, his \nfriend, that Bruckner was “half genius, half idiot.” Indeed, at times in\n Walter’s performances of Bruckner there is an emotional radiance I have\n found in no other interpreter of this music. Walter possessed an \nidentification with Bruckner’s ethos quite unique among the composer’s \ndevotees. We are most familiar with Walter’s take on the Ninth Symphony \nfrom his stereo recording with the Columbia Symphony. That is a slow, \nsomewhat steady rendition that mixes sobriety with insight. It is rather\n lacking in ecstasy. Also, Erich Leinsdorf stated that Walter in the \nlast few years of his life lost some of the strength in his conducting \narm, and had trouble keeping large ensembles together. In the Ninth, one\n can hear the Columbia Symphony playing very cautiously at times. Now we\n have a live account with the New York Philharmonic, and what a contrast\n it is. The performance is much faster, filled with exuberance, \nbrilliant execution, and terrific control. Walter’s tempos are \nconsiderably flexible, always aiming at maximum characterization for the\n music. Yet the conductor’s spiritual identification with the symphony \nis as great as ever. There is not a single pedestrian moment. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWalter seems to use the original 1894 \nversion of the Ninth, edited by Alfred Orel, which the conductor \nemployed in his stereo recording. Bruckner’s dedication of the work, “to\n the Dear Lord,” is crucial to understanding Walter’s interpretation. At\n the symphony’s opening, we’re introduced to the ethic of strenuous \nChristianity. We find a mind similar to that of the Jesuit priest Gerard\n Manley Hopkins: “The world is charged with the grandeur of God.” The \nclouds part at the first movement’s beginning to reveal celestial light,\n as the brass throughout the composition often inhabit the world of \nRenaissance polyphony. The second subject, in luscious strings, portrays\n the blessed soul traveling through creation, seeking contentment that \nonly comes from the Almighty. As the movement proceeds, we see how \npersonal Bruckner’s relationship to God is. God is his refuge from \ndespair and uncertainty. When the second subject returns toward the \nmovement’s end, it is transfigured, as if the soul’s burdens are \nmagically lifted. Walter treats this movement’s conclusion in the best \nCecil B. DeMille fashion, portraying God as solitary upon a mountain \ntop. The scherzo for Walter depicts what Yeats called “The Trembling of \nthe Veil,” the sense that the poet’s generation in the 1890s—the time of\n the symphony—would receive an intimation of the eternal. The middle \nsection portrays the soul in breathless anticipation. Oboist Harold \nGomberg’s playing in the scherzo is especially sensitive. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe concluding movement for Walter is a\n meditation on final things, salvation and the resurrection. The second \nsection represents the soul’s anticipation of death, and the consolation\n of reunion with the eternal. Bruckner is no saint; the courage to face \ndeath does not come easily to him. Yet the symphony ends with the \ncomposer bowing to God’s ineffable mystery. Walter was not the only \nconductor in concert to dispatch the Ninth in a little over 50 minutes. \nHans Knappertsbusch in 1958 and John Barbirolli in 1966 did so as well. \nHowever, these three great conductors could not have more divergent \nviews of the work. Knappertsbusch, using a different edition, is all \nabout mystery. Barbirolli’s performance is filled with serious \nintrospection. Walter inhabits the ethos of Hopkins’s poetry: “Glory be \nto God for dappled things.” Who is right, I can’t say. The sound \nengineering for Walter is unusually good for a live recording from 1953:\n clear, reasonably well balanced, with a pretty good dynamic range. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eWalter’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill Eulenspiegel \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\n a stunning achievement. It is filled with wit and irascibility. The \nPhilharmonic first chairs have a field day, most notably concertmaster \nJohn Corigliano, Sr. and first horn James Chambers. Unfortunately, the \nsound engineering is rather limited. The frequency response is poor and \nthere is considerable overload, especially when Saul Goodman bangs away \non the timpani. Nevertheless, the recording can be enjoyed. The main \ndraw of this CD is the Bruckner. The stereo recording of the Ninth I \nlisten to most often is by Hiroshi Wakasugi and the Saarbrücken Radio \nSymphony. For \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n I like Neeme Järvi and the Royal Scottish National Orchestra. It is \ngood to have a memento of Bruno Walter at the peak of his career in the \nBruckner. He summons music-making of high seriousness and epic grandeur.\n \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDave Saemann\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:3 (Jan\/Feb 2016) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC446.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBruno Walter \u0026amp; the NY Philharmonic magnificent in a stunning Bruckner 9\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"I do not believe that devotion has come across in a more impassioned way than in this performance\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cli\u003e\n\u003cp\u003eThe two recordings in this programme have remained in private hands \nsince their recording from live Carnegie Hall concerts in the 1950s, and\n their provenance is unclear. Copies were donated by a private collector\n for this issue. Of the two, the Bruckner is by far the better, \ntechnically speaking: a full-frequency recording of remarkable quality \nfor its age, it appeared at first to be unusually swift for a Walter \nperformance of this work. Frequency analysis forced a revision of this, \nhowever - when properly pitched at the A440 used by the Philharmonic in \nthe early 1950s it closely matches other Walter recordings. Nevertheless\n the collector who passed it to me still regards it as perhaps Bruno \nWalter's finest recorded performance of Bruckner's 9th Symphony. It was this mis-pitching that led to it being long and incorrectly identified (and initially released by Pristine) as a 1950 performance, rather than a 1953 broadcast that has previously surfaced, albeit in far inferior sound quality. We were quick to correct this after release and would direct readers to the reviews quoted below which cover this subject in more detail.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eBy contrast, the Strauss is a far rarer recording in the Walter \ndiscography (an earlier LA Philharmonic performance was issued on a \nNuovo Era CD and a Japanese Bruno Walter Society LP). It appears to have \noriginated on a slightly swishy acetate disc recorded from an AM radio \nsource, hence its limited frequency and dynamic range. Sonic \nshortcomings notwithstanding, it is a fabulous interpretation, \noutclassing the Los Angeles recording on a number of performance levels.\u003c\/p\u003e\n\u003cp\u003eIt should be noted that neither of these recordings included applause\n or announcements, and movement joins in the Bruckner were silent, \nindicating probable 12\" acetate side change points - I have preserved \nall that remains.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem style=\"font-weight: bold;\"\u003eAndrew Rose\u003c\/em\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\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\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRUCKNER\u003c\/b\u003e  Symphony No. 9 in D minor, WAB109\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eLive concert recording, Carnegie Hall, 27 December, 1953\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003c\/span\u003e\n\u003cp\u003e \u003cspan style=\"font-size: x-small;\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: x-small;\"\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e  Till Eulenspiegels lustige Streiche, Op.28\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eLive concert recording, Carnegie Hall, 26 December, 1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003ePreviously unissued\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003eBruno Walter\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/p\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\/PASC446.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC446.pdf578a9379d1e540bd96d26f0","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":31976075021,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31976075085,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31976075149,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31976075213,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC446.jpg?v=1487682753"},{"product_id":"paco094","title":"WALTER Mahler: Das Lied von der Erde (1960) - PACO094","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\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eDas Lied von der Erde \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\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 18 \u0026amp; 25 April 1960\u003cbr\u003eTotal duration: 63:40\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eMildred Miller\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e    mezzo-soprano\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eErnst Haefliger\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e    tenor\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/span\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 class=\"body\" style=\"font-size: 14px;\"\u003e\u003cb\u003eNew York Phiharmonic Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eBruno Walter\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e    conductor\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fFor a stereo recording of Das Lied, this one remains a prime choice; strongly recommended.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eTo my great pleasure, Andrew Rose at \nPristine Audio is continuing to devote his refurbishing efforts to \nrecordings by my podium idol, Bruno Walter. Although his efforts have \nnot been uniformly successful, his best ones—the Bruckner Ninth and \nMahler Fifth symphonies that I praised in separate reviews in 37:1—are \naccomplishments of such merit that they caused me to fundamentally \nre-evaluate the character of the performances themselves. I am therefore\n pleased to give my endorsement to this new release as well. I initially\n approached this disc with some trepidation, because in my experience \nRose has been far less successful at remastering vocal recordings than \npurely instrumental ones; too often the character of singers’ voices has\n been altered for the worse with a kind of harsh, edgy electronic \npenumbra. Happily, that is not the case here; both Haefliger and Miller \nsound completely natural, and the sound has been opened up and made to \nblossom in a way very similar to what Rose achieved with the Bruckner \nNinth—richer, weightier bass, fuller midrange and treble, and a touch of\n added warmth to Columbia’s slightly dry-sounding original ambience. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn particular, I think that Mildred \nMiller benefits the most here. She is a prime example of a singer with a\n good but not great or distinctive voice, who nevertheless could produce\n exceptional results under the tutelage of the right conductor, the \nlatter in this case being of course Walter. (Their recording of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLieder eines fahrenden Gesellen \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003econtinues\n to have no peers, and it is mind-boggling to know that Walter himself \nhad never even studied the score until Miller asked to record it with \nhim when a few extra hours of studio recording time unexpectedly became \navailable!) While her voice \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003equa\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e voice is no match for that of Thorborg or Ferrier in Walter’s earlier recordings of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDas Lied\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n or for singers such as Maureen Forrester, Christa Ludwig, and Janet \nBaker in other famous versions, under Walter’s coaching she is an \nunexpectedly fine and probing interpreter of the texts. Haefliger \nremains one of the most poised and elegant purveyors of the tenor part, \nand the New York Philharmonic plays with razor-sharp virtuosity. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMESi\"\u003eDas Lied\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is\n one of the dominant works in Walter’s discography, with eight different\n recordings (two studio, marked * below, and six live, with that from \n1949 lacking the first and last movements) having appeared on CD, as \nfollows: \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan class=\"TIMESb\"\u003eDate\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12b\"\u003eSoloists\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12b\"\u003eOrchestra\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003e05\/24\/1936 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eKerstin Thorborg, Charles Kullmann \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eVienna Philharmonic \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003e01\/18\/1948 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eKathleen Ferrier, Set Svanholm \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eNew York Philharmonic \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003e08\/21\/1949 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eKathleen Ferrier, Julius Patzak \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eVienna Philharmonic \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003e*05\/15–20\/1952 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eKathleen Ferrier, Julius Patzak \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eVienna Philharmonic \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003e05\/17\/1952 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eKathleen Ferrier, Julius Patzak \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eVienna Philharmonic \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003e02\/22\/1953 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eElena Nikolaidi, Set Svanholm \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eNew York Philharmonic \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003e04\/16\/1960 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eMaureen Forrester, Richard Lewis \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eNew York Philharmonic \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003e*04\/18 \u0026amp; 25\/1960 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eMildred Miller, Ernst Haefliger \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eNew York Philharmonic \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOf these, the three commercial \nrecordings (the 1936 live performance in Vienna also being recorded by \nEMI for commercial release) easily continue to hold pride of place. Of \nthe other five, that of April 16, 1960 is the one of the most interest, \ndue to the presence of Maureen Forrester with Walter in a live \nperformance in quite decent monaural sound. (Tenor Richard Lewis is not \nquite on the same level, taking a couple of minutes to get warmed up and\n not ever sounding fully at ease in his upper register.) The two \nperformances with Svanholm are non-competitive, due both to that tenor’s\n uningratiating voice and defective vocal technique and to the inferior \nrecorded sound, while the 1949 performance is likewise in mediocre sound\n and (as already noted) incomplete. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs some readers doubtless already know,\n there has been considerable controversy over the Andante and Tahra \nreleases in 2002 of the live May 17, 1952 performances. In a review in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGramophone\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Magazine, Rob Cowen charged that the Andante release was actually a \ndoctored version of the contemporaneous studio recording, to which \nAndante’s artistic supervisor, Gottfried Kraus, wrote a rebuttal. The \nissue was further inflamed when a few months later Tahra issued what it \nclaimed was the first release of the May 17 performance, one clearly \ndifferent from the Andante release (e.g., Patzak flubs an entrance early\n in the fifth song). So far as I know, no definite resolution has been \nreached regarding the various claims and counter-claims; however if, as \nat least one source has suggested, the Tahra release is actually of the \nMay 18 performance, then there are nine surviving performances instead. \nFor my part, I think Cowen is right. While I trust that honest error \nrather than willful deception was involved, the Andante issue does sound\n uncannily like the Decca studio version, right down to a few momentary \nsubtle background noises. Moreover, Kraus has recently made a verified \nserious error regarding source materials in issuing a performance \nconducted by Hans Swarowsky of Mozart’s Concerto for Two Pianos, K 365, \nas being one by Wilhelm Furtwängler, despite the prior and \nwell-publicized authentic release of the latter in 2002 by Music \u0026amp; \nArts (see the reviews by Ronald Grames and Henry Fogel of the Orfeo set \nin 37:3, and by Fogel of the M\u0026amp; A release in 26:3.) Consequently, I \nfor one have doubts regarding Kraus’s acumen in discerning authentic \nsource materials. In any case, for most listeners the live performance \nin its indisputably authentic Tahra release will present an interesting \ngloss on, but not replace, the immortal Decca recording. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAs for the three main contenders, all \nhave enjoyed multiple and uniformly glowing reviews from numerous \ncritics in these pages (not to mention elsewhere), and it would be \nsuperfluous of me to add to those at any length. Suffice it to say that \nwhile the 1952 Decca recording is the consensus choice for a \nfavorite—and indeed for many remains the greatest recording of the work \nfor all time—the other two versions also have their champions for first \nchoice. (Jon Tuska endorsed the 1936 EMI recording in 17:2, and \nChristopher Abbott the 1960 Columbia recording in 32:2.) As for myself, I\n love them all, but I concur with the consensus for the Decca recording \nas the desert island choice; while the 1936 version objectively ranks \nsecond as a performance due to my marked preference for Thorborg over \nMiller, the 1960 studio recording is better in virtually every other way\n and will likely provide most listeners with greater pleasure. I also \nwouldn’t be without the Tahra release; despite the lesser depth of the \nrecorded sound compared to the studio version and a few rough moments, \nit has a special incandescence, with Patzak in particular sounding even \nmore vibrant and having a real ring and heft to his voice. But for a \nstereo recording of\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Das Lied\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, this one remains a prime choice, and now Pristine Audio has given one even more reason to acquire it; strongly recommended. \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames A. Altena \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eThis article originally appeared in Issue 37:4 (Mar\/Apr 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO094.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBruno Walter's final word on the work he premièred 50 years earlier: Das Lied von der Erde\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"exceptional\n insight into, and sympathy with, Mahler's thought, and ability to \ncapture every nuance of his melancholy sensitivity\" - The Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003eHaving conducted the \npremière performance of Das Lied von der Erde in Munich on 20 November \n1911, some six months after his close friend and long-time musical \ncolleague and mentor, Gustav Mahler's death, all of Bruno Walter's \nperformances and recordings of the work come inevitably with an extra \nring of \"authenticity\". He recorded the work three times, each \neffectively in a different era of recording technology. The first, made \nin Vienna in 1936 with Kerstin Thorborg and Charles Kullman (PASC108) \nsits sqaurely in the 78rpm era, whilst the second, another Viennese \nproduction, this time for Decca in 1952 with Kathleen Ferrier and Julius\n Patzak (PASC109), was a star release of the early mono LP era.\u003cbr\u003e\u003cbr\u003eHere we find him, in his \ntwilight years, in New York - with much improved sonics, and in full \ntrue stereo. Yet, as I've found with Walter's other late Columbia \nrecordings, there remains room for considerable improvements in sound \nquality here; XR remastering this recording has greatly opened out and \nfilled out the sound, lifting a veil from the top end, finding greater \nwarmth and depth at in the bass and lower mid-range, and smoothing out \nsome awkward hamornic peaks in the middle, to deliver a more natural \nsound from both singers and orchestra. Overall the result is entirely \ncaptivating!\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\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\u003cspan\u003e\u003cb\u003eMAHLER \u003c\/b\u003eDas Lied von der Erde \u003cbr\u003e\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\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eMildred Miller\u003c\/b\u003e    mezzo-soprano\u003cbr\u003e\u003cb\u003eErnst Haefliger\u003c\/b\u003e    tenor\u003cbr\u003e\u003cb\u003eNew York Phiharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBruno Walter\u003c\/b\u003e    conductor\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eRecorded 18 \u0026amp; 25 April 1960, Manhattan Center, New York City\u003cbr\u003eProducer and Audio Restoration Engineer: Andrew Rose\u003cbr\u003e Cover artwork based on a photograph of Bruno Walter\u003cbr\u003eTotal duration: 63:40\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\/PACO094.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO094.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":32533227085,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":32533227149,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":32533227213,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO094.jpg?v=1487756892"},{"product_id":"pasc452","title":"WALTER Rarities: American Columbia Recordings (1941-55) - PASC452","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003eMOZART \u003c\/b\u003e Symphony No. 41, ‘Jupiter’\u003cb\u003e\u003cbr\u003eSCHUBERT \u003c\/b\u003e Symphony No. 5\u003cb\u003e\u003cbr\u003eSCHUBERT \u003c\/b\u003e Symphony No. 8, ‘Unfinished’\u003cbr\u003e\u003cb\u003eJ. STRAUSS II\u003c\/b\u003e Emperor Waltz\u003cb\u003e\u003cbr\u003eBRAHMS \u003c\/b\u003e Song of Destiny\u003cbr\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003e Symphony No. 8\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003eTotal duration: 2hr 18:46\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eColumbia Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBruno Walter,\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe best is saved for last here, in the form of an absolutely crackerjack performance of the Dvořák Eighth Symphony578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOnce again, doughty Pristine Audio \nbravely steps into the breach to fill in a gaping hole in the \ndiscography of famous performances that the holders of the original \nrecordings have failed to address. In this case, we are provided with \nsuperior transfers of wartime and post-war Columbias by Bruno Walter \nthat did not make it into either Sony’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBruno Walter Edition\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n or any of its other domestic issues of Walter recordings. Foreign \nreleases of these renditions have been spotty or non-existent; indeed, \ntwo items (the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCosì fan tutte \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture\n and the Schubert Fifth Symphony) make their debuts on CD here. Since \nWalter rerecorded all of these works except for the Mendelssohn \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMSND\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e Scherzo in stereo (the omission of that from the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBW Edition\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n being a strange oversight), reissuance of these recordings was \nevidently not seen by Sony as either a necessity or a priority. Also, \nwith one very significant exception, Walter made superior recordings of \nthe four symphonies included in this set, and so there has not been a \npent-up demand among collectors (apart from die-hard Walterians such as \nmyself) for their renewed availability either. Pristine Audio is \ntherefore all the more to be commended for its intrepid endeavors to \nrestore worthwhile materials to a limited audience. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAmong Mozart’s last six symphonies, the\n Symphony No. 41 is unique in Walter’s discography in two ways: Of the \nlast four, it is the only one of which he made four rather than three \nstudio recordings, and it is the only one of the six for which there is \nno surviving live performance for comparison. This 1945 recording, the \nsecond of the quartet, was dropped from Columbia’s catalog once Walter \nre-waxed the work with the New York Philharmonic in 1956; it did appear \non a long out-of-print CD on the defunct Lys label (LYS 338), along with\n the Mendelssohn \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMSND\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Scherzo likewise included in this set. It is also the briskest of the \nfour, being marginally faster than his 1938 account with the Vienna \nPhilharmonic, most notably in the finale. The 1956 version is slower by a\n good half-minute in each movement but the Minuet, and the 1960 stereo \nversion with the Columbia Symphony adds about another half-minute more \nto all four movements. Consequently, this earlier performance (which \nalso sounds as if it may have used a reduced string section), while \nhardly HIP influenced, is more in line with current tastes for leaner, \nmore lithe Mozart and is of not inconsiderable interest. I would still \nrank it behind Walter’s other efforts, however. The New York \nPhilharmonic in 1945 does not have the lovely tonal sheen of the (very \nwell recorded) Vienna Philharmonic, though it outpoints the Europeans in\n the fugal finale; the 1956 performance (my overall first choice) has \nfar better recorded sound and more stylishly crisp and powerful playing;\n while the 1960 studio account, if somewhat slow and beefy by today’s \nstandards, has a stupendous account of the finale that makes it a \nmust-have. This transfer is far superior to the previous Lys issue, \nhaving much greater body and warmth. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCosì fan tutte \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture\n was a filler side in the original 78-rpm issue of the “Jupiter”; it \nalso briefly appeared in an extremely rare three-disc 45-rpm set as a \nfiller to Walter’s 1950 recording of Beethoven’s Fifth Symphony. Again, \nthere are three other studio accounts—a 1924 Berlin acoustic, a 1954 \nremake with the New York Philharmonic, and a 1961 stereo version with \nthe Columbia Symphony—plus a live 1954 New York Philharmonic broadcast. \nLeaving aside the sonically outdated acoustic rendition and the (as \nalways) somewhat slower stereo account, the middle three recordings are \ninterpretively almost identical, with the 1954 studio version having the\n edge sonically. But, no matter which recording one chooses of either \nthe symphony or the overture, one is treated to Walter’s uniquely \nwinsome and humane way with Mozart, with its nonpareil combination of \nwarm lyricism, vigorous heft, and good humor. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs noted above, this is the first \nappearance on CD of this 1955 account of the Schubert Fifth, a work \nWalter recorded in stereo with the West Coast version of the Columbia \nSymphony in 1960, as distinct from this earlier East Coast ensemble \ncomprised mostly of a stripped-down New York Philharmonic. (There is \nalso a live 1940 broadcast with the NBC Symphony in dry, constricted \nStudio 8-H sound.) Walter’s Schubert was of a piece with his Mozart in \nits unapologetic, full-blooded Romanticism that never fell prey to \ndistensions of the melodic line or gauche ritardandos. The two studio \nversions are virtually identical in the first three movements, with the \nstereo version having the edge for its warmer, richer sound; however, \nthe finale of the monaural account is appreciatively faster (5:54 vs. \n6:21), whereas the later stereo version comes off as a bit sluggish. If \nbetween the two the stereo account still gets the nod overall, the \nrestoration of the earlier account is a valuable corrective and \nsupplement to that version that fully warrants its return to the active \ncatalog. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe evergreen\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Kaiserwaltz\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n of Johann Strauss, Jr., my absolute favorite of all his waltzes, was \napparently Walter’s favorite as well, for it is the only Strauss waltz \nof which he made three studio recordings (there are also hat tricks for \nthe Overtures to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDie Fledermaus\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Der Zigeunerbaron\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e),\n supplemented by a 1944 New York Philharmonic broadcast account. This \none-off effort from 1942 was previously issued on a Smithsonian \nCollection CD (RD 103-7 \/ A-24739). If Walter’s final studio version \nfrom 1956 again holds the sonic edge, this is arguably a superior \naccount interpretively, with all the Viennese lilt one could possibly \ndesire. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe second disc opens with Walter’s \n1947 recording of the Schubert “Unfinished.” Of the works featured in \nthis set, this has by far the most generous representation in Walter’s \ndiscography: three studio recordings, with the Vienna Philharmonic \n(1936), the Philadelphia Orchestra (1947), and the New York Philharmonic\n (1960), plus live broadcasts with the New York Philharmonic (1942, \n1945, and 1960, the first two circulating privately and the third issued\n on Wing WCD27 in Japan and long out of print), the Bavarian State \nOrchestra (1950, released by Orfeo), the Chicago Symphony (1958, issued \nby that orchestra in a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCollector’s Choice\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n edition), and the Vienna Philharmonic (1960, on Music \u0026amp; Arts). The \n1947 rendition released here by Pristine—along with an account of \nBeethoven’s “Pastorale,” one of only two commercial recordings Walter \nmade with the “fabulous Philadelphians”—was issued by Sony, but only in \nFrance (5081742), in a pairing with the Dvořák Eighth Symphony also \nincluded here. As usual, the late performances, postdating Walter’s \nMarch 1957 heart attack, are significantly broader in their tempos—e.g.,\n 10:21 \/ 12:07 vs. 10:57 \/ 13:53 for the two movements of the 1947 and \n1960 studio accounts, respectively. For a balance between interpretive \nand sonic factors, the three most desirable accounts are these two later\n studio versions and the unusually taut (for Walter) 1950 Munich \nperformance. As all three are excellent, and captured in good sound for \ntheir respective dates, a choice between them is largely subjective: The\n Munich account offers incisive drama and the New York one beautifully \nsustained autumnal songfulness, with that from Philadelphia occupying a \nhappy medium. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs noted above, the Mendelssohn Scherzo\n is unique to Walter’s studio discography, though a 1948 New York \nPhilharmonic broadcast account has also been released on LP and CD by \nthe NYP and Music \u0026amp; Arts. It was originally a filler side to the \n78-rpm release of the fabled recording of the Mendelssohn Violin \nConcerto that Walter made with Nathan Milstein, which enjoyed the signal\n honor of being the first recording ever to be issued on LP. (In 1998 \nSony issued a special promotional reproduction of that LP on CD: SSK \n5770.) The performance is a delight, and as with the aforementioned \n“Jupiter” Symphony once again this Pristine transfer is far superior to \nits CD predecessor from Lys. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Brahms \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSong of Destiny\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e—sung in English, hence that title rather than the original German \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSchicksalslied\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e—is\n a particular Walter rarity for an unusual reason. Originally recorded \non December 15, 1941—with pointed symbolic reference to the attack on \nPearl Harbor eight days before—it was issued on LP (numbered SL 156) as a\n filler to Walter’s first studio recording of the Beethoven Ninth, on \nthe flip side of the disc containing the finale. However, Walter was \ndissatisfied with the finale of the Beethoven, and seized an opportunity\n to rerecord just that movement in 1953. Columbia then offered to \nexchange the new version of the Ninth (numbered SL 186), paired instead \nwith Walter’s 1942 recording of Beethoven’s Eighth Symphony, for free to\n anyone who sent back in his or her copy of the old version, and so \nsignificantly fewer copies of the Brahms have survived as a result. In \nhis NYP discography, fellow \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n critic James H. North notes a previous ultra-scarce Japanese Sony issue\n (SRCR-8733), of which I can find no other trace, so presumably that is \nlong out of print and this is the only available issue. The \nEnglish-language text is available on Pristine’s web site. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe best is saved for last here, in the\n form of an absolutely crackerjack performance of the Dvořák Eighth \nSymphony. While Walter would go on to record a warmly genial, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003egemütlich\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n account in stereo in 1961, many listeners may be surprised at this 1947\n performance, which positively bristles with the kind of restless, \nfebrile energy and energetic thrust associated instead with Toscanini. \nMarried as that is to Walter’s trademark lyricism of the singing line \nand robust, full-bodied orchestral palette, the result is a singularly \nstriking and compelling rendition that stays long in the memory. (There \nis also a superlative broadcast account with the New York Philharmonic \ndating from February 1948, two months after this studio recording. \nInterpretively it is perhaps my favorite of Walter’s three renditions; \nit is preserved from acetate discs in tolerable sound, but sonically it \ndoes not compete with either of the two studio versions.) \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs with the Schubert “Unfinished” \ndiscmate that was also on the French Sony issue, restoration engineer \nMark Obert-Thorn has left in more LP surface noise in the Dvořák than \ndid Sony. A choice between the two transfers is a matter of taste; while\n I welcome the quieter background and less prominent treble of the Sony \nrelease, I also find on repeated hearings that Obert-Thorn’s approach \nhas left in more instrumental color, which gives the Schubert in \nparticular a greater sense of drama and animation. Much the same careful\n and intelligent approach has been taken to the other transfers \nthroughout, always to the benefit of the performances. Pristine’s cover \nart for this issue is exceptionally striking and attractive. While the \nprimary appeal of this set may indeed be to committed Walterians, all \ncollectors of great historic performances owe it to themselves to \nacquire this set for the Dvořák in particular; highly recommended.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames A. Altena  \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan class=\"TIMESb\"\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003eThis article originally appeared in Issue 39:4 (Mar\/Apr 2016) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC452.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eA double-CD collection of some of Bruno Walter's rarest recordings\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"All\n collectors of great historic performances owe it to themselves to \nacquire this set for the Dvořák in particular; highly recommended\" - \nFanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cspan\u003eThis collection brings together eight recordings by Bruno \nWalter which have seen scant, if any, availability in the CD era.  All \nstem from studio sessions for US Columbia, and range from among his \nearliest recordings in America (Brahms) to one of his last of the \npre-stereo era (Schubert 5th).  Some have seen limited CD reissue by \nSony in France and Japan (Schubert 8th, Dvořák) or Japan only (Brahms), \nwhile the remainder have never had an “official” CD release.  Two of the\n recordings (Schubert 5th, \u003cem\u003eCosì\u003c\/em\u003e Overture) have apparently never even had an \u003cem\u003eun\u003c\/em\u003eofficial CD release on independent labels.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe reasons for the unavailability of these recordings generally involve remakes in improved sound.  The Mozart \u003cem\u003eJupiter\u003c\/em\u003e and \u003cem\u003eCosì\u003c\/em\u003e\n Overture, both stemming from the same 1945 session, are a case in \npoint.  This was the second of four commercial recordings Walter would \nmake of the symphony; he had previously recorded it with the Vienna \nPhilharmonic, and would go on to remake it with the New York \nPhilharmonic on tape in 1956, and with the (West Coast) Columbia \nSymphony Orchestra in stereo in 1960.  While the latter two have stayed \nintermittently in the catalog, this earlier version was forgotten.  This\n recording of the \u003cem\u003eCosì\u003c\/em\u003e Overture was Walter’s first, but he \nwould go on to remake it in mono with the East Coast CoSO in 1954, then \nwith their West Coast counterpart in stereo in 1960.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eSimilarly, the mono 1955 Schubert Fifth with the East Coast \nCoSO, another first Walter recording, was replaced five years later with\n a stereo West Coast version.  The Strauss waltz was one more item which\n Walter had previously recorded in Vienna.  He would go on to remake it \nyet again with the New York CoSO in 1956, and that has been the one \nreissued ever since.\u003c\/span\u003e\u003cspan\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe Schubert \u003cem\u003eUnfinished\u003c\/em\u003e is one of only two commercial recordings Walter made with the Philadelphia Orchestra.  (The other, Beethoven’s \u003cem\u003ePastoral\u003c\/em\u003e,\n is available on Pristine PASC 067.)  Another item originally recorded \nin Vienna, it was remade with the New York Philharmonic in stereo in \n1958.  The Mendelssohn Scherzo is the only item on the program which \nonly exists in a single recording.  It was made at the same session as \nthe Mendelssohn Violin Concerto with Milstein and Walter as the set’s \nfiller side.  \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe Brahms \u003cem\u003eSchicksalslied\u003c\/em\u003e, sung here in English, was \nrecorded at Walter’s third session with the Philharmonic held during the\n first year he recorded with them, 1941.  Its dour message (“[W]e have \nbeen fated\/To find no rest here on earth\/They vanish, they falter\/Our \nsuffering brothers”) may have been programmed by Walter in sympathy with\n the innocent victims caught up in the wars raging in Europe and Asia; \nbut it found a new resonance at this session, held eight days after the \nattack on Pearl Harbor.  Walter would remake the work in stereo in Los \nAngeles in 1961.\u003c\/span\u003e\u003cspan\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe final recording was Walter’s first of two versions of the \nDvořák Eighth.  He would go on to remake it in stereo with the West \nCoast CoSO in 1961, but would not eclipse the tremendous vitality of \nthis electrifying version.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eMark Obert-Thorn\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\u003cbr\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan\u003eMOZART:  Symphony No. 41 in C major, K.551 ‘Jupiter’\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e           \u003cbr\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cbr\u003eRecorded 23 January 1945 in Carnegie Hall, New York\u003cbr\u003eMatrix nos.:  XCO-34181\/7\u003cbr\u003eFirst issued on Columbia 12070\/3-D in album M-565\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eMOZART:  Così fan tutte, K.588 – Overture\u003c\/b\u003e \u003cbr\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003eRecorded 23 January 1945 in Carnegie Hall, New York\u003cbr\u003eMatrix nos.:  XCO-34188\u003cbr\u003eFirst issued on Columbia 12073-D in album M-565\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan\u003e\u003cb\u003eSCHUBERT:  Symphony No. 5 in B flat, D.485\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003eColumbia Symphony Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eRecorded 5, 6 \u0026amp; 8 October 1955 in the Columbia 30th Street Studios, New York\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eFirst issued on Columbia ML-5156\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eJ. STRAUSS II:  Emperor Waltz, Op. 437\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan\u003eRecorded 18 April 1942 in Liederkranz Hall, New York\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMatrix nos.:  XCO-32733\/4\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eFirst issued on Columbia 11854-D\u003c\/span\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e\u003cspan\u003eSCHUBERT:  Symphony No. 8 in B minor, D.759 ‘Unfinished’\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eRecorded 2 March 1947 in the Academy of Music, Philadelphia\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMatrix nos.:  XCO-37428\/33\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eFirst issued on Columbia 12639\/41-D in album MM-699\u003c\/span\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eMENDELSSOHN:  \u003cem\u003eA Midsummer Night’s Dream\u003c\/em\u003e, Op. 61 – Scherzo\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cbr\u003eRecorded 16 May 1945 in Carnegie Hall, New York\u003cbr\u003eMatrix no.:  XCO-34746\u003cbr\u003e First issued on Columbia 12145-D in album M-577\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan\u003e\u003cb\u003eBRAHMS:  Song of Destiny (\u003cem\u003eSchicksalslied\u003c\/em\u003e), Op. 54\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003eWestminster Choir\u003c\/span\u003e\u003c\/b\u003e (John Finley Williamson, director)\n\u003cp\u003e\u003cb\u003e\u003cspan\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eRecorded 15 December 1941 in Liederkranz Hall, New York\u003cbr\u003eMatrix nos.:  XCO-32178\/90\u003cbr\u003eFirst issued on Columbia 11801\/2-D in album X-223\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eDVOŘÁK:  Symphony No. 8 in G major, Op. 88\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cbr\u003e Recorded 28 November 1947 in Carnegie Hall, New York\u003cbr\u003eMatrix nos.:  XCO-39465\/72\u003cbr\u003eFirst issued on Columbia 12883\/6-D in album M-770\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eBruno Walter (conductor)\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\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\/PASC452.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC452.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fLibretto578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eSchicksalslied\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eIhr wandelt droben im Licht\u003cbr\u003e \u003cspan\u003eAuf weichem Boden, selige Genien!\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eGlänzende Götterlüfte\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eRühren euch leicht,\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eWie die Finger der Künstlerin\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eHeilige Saiten.\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e Schicksallos, wie der schlafende\u003cbr\u003e \u003cspan\u003eSäugling, atmen die Himmlischen;\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eKeusch bewahrt\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eIn bescheidener Knospe,\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eBlühet ewig\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eIhnen der Geist,\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eUnd die seligen Augen\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eBlicken in stiller\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eEwiger Klarheit.\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e Doch uns ist gegeben,\u003cbr\u003e \u003cspan\u003eAuf keiner Stätte zu ruhn,\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eEs schwinden, es fallen\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eDie leidenden Menschen\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eBlindlings von einer\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eStunde zur andern,\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eWie Wasser von Klippe\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eZu Klippe geworfen,\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eJahr lang ins Ungewisse hinab.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eFriedrich Hölderlin\u003c\/b\u003e\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":"Mono 16-bit FLAC","offer_id":31976076365,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31976076429,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC452_4fc371e8-44d1-49ba-ada0-bae3a4e6e0a6.jpg?v=1487682756"},{"product_id":"pasc469","title":"WALTER Standard Hour: Haydn, Mozart, Wagner, Weber (1954) - PASC469","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003eWAGNER \u003c\/b\u003eParsifal - Prelude\u003cbr\u003e\u003cb\u003eMOZART \u003c\/b\u003eEt incarnatus est\u003cbr\u003e\u003cb\u003eMOZART  \u003c\/b\u003eEine Kleine Nachtmusik\u003cbr\u003e\u003cb\u003eHAYDN   \u003c\/b\u003eThe Seasons - excerpts\u003cbr\u003e\u003cb\u003eWEBER \u003c\/b\u003eOberon - Overture\u003cbr\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eLive broadcast recording, 1954\u003cbr\u003eTotal duration: 55:47 \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003eSan Francisco\u003c\/b\u003e\u003cb\u003e Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBruno Walter,\u003c\/b\u003e conductor\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: MusicWeb International \u0026amp; Fanfare578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fOnce again, Pristine has produced a winner; enthusiastically recommended578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI think this is the first time I’ve \never been quoted as (in effect) promoting a release before its \npublication! Knowing of my devotion to Bruno Walter, Andrew Rose of \nPristine Audio forwarded to me an advance sound clip for this planned \nissue of a complete \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eStandard Hour\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n NBC Radio broadcast. I sent an enthusiastic email reply, and lo and \nbehold part of it appeared as a promotional blurb on the release \nannouncement that also is printed on the CD front tray insert card. Not \nthat I’m complaining, mind you; I’m both amused and flattered. For the \nrecord, here it is: “It’s especially welcome because Walter’s live \nperformances of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEine kleine Nachtmusik\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n are much superior to his studio recordings, which with but one \nexception (Vienna 1936) are disappointingly wooden and heavy. This has \nreal life to it!” \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAnd, yes, I stand behind that statement\n 100 percent. I still have the dim-sounding bootleg Italian CLS LP that \nalso contains this concert—though not for much longer, as this \nsplendidly remastered version from a much superior source makes the \nvinyl version sound positively ludicrous by comparison. The sound \nquality here is that of a good, clear monaural radio broadcast from its \nera. While—as one already knows from Pierre Monteux’s 78-rpm \nrecordings—the San Francisco orchestra at that time was nowhere near as \ntechnically polished an ensemble as it is today, its members are \nobviously responsive to Walter’s baton and play expressively for him. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe program is a mixture of three \nWalter favorites and two novelties. Walter left us six performances of \nthe Parsifal act I Prelude: three studio recordings, from 1925 and 1927 \n(both with the Royal Philharmonic) and 1959 (with the Columbia Symphony \nOrchestra in its West Coast incarnation, and coupled with the act III \nGood Friday Spell music), and three live performances, with the Los \nAngeles Standard Symphony (June 19, 1949), the New York Philharmonic \n(December 28, 1952), and this one from 1954. The New York performance is\n the slowest (14:00), followed by the CSO studio account (12:51); the \n1927 RPO version is the fastest (11:04), with the other three coming in \nat 11:52 (RPO in 1925) and 12:15 (both live California performances). \nCalifornia seemed to hold the magic spell for Walter in this score; the \ntwo early British electrics suffer from dated sound, and the live New \nYork performance (which has only been released in misdated issues on \nolder bootleg Italian CD labels) has not enjoyed a proper remastering \nbut seems to suffer from a bit of stasis rather than timelessness. While\n the 1959 studio recording claims pride of place, both sonically and \ninterpretively, the two live performances from 1949 and 1954 are very \nfine and may appeal more to those who prefer more forward movement in \nthis score. They are of about equal merit, though I subjectively have a \nslight preference for Los Angeles here. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn my review of Walter’s 1950 Stockholm\n concerts in 39:5, I provided a table of Walter’s seven \nperformances—four studio efforts and three live ones—of the Mozart \nSerenade and discussed them in some detail there. In that review, not \nknowing of this impending release, I awarded the Stockholm performance \nthe palm in the Walter discography. However, with its refurbished sonics\n this account now arguably takes precedence instead, having both \nsignificantly better recorded sound and just a touch more energy in the \nfinale despite virtually identical timings in all four movements. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFor the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOberon\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Overture there are four surviving renditions by Walter: a 1931 Berlin \nPhilharmonic performance on film; an NBC Symphony broadcast in very \ntinny Studio 8-H sound from March 18, 1939; a Los Angeles Standard \nSymphony broadcast, again from June 19, 1949; and this one. The timings \nare virtually identical—8:27, 8:36, 8:19, and 8:22 respectively—and, as \nthat suggests, the interpretation remains virtually unchanged over 23 \nyears. Walter was a superb Weber conductor (\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDer Freischütz \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewas\n a favorite opera of his, and it is a great pity we do not have a \nsurviving recording of any part of it beyond the Overture from him), and\n his account of this overture fully captures both its ardent Romantic \nlyricism and almost puckish humor. In this instance the present San \nFrancisco account is the clear favorite, with superior sound and more \nexpressive shaping of phrases. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe two novelties are the arias from \nthe Mozart Mass and Haydn oratorio, the latter sung in English rather \nthan German. Information about soprano Brunetta Mazzolini is rather \nscanty: I have not been able to find dates of either birth or death for \nher, but she was presumably born around 1930. A native of Portland, OR, \nshe was trained at the Curtis Institute in Philadelphia and won the \nMetropolitan Opera regional audition for the Northwest in Seattle on \nJanuary 5, 1958; Lotte Lehmann wrote a letter of recommendation on her \nbehalf, but she apparently never made it onto the stage in New York. She\n made her career primarily on the West Coast; online census data records\n I could not fully access indicate that she married and later divorced. \nBy 1954 she was singing under Bruno Walter in San Francisco, and later \nin Chicago, in the Brahms\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e German Requiem \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eand\n Mozart Requiem among other works. (She also sang the Mahler Fourth \nSymphony, though not with Walter, but he surely coached her in the \npart.) Her voice was that of a light soprano, brilliant in texture and \nwell produced (think of Hilde Güden), with fine diction and intonation; \none can see why Walter took her under his wing, and one wishes that more\n of her artistry was preserved. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eIn sum, then, we have here a fine \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eParsifal\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e Prelude, the preferred recordings in Walter’s discography of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOberon\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Overture and the Mozart Serenade, plus the additions to the conductor’s\n discography on CD of two unique arias with a quite fine soprano \nsoloist, all presented with Pristine’s usual excellence in restoration \nof historical recordings. As usual with this label, the disc comes with \nonly a list of contents and a brief liner note. Once again, Pristine has\n produced a winner; enthusiastically recommended to both fellow \nWalterians and to collectors of historic orchestral broadcasts in \ngeneral. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames A. Altena  \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan class=\"TIMESb\"\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003eThis article originally appeared in Issue 40:1 (Sept\/Oct 2016) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003eNBC Radio’s Standard Hour Broadcast \nNo.1410 preserved a 56-minute performance given by guest conductor Bruno\n Walter and the San Francisco Symphony on 18 April 1954. The broadcast \nis topped and tailed by a preserved introduction and radio close, spoken\n by the announcer John Grover, something that always strikes me as \nenshrining the true atmosphere of the event.\u003cbr\u003e \u003cbr\u003e Given the timing \nconstraints the programme is somewhat bitty, though two substantial \norchestral pieces frame the concert. The first is the Prelude to \nParsifal, a work that was long established as part of his discography. \nThe best-known example, coupled with the Good Friday music, was to come a\n few years later in 1959 when he directed the Columbia Symphony. Other \nperformances though have survived, not least in New York in 1952 and \nwith the Los Angeles Standard Symphony in 1949, which was revived by \nMusic \u0026amp; Arts. Two of the more discographically venerable, however, \nand these are of particular interest to Walterites, are the London 78s \nmade in 1925 and 1927, when he directed the orchestra of the Royal \nPhilharmonic Society. This San Francisco reading – which was released on\n LP (CLSRPOL2031) – is moulded with distinguished lyricism and control. \nThough powerful in impression, it’s kept moving phrasally and with \nacutely judged rubati. Timings are deceptive here; post-performance \nspeech bloats the track listing – Walter actually takes it in 12:20.\u003cbr\u003e \u003cbr\u003e\n The other larger work is the piece with which he ends the performance, \nthe overture to Oberon, which is also on the LP noted, as well as having\n been released on AS Disc. Verdant and full of brio it takes an honoured\n place alongside his earlier recordings with the NBC and LAPO. Soprano \nBrunetta Mazzolini was clearly a local favourite and had appeared on \nStandard Hour broadcasts before: at the time of this one she was on the \nstaff at Portland. Importantly, Walter left behind no studio recordings \nof Mozart’s Mass in C minor, so this is a tantalising glimpse of the \u003cem\u003eEt Incarnatus est\u003c\/em\u003e.\n Mazzolini has a fine technique, and her voice is bright and relatively \nlight. Again Walter didn’t conduct Haydn’s The Seasons in the studio so \nonce again Mazzolini’s singing of two movements is all we have. Once \nmore she evinces fine, focused singing, in English. This too was on the \nnow rare LP noted as well as having been issued on a Japanese Bruno \nWalter Society LP.\u003cbr\u003e \u003cbr\u003e Perhaps surprisingly, and despite these discographical novelties, it’s the most superficially hackneyed of the works, \u003cem\u003eEine Kleine Nachtmusik\u003c\/em\u003e\n that proves the most quietly revelatory. It’s full of the most charming\n subtlety and warmth, and fully ranks alongside his pre-war Vienna \nperformance. There’s not the tiniest hint of routine in this delightful \nreading.\u003cbr\u003e \u003cbr\u003e Whether this will sway you to buy this disc depends on\n the depth of your allegiances to the conductor. The novelties here – \nthough relatively brief - will certainly be tempting to the \ntightly-focused collector.\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cem\u003eJonathan Woolf\u003cbr\u003e\u003c\/em\u003e\u003c\/b\u003e\u003cem\u003eMusicWeb Internat\u003c\/em\u003e\u003cem\u003eional\u003c\/em\u003e\u003cb\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC469.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBruno Walter's 1954 live broadcast reveals an amazing Eine Kleine Nachtmusik!\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Full\n of the most charming subtlety and warmth, and fully ranks alongside his\n pre-war Vienna performance\" - MusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eHaving previously appeared as a guest conductor on NBC Pacific's \nStandard Hour programme, Bruno Walter found himself back on the air on \n18 April 1954 with the San Francisco Symphony Orchestra and guest \nsoprano Brunetta Mazzolini - just four days before conducting the \norchestra (and Mazzolini) in their first ever performance of Brahms' \u003cem\u003eA German Requiem\u003c\/em\u003e.\u003c\/p\u003e\u003cp\u003eAlthough sections of this concert may have appeared briefly before, I\n understand that the high fidelity sound quality heard on this release \nsets it apart from previous outings by a considerable distance. Here we \npresent the concert in its entirety as broadcast. It also has great \nmusical value, as Fanfare's assistant editor James A. Altena explains: \n\"It's especially welcome because Walter's live performances of \u003cem\u003eEine kleine Nachtmusik\u003c\/em\u003e\n are much superior to his studio recordings, which with but one \nexception (Vienna 1936) are disappointingly wooden and heavy.  This has \nreal life to it!\"\u003c\/p\u003e\u003cp\u003eThe recording benefits from clear, clean and bright sound, with full \nand well-rounded orchestral tone - and a quiet and unobtrusive audience.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAndrew Rose\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\u003cb\u003eWAGNER\u003c\/b\u003e Parsifal - Prelude \u003cbr\u003e\u003cbr\u003e\u003cb\u003eMOZART\u003c\/b\u003e Mass in C minor, K.427 - Et incarnatus est\u003cbr\u003e\u003cem\u003e\u003cb\u003eBrunetta Mazzolini, \u003c\/b\u003esoprano\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eMOZART \u003c\/b\u003e Eine Kleine Nachtmusik, K.525\u003cbr\u003e\u003cbr\u003e\u003cb\u003eHAYDN  \u003c\/b\u003e The Seasons, Hob. XXI:3:\u003cbr\u003eOh welcome now\u003cbr\u003eOh how pleasing to the senses\u003cem\u003e\u003cb\u003e\u003cbr\u003eBrunetta Mazzolini, \u003c\/b\u003esoprano\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eWEBER\u003c\/b\u003e Oberon - Overture\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eStandard Hour #1410\u003cbr\u003eBroadcast from the War Memorial \u003cbr\u003eOpera House, San Francisco\u003cbr\u003eon 18 April, 1954\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eSan Francisco Symphony Orchestra \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBruno Walter\u003c\/b\u003e, conductor\u003c\/p\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\/PASC469.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC469.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":31976080205,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31976080269,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31976080333,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC469_72a4c6ac-6ec8-4444-a182-3a841a0ee451.jpg?v=1487682759"},{"product_id":"pasc482","title":"WALTER The Complete Acoustic Columbia Recordings (1924-25) - PASC482","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cb\u003eWEBER \u003c\/b\u003e Der Freischütz – Overture\u003cb\u003e\u003cbr\u003eMENDELSSOHN \u003c\/b\u003e A Midsummer Night’s Dream – Nocturne\u003cb\u003e\u003cbr\u003eBERLIOZ \u003c\/b\u003e The Damnation of Faust – Minuet of the Will-o’-the-Wisps\u003cb\u003e\u003cbr\u003eWAGNER \u003c\/b\u003e Tristan und Isolde – Liebestod\u003cb\u003e\u003cbr\u003eWAGNER  \u003c\/b\u003eDie Meistersinger – Prelude to Act 3\u003cbr\u003e\u003cb\u003eWAGNER \u003c\/b\u003e Götterdämmerung – Siegfried’s Rhine Journey\u003cb\u003e\u003cbr\u003eWAGNER \u003c\/b\u003e Siegfried Idyll\u003cb\u003e\u003cbr\u003eR. STRAUSS \u003c\/b\u003e Death and Transfiguration\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio recordings, 1924-25\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eTotal duration: 76:51\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eBruno Walter,\u003c\/b\u003e conductor\u003c\/p\u003e\u003cul\u003e\n\u003c\/ul\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fDespite the primitive nature of the horn recording, these are especially important examples of Walter’s art578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eAll of Bruno Walter’s 1924-25 acoustic Columbia recordings fit into this\n handy 76-minute disc. They were made at the company’s Petty France \nstudios in London, which was not always the most responsive environment \nfor large-scale acoustic recording but which managed to yield a good \nreturn over the years. And the A\u0026amp;R men chose repertoire wisely, \nencouraging Walter to record Wagner, Strauss, Weber, Berlioz and \nMendelssohn; he had just starred in Covent Garden’s German Season \ndirecting the Ring, \u003cem\u003eTristan,\u003c\/em\u003e and \u003cem\u003eDer Rosenkavalier\u003c\/em\u003e. \nIndeed, despite the primitive nature of the horn recording, these are \nespecially important examples of Walter’s art as he never returned to \nthe studio to record the Tristan \u003cem\u003eLiebestod\u003c\/em\u003e, the \u003cem\u003eMidsummer Night’s Dream\u003c\/em\u003e music or the Berlioz excerpt.\u003cbr\u003e \u003cbr\u003e Weber’s overture to \u003cem\u003eDer Freischütz\u003c\/em\u003e,\n which was only issued in America, can be heard over two sides. There \nare the usual bass reinforcements and the strings slither about as was \nthen fashionable – especially noticeable in the ad-hoc British set-up of\n the time – but the direction is authoritative. I assume one of the \nBrain family was drafted in for the Mendelssohn \u003cem\u003eNocturne\u003c\/em\u003e on a freelance basis whilst the Berlioz goes vey agreeably. The \u003cem\u003eLiebestod\u003c\/em\u003e\n sees the strings on so-so form and the winds’ intonation wanders - \nthere’s a degree of pitch battling to be heard. Just before they \nrecorded the \u003cem\u003eTristan\u003c\/em\u003e extract Walter and the band tackled the Prelude to Act III of \u003cem\u003eDie Meistersinger\u003c\/em\u003e\n and here one can hear the first desk fiddles sawing happily away – this\n was the band known as the Royal Philharmonic Orchestra, though it was \nmuch earlier than Beecham’s orchestra of the same name. One wonders how \nmuch rehearsal time was available as ensemble is approximate and the \nstygian bass reinforcements sound very treacly. But of enthusiasm \nthere’s no shortage.\u003cbr\u003e \u003cbr\u003e Most of these pieces had already been recorded by 1924 and that goes for \u003cem\u003eSiegfried’s Rhine Journey\u003c\/em\u003e. In fact, Walter’s was not even the first British recording as Percy Pitt had made a disc of it back in 1921. The \u003cem\u003eSiegfried Idyll\u003c\/em\u003e\n took up four sides of two 78s. Walter does little actively to resist \nthe lashing of sentimental portamenti, mostly – thankfully – uniform. \nThough the bass reinforcements tend to glue it down and prohibit maximum\n flow, it’s an endearing reading and can be listened to in the context \nof the near-simultaneous recordings of the piece made by Albert Coates, \nLeo Blech and Siegfried Wagner’s own recording. The other major \nundertaking is the last, Strauss’s \u003cem\u003eDeath and Transfiguration\u003c\/em\u003e \nwhich stretches 21 minutes. This must have been suggested because of \nWalter’s operatic prestige in Strauss. Perhaps surprisingly Columbia was\n a Johnny-come-lately as Abendroth, Coates and Eduard Mörike had all \nrecorded it by then. Walter’s searing reading is hindered only by the \ncircumstances of the recording and the unfamiliar orchestra.\u003cbr\u003e \u003cbr\u003e \nThis is a valuable corpus of recordings, splendidly transferred. As I’ve\n noted before Pristine is doing worthwhile work on behalf of Bruno \nWalter’s early recording career, which has long been overlooked in the \nworld of sonic restoration.\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cem\u003eJonathan Woolf\u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003eMusicWeb International\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC482.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBruno Walter's complete Royal Philharmonic Columbia acoustics\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"This is a valuable corpus of recordings, splendidly transferred\" - MusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eAlthough Bruno Walter claimed late in life that he had made his first\n recordings around 1900, his earliest documented discs date from 1923 \nwhen he began a series for Grammophon\/Polydor in Berlin, most of which \nhave been reissued on Pristine PASC 142 and PASC 322.  In May, 1924, \nWalter was in London for the first presentation of a German opera season\n at Covent Garden since the end of the Great War.  That month, he \nconducted Wagner’s \u003cem\u003eRing\u003c\/em\u003e cycle, \u003cem\u003eTristan und Isolde\u003c\/em\u003e, and Strauss’ \u003cem\u003eDer Rosenkavalier\u003c\/em\u003e\n in enthusiastically-received productions featuring Frida Leider in her \nCovent Garden début, Lauritz Melchior, Friedrich Schorr, Lotte Lehmann \nand Elisabeth Schumann.\u003c\/p\u003e\u003cp\u003eOn May 22, Walter entered the Columbia studios at Petty France to \nmake the first in a series of discs for a label with which, on one side \nof the Atlantic or the other, he would be associated for much of the \nrest of his life.  A \u003cem\u003eSiegfried Idyll\u003c\/em\u003e was recorded that day, followed by the first three sides of Strauss’ \u003cem\u003eDeath and Transfiguration\u003c\/em\u003e the following day; however, neither was approved for release. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eIt would not be until the following December that Walter, who had \nreturned to London to conduct the (old, pre-Beecham) RPO in a \nperformance of Elgar’s First Symphony in the presence of the composer, \nwould be back in the Columbia studios.  Over the next five days, he \nwould preside over four recording sessions, one of which was devoted to a\n single title (Mozart’s \u003cem\u003eMarriage of Figaro\u003c\/em\u003e Overture) which \nultimately remained unissued.  Four further sides would be recorded the \nfollowing February before the microphone supplanted the old acoustic \nmethod of recording.\u003c\/p\u003e\u003cp\u003eThe present collection brings together all of Walter’s published acoustic Columbias.  It includes one recording (Weber’s \u003cem\u003eFreischütz\u003c\/em\u003e Overture) which was only released in America, as well as two which were only published in Britain (the “Rhine Journey” and \u003cem\u003eSiegfried Idyll\u003c\/em\u003e).  A further recording of “Siegfried’s Funeral Music” from \u003cem\u003eGötterdämmerung\u003c\/em\u003e which came out on American Columbia credited to Walter was actually conducted by Hamilton Harty.\u003c\/p\u003e\u003cp\u003eThe repertoire chosen largely follows the composers and even some of \nthe particular works with which Walter was making a name for himself at \nCovent Garden at the time – much Wagner, along with Strauss – and \nincludes several works to which Walter would not return again in the \nstudio (the Mendelssohn, Berlioz and the \u003cem\u003eTristan \u003c\/em\u003e“Liebestod”). \n The playing of the orchestra is variable, both in ensemble and pitch; \nand some of the tempi seem a bit speeded up in order to get the music \nonto a single side (particularly in the Mendelssohn and the \u003cem\u003eMeistersinger\u003c\/em\u003e\n Prelude).  Elsewhere, though, Walter is given the opportunity to take \nas long as he wants, with the Weber overture spread over three sides, as\n it would not be in his Paris remake fourteen years later, and the \n“Liebestod” generously given two 12-inch matrices for its six-minute \nduration.\u003c\/p\u003e\u003cp\u003eThe transfers for this release drew wherever possible upon American \nColumbia “New Process” pressings (for the Weber, Mendelssohn, Berlioz, \nStrauss and Wagner “Liebestod”) which featured the most (relatively) \nquiet surfaces available, and English Columbia discs for the remainder. \n From its original release onward through all modern discographies I’ve \nseen, the Berlioz has always been misidentified as the “Dance of the \nSylphs” rather than as the “Minuet of the Will-o’-the-Wisps”, to which \nit has been corrected here.  \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eMark Obert-Thorn\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\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWEBER\u003c\/b\u003e  Der Freischütz, Op. 77 – Overture\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 7 December 1924 ∙ Matrices:  AX 795-3, 796-1 \u0026amp; 797-2 (Am. Columbia 67082\/3-D)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMENDELSSOHN\u003c\/b\u003e A Midsummer Night’s Dream, Op. 61 – Nocturne\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 11 February 1925 ∙ Matrix: AX 881-2 (Columbia L 1651)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBERLIOZ \u003c\/b\u003eThe Damnation of Faust, Op. 24 – Minuet of the Will-o’-the-Wisps\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 5 December 1924 ∙ Matrix: AX 794-1 (Columbia L 1623)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Tristan und Isolde – Liebestod\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 11 February 1925 ∙ Matrices: AX 879-1, 880-2 (Columbia L 1652)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e  Die Meistersinger von Nürnberg – Prelude to Act 3 \u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 11 February 1925 ∙ Matrix: AX 878-2 (Columbia L 1651)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e  Götterdämmerung – Siegfried’s Rhine Journey\u003c\/span\u003e \u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 7 December 1924 ∙ Matrices: AX 798-2, 799-2 (Columbia L 1636)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003e Siegfried Idyll \u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 3 \u0026amp; 5 December 1924 ∙ Matrices: AX 782-1, 783-1, 789-2 \u0026amp; 790-2 (Columbia L 1653\/4)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e  Death and Transfiguration, Op. 24 \u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 5 December 1924 ∙ Matrices: AX 787-1, 788-2, 791-2, 792-2 \u0026amp; 793-1 (Columbia L 1621\/3)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBruno Walter,\u003c\/b\u003e conductor\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003eAll recordings made in the Columbia Petty France Studio, London\u003c\/p\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\/PASC482.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC482.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"16-bit FLAC","offer_id":31976081997,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps MP3","offer_id":31976082061,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC482.jpg?v=1487682762"},{"product_id":"paco024","title":"WALTER Wagner: Die Walküre (Act 1) (1935) - PACO024","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\u003eWAGNER \u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003eDie Walküre (Act 1)\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\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 Musikvereinssaal, Vienna 20-22 June 1935\u003cbr\u003eTotal duration: 61:58 \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;\"\u003eLotte Lehmann\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e: Sieglinde\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\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eLauritz Melchior\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e: Siegmund\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eEmanuel List\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e: Hunding\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\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\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;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eBruno Walter\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\/PACO024.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eWidely regarded as the greatest Wagner recording ever made\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eThis stunning remastering leaves all previous issues redundant\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThis recording is legendary - it is frequently held up \nas the greatest recording ever made of music by Wagner, despite its \nvintage sound. My aim, therefore, was simple to describe, if not so \nsimple to achieve: to get beyond that vintage sound and elevate it to a \nlevel which would bring dramatic and significant new life to the \nrecording - to literally leave previous issues in the past. I believe \nI've succeeded beyond all expectations - certainly my own. By applying \nthe very latest XR remastering techniques I've been able to lift the \nsound quality of this recording to a level I would not have considered \npossible just a few weeks ago.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eAt the time of writing I regard this as my finest ever \nremastering work. As one respected reviewer put it to me ahead of \nrelease:\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\n\u003cp class=\"body\"\u003e\u003cem\u003eYou've done wonders here; if I hadn't recognised \nLehmann's voice, I'd never have believed this dates from 1935. I'm not \nsurprised this has been described as the cream of all Wagner \nperformances. The detail is all there, the balance is superb and there's\n an ample acoustic preserved from the originals allowing the voices to \nexpand naturally. There's such depth to the soundstage, too...\u003c\/em\u003e\u003c\/p\u003e\n\n\u003c\/div\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eBut what is it that is so special about this particular,\n single-act-only recording? Here I hand over to the Wagner experts - the\n reviewing public, as remarked on websites around the world in reference\n to previous issues of this legendary recording:\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eMade in Vienna in 1935, this recording of probably \nthe most popular act of the Ring Cycle has always been the benchmark. It\n employs three unbelievable singers, under the glorious conducting of \nBruno Walter...Lauritz Melchior is unquestionably the greatest \nHeldentenor who ever lived. Here he is in fabulous voice, even by his \nstandards, and he is so much more involved and intelligent when he is \nworking with a great conductor...Lotte Lehmann is just as fabulous as \nMelchior. She has a very beautiful voice ideal for Sieglinde: solid at \nthe core but soft-edged, and she too has model diction and excellent \nlegato...finally, we come to the conducting of Bruno Walter. Helped by \nthe radiant playing of the Vienna Philharmonic, he conjures up Wagner's \nunique world of blended sound and emotion like no one else on record. He\n is as warm and lyrical as is possible, but realizes all the drama, and \nnever goes over the top...\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003e...[Lehmann] can be heard at her best in this \nrecording of the first act of \"Die Walküre\" made in Vienna in 1935. It \npreserves one of her most famous operatic portrayals. Few Sieglindes \nhave conveyed so much in their singing: first an eager curiosity, then a\n guarded welcome, a wondrous admiration, an intensity in the narration, \nand finally an impassioned ecstasy. Such singing lives on in the \nlistener's memory. Melchior is also represented at his best, but the \nhero of the proceedings is the conductor Bruno Walter. Under Walter's \ndirection the performance has a sweep, a warmth, a glow and a tenderness\n that I have never heard equalled...\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eSpectacular! There is simply no better CD version of\n this opera, despite being recorded in 1935. \"Du bist der Lenz\" with \nLotte Lehmann has never been surpassed. This CD is a \"MUST HAVE\" for any\n serious music lover. Modern recordings obviously have better sound, but\n the singers are like pygmies compared to these two giants - Melchior \nand Lehmann.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\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 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\u003eWAGNER \u003c\/b\u003e\u003cspan\u003eDie Walküre (Act 1)\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003eRecorded in Musikvereinssaal, Vienna 20-22 June 1935\u003cbr\u003e \u003cbr\u003eIssued as UK HMV 78s HMV DB 2636-43\u003cbr\u003e Matrix nos. 2V94-109, Takes 1, 2, 2, 1, 3A, 2, 1, 1, 2, 2, 2A, 2, 1A, 1, 1, 1\u003cbr\u003e \u003cbr\u003eRestoration and XR remastering by Andrew Rose at Pristine Audio, May-June 2008\u003cbr\u003e Cover artwork based on a photograph of Lauritz Melchior as Seigmund\u003cbr\u003e\u003cbr\u003eTotal duration: 61:58 \u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\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\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eLotte Lehmann\u003c\/b\u003e: Sieglinde\u003cbr\u003e\u003cb\u003eLauritz Melchior\u003c\/b\u003e: Siegmund\u003cbr\u003e\u003cb\u003eEmanuel List\u003c\/b\u003e: Hunding\u003cbr\u003e\u003cb\u003eVienna Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eBruno Walter\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 Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO024.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO024.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":33987846861,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":33987846925,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":33987846989,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":33987847053,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO024_abeaab60-6d1b-4eeb-926e-f9c676d1106f.jpg?v=1647513284"},{"product_id":"pasc446-cd","title":"WALTER conducts Bruckner \u0026 R. Strauss (1953\/54) - PASC446 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":31976437197,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976437261,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC446_b4870f00-cce4-4b03-9c0f-5d58b54dc4c4.jpg?v=1658742845"},{"product_id":"pasc452-cd","title":"WALTER Rarities: American Columbia Recordings (1941-55) - PASC452 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD with case \u0026 artwork (+MP3)","offer_id":31976454989,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2CD only in plastic sleeve (+MP3)","offer_id":31976455053,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC452_58f6868b-d5e3-4bf8-bc72-af58bc2e6bc4.jpg?v=1658742984"},{"product_id":"pasc469-cd","title":"WALTER Standard Hour: Haydn, Mozart, Wagner, Weber (1954) - PASC469 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":31976496269,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976496333,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC469_08fe359b-e6cb-4fc2-8535-44835b7a320e.jpg?v=1658743341"},{"product_id":"pasc482-cd","title":"WALTER The Complete Acoustic Columbia Recordings (1924-25) - PASC482 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":31976520781,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976520845,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC482_6e45951d-9db8-4b15-8ea0-08b978021037.jpg?v=1658743766"},{"product_id":"pasc485-cd","title":"WALTER conducts Brahms, Volume 1 (1947-54) - PASC485 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD with case \u0026 artwork (+MP3)","offer_id":31976524685,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2CD only in plastic sleeve (+MP3)","offer_id":31976524877,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC485_20672f48-f4f9-4d63-91b0-aeb742999343.jpg?v=1658743821"},{"product_id":"pasc489-cd","title":"WALTER conducts Brahms, Volume 2 (1951\/53) - PASC489 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD with case \u0026 artwork (+MP3)","offer_id":31976527053,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2CD only in plastic sleeve (+MP3)","offer_id":31976527117,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC489_dfcc6c8b-9018-4c5c-b340-528f8029fd79.jpg?v=1658743892"},{"product_id":"paco117-cd","title":"WALTER Beethoven: Fidelio (1941) - PACO117 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD with case \u0026 artwork (+MP3)","offer_id":31976570253,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2CD o (+MP3)nly in plastic sleeve","offer_id":31976570317,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO117_88134a44-286d-4448-bb91-5eeb10bc08d9.jpg?v=1658495971"},{"product_id":"paco137","title":"WALTER Mahler: Das Lied von der Erde (1948) - PACO137","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\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eDas Lied von der Erde \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\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\"\u003eLive at Carnegie Hall, New York, 18th January 1948\u003cbr\u003eTotal duration: 58:20\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eKathleen Ferrier\u003c\/b\u003e - mezzo-soprano\u003cb\u003e\u003cbr\u003eSet Svanholm \u003c\/b\u003e- tenor \u003cb\u003e\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eBruno Walter\u003c\/b\u003e, conductor578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f Strongly recommended to all aficionados of historic performances and of great singers and conductors578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBack in issue 37:4, when I reviewed Pristine Audio’s remastering of Bruno Walter’s 1960 studio account of Mahler’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDas Lied von der Erde\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n I discussed in some detail Walter’s discography of either eight or nine\n surviving accounts (the genuineness and exact dating of a purported \n1952 Vienna performance being in dispute). Readers interested in the \nnitty-gritty details may consult that review in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Archive. Here we have a remastering of a historic occasion: Kathleen \nFerrier’s American debut. This performance previously enjoyed two \nissues: one by Naxos in a restoration by Richard Caniell from 1999, and \nthe other in a 10-CD commemorative set of historic live Mahler \nrecordings issued by the New York Philharmonic in late 1998. Doubtless \nthe NYPO had access to a much superior source, for its version has much \nbetter sound than the rather muffled Naxos issue and Caniell has a \njustly earned reputation for exemplary remasterings. Both issues are now\n out of print, and the NYPO one was never available separately in any \ncase (used copies of the set are fetching over $100 on Amazon). In this \ncase, Andrew Rose appears to have started from the New York Philharmonic\n issue and employed his trademark XR remastering process upon that. The \nimprovement in sound quality is definite if minimal, resulting in \ngreater clarity in more congested passages. More importantly, it \nrestores this performance to the active catalog as a separate and quite \naffordable release. While the sound cannot compare to the superb sonics \nof Decca’s 1952 studio account (also remastered by Pristine, a version I\n have not heard), it is certainly quite listenable and affords far more \ndetail than one might expect from a live broadcast of its vintage. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eMost importantly of all, how good is \nthe performance, and how does it compare with its rivals in the Walter \ndiscography? The answers respectively are very good and very well. Bruno\n Walter of course had an unrivaled identification with the score, having\n given its world premiere after Mahler’s death, and his three commercial\n recordings (1936 live, 1952, and 1960) remain dominant reference points\n in the Mahler discography despite their age. A particularly noteworthy \nfactor is a greater degree of urgency in Walter’s conducting as compared\n to his justly fabled 1952 studio account. The differences in the \ntimings may not seem substantial, but bear in mind that those from 1948 \nalso include about 10 seconds of audience noise between each movement, \nso that a variance of about 30 seconds in a movement of four to eight \nminutes length is one of 15 percent to 7 percent, which is quite \nperceptible. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003ctable class=\"main\" frame=\"box\" rules=\"all\" border=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cb\u003eMovement\u003c\/b\u003e \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cb\u003e1948\u003c\/b\u003e \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cb\u003e1952\u003c\/b\u003e \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e 1 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e8:19 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e8:38 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e 2 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e8:50 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e9:14 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e 3 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e3:04 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e2:59 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e 4 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e6:18 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e6:45 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e 5 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e4:12 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e4:24 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e 6 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e27:37 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e28:22 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHaving previously played the First, \nSecond, Fourth, and Fifth Symphonies of Mahler under Walter’s baton (and\n of course that of Mahler himself four decades before), the New York \nPhilharmonic by this time was one of the very few well seasoned Mahler \norchestras in the world, and its playing here is thoroughly idiomatic. \nAs for the soloists, the legendary and much lamented Kathleen Ferrier is\n so famed for her 1952 studio recording of Walter in this same part that\n for me to expatiate upon her extraordinary and unique voice would be to\n gild the lily and try the patience of most readers. She is simply \nmarvelous here, though her 1952 accounts, sung\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e sub specie mortis \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ein\n her ongoing losing fight against cancer, have both manifold subtle \nnuances and a heartbreaking pathos that she had yet to achieve at this \nstage of her career; here she is still a young lady full of life, \ncontemplating tragedy from the greater remove of a sensitive but \nobjective observer rather than the harrowing internal perspective of a \nsuffering victim. The difference is most telling in the final bars of \n“Der Abschied”; here it closes with serene acceptance, while the Vienna \naccount draws out the final measures with desperate reluctance to bid \nfarewell to all things lovely. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs for tenor Set Svanholm, while he has\n his admirers, I have generally not been among them, usually finding his\n voice rather leathery, lacking in warmth and plasticity. Here, however,\n at an earlier stage in his career, he is in good form and for me a \nsurprisingly welcome asset. (The subsequent 1953 broadcast performance \nwith Walter, Elena Nikolaidi, and the NYPO finds him in markedly poorer \nform.) His voice is powerful and steady (an occasional slightly quavery \nnote aside), and he soars over Mahler’s orchestral tuttis without \ndifficulty. His interpretation is impetuous and forceful, a touch too \nmuch so in a few syllables that are punched out overly hard, but aside \nfrom Jonas Kaufmann it’s hard to think of anyone today who could exceed \nor match him in this part. Perhaps the greatest interest lies in the \npolar contrast he presents to Julius Patzak in the latter’s 1952 \nperformances with Walter. Largely self-taught in vocal technique (he \noriginally studied conducting), Patzak had one of the most idiosyncratic\n voices of any singer to achieve a major reputation. Its relatively \nlight weight (the Evangelist in Bach’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSt. Matthew Passion \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewas one of his most frequent roles, though he unexpectedly achieved great fame as Florestan in Beethoven’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFidelio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e)\n and extreme nasality would seem a poor fit for Mahler’s orchestral \nperorations; but Patzak possessed incredible finesse and could thread \nthe finest vocal needles with astounding elegance, and his ironically \nworld-weary rendition of this part remains an unsurpassed interpretive \nbenchmark. Whereas vocally Svanholm wields a weighty cutlass, Patzak \ndeftly employs a stiletto. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn sum, anyone looking to have only one\n representative recording of Mahler’s late masterwork under the baton of\n his closest colleague and foremost disciple will naturally gravitate to\n the 1952 studio version, or possibly its 1960 stereo successor \navailable from either Sony or Pristine. Ditto for anyone seeking just \none version of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDas Lied\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n with Ferrier. But for those desiring additional perspectives on these \ntwo artists, and\/or anyone wanting to hear Svanholm (or simply a more \nheroic tenor than Patzak), this release commands attention, and hearty \nthanks are due to Andrew Rose for making it available again. Strongly \nrecommended to all aficionados of historic performances and of great \nsingers and conductors. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cstrong\u003eJames A. Altena\u003c\/strong\u003e \u003cbr\u003eThis article originally appeared in Issue 40:3 (Jan\/Feb 2017) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis recording is a digital restoration of a 1999 \nrelease of this performance. Andrew Rose, the engineer of the current \nrelease, writes that present day technology has allowed him to remove “a\n great deal of surface noise and hiss” and to “make great strides with \nthe overall tonal quality, improving greatly the clarity of vocal \ndelivery and ameliorating congestion in the lower orchestral ranges.” \nThe balance between upper and lower registers is markedly superior in \nthis restoration. However, there is a tradeoff. Whereas the chromatic \ntrumpet declamation toward the beginning of “Trinklied vom Jammer der \nErde” is rather pale and far overshadowed by the horn in the 1999 \nrelease, it is a bit strident in the current restoration, and the rush \nof winds accompanying it seems to overload the microphones in a \ncacophony of sound. This is an ongoing tradeoff: It is difficult to \ndistinguish individual lines in louder, faster orchestral passages, \nwhich seem noisy and shrill. However, the gain in color in all other \npassages and the crispness of the vocal sound far outweigh this issue.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs for the performance, it is simply a must-have. \nBruno Walter’s conducting is more impetuous here in comparison to the \nfamous 1952 Vienna recording with Ferrier and Julius Patzak; his \ninterpretation in the 1952 recording is perhaps more noble. Ferrier’s \nhigh notes (for example in the first phrase of “Der Einsame im Herbst” \nare a bit warbly here, with an over-rapid vibrato that is less apparent \nin the 1952 recording, and she goes slightly sharp at the climax of that\n movement, but her expressive power is unsurpassed in both recordings, \nand her variety of phrasing and articulation and her connection to the \ntext may even be preferable here. The orchestra overpowers her a bit in \nthe manic fast section of “Von der Schönheit” and her voice is overly \nprominent in the mix of “Der Abschied.” But in contrast to the 1999 \nrelease, there is no sense of sonic overload in the vocal line of “Der \nAbschied”; Ferrier’s voice has been returned to its characteristic warm \nrichness here.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMy one dissatisfaction with this performance is \nSet Svanholm’s delivery, which I find to be relentlessly declamatory. To\n be sure, the tenor movements call for a heroic sound. But Svanholm \nsings syllable by syllable in a near-constant marcato that provides \nlittle room for shading and multi-syllabic phrasing. The tone quality is\n glorious on long notes, which inherently have space to bloom. It is a \nnaturally younger, brighter sound than Patzak’s, not simply due to their\n ages (44 for Svanholm, 54 for Patzak) at the time of their respective \nrecordings. But even in rustic, boisterous passages, where such a sound \nis perhaps preferable to Patzak’s, Svanholm’s delivery is monotonously \nchoppy. But I must emphasize: this is an indispensable recording, and I \ngive it a very high recommendation. \u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eMyron Silberstein  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\n      \n    \n  \n  \u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003eThis article originally appeared in Issue 40:4 (Mar\/Apr 2017) of \u003ci\u003eFanfare\u003c\/i\u003e Magazine.\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO137.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eKathleen Ferrier's American debut at Carnegie Hall, 1948\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e“Vital, controlled and incisive” - GRAMOPHONE\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"b\"\u003eThis recording of Kathleen Ferrier's American debut first \nappeared on CD in 1999, when two different CD releases almost coincided.\n Both are now harder to come by. It was partly this and partly a desire \nto address the shortcomings of a \"privately made recording on acetates\" \n(Gramophone) which led to a request for me to see what might be done \nusing today's digital restoration technology.\u003c\/p\u003e\u003cp class=\"b\"\u003eAfter removing a great deal of surface noise and hiss I've \nbeen able to make great strides with the overall tonal quality, \nimproving greatly the clarity of vocal delivery and ameliorating \ncongestion in the lower orchestral ranges. I've also been able to both \ncorrect overall pitch and address problems with wow and pitch drift \nwhich were beyond the technologies of the late 1990s.\u003c\/p\u003e\u003cp class=\"b\"\u003eThe result is a highly memorable and enjoyable \u003cem\u003eDas Lied\u003c\/em\u003e\n - one can only assume that the three days that elapsed between the \nfirst performance, reviewed with some reservations expressed in the New \nYork Times (above), and the present one made all the difference with \nregard to both performances and delivery.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\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\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\u003cspan\u003e\u003cstrong\u003eMAHLER \u003c\/strong\u003eDas Lied von der Erde \u003cbr\u003e\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\"\u003eLive at Carnegie Hall, New York, 18th January 1948\u003cbr\u003eProducer and Audio Restoration Engineer: Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Kathleen Ferrier\u003cbr\u003eTotal duration: 58:20\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eKathleen Ferrier\u003c\/strong\u003e - mezzo-soprano\u003cbr\u003e\u003cstrong\u003eSet Svanholm\u003c\/strong\u003e - tenor \u003cbr\u003e\u003cstrong\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eBruno Walter\u003c\/strong\u003e, conductor\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e \u003c\/p\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 Artwork578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO137.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO137.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fNY Times578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cstrong\u003eCONTEMPORARY PRESS REVIEW\u003c\/strong\u003e: FIRST NIGHT\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"text-align: center;\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: medium;\"\u003eWALTER CONDUCTS MAHLER SYMPHONY\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: medium;\"\u003eAs Guest on Philharmonic's Podium He Features 'Das Lied von der Erde’ Work\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"text-align: center;\"\u003eBy OLIN DOWNES\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small; font-family: georgia, palatino;\"\u003eWe \nhave always preferred '‘Das Lied von der Erde” to all other of the \nsymphonic works of Gustav Mahler. Bruno Walter specializes in Mahler. He\n signalized his return to the podium of the Philharmonic-Symphony \nOrchestra last night in Carnegie Hall with this particular composition, \nwhich he prefaced with a delightfully gemuetlich reading of the \nBeethoven Fourth Symphony.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small; font-family: georgia, palatino;\"\u003eIn \nthe simplest and profoundest pages of the Fourth Symphony, which are \nthose of the introduction and the slow movement, the conductor went \nsomewhat faster than is customary. Both movements are marked adagio — \nvery slow. But all tempo directions are relative, and the relativities \ninclude the feeling and the taste of the musician interpreting. For some\n a more deliberately poised tempo in the places mentioned gives the \nmusic a more mysterious heauty. Mr. Walter’s tempi had the pulse of the \nflesh as well as the spirit. The symphony delighted the audience by its \nhumor, its play of fancy, its perfection of ideas and of form. A triumph\n for the players and the conductor! For the listener an altogether \ndelectable experience!\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small; font-family: georgia, palatino;\"\u003eOne’s\n reasons for admiring the “Lied von der Erde” are doubtless generally \nshared. The lyricism of the poetry has an inspired parallel in the \ncompletely lyrical nature of the scoring both for voices and orchestra. \nTenor and contralto — last evening the mezzo-soprano, Kathleen Ferrier —\n carry the burden of the song. But the orchestra also, with its \nremarkable devices of coloring and of dramatic accentuation, sings its \nsong, and intersperses the final verses for the woman's voice with an \ninterlude which is a “lied” of its own. The very melodic writing needs \nno translation or commentary to exert its immediate if sometimes obvious\n and sentimental appeal. Sentimental or not, the complete sincerity of \nthe music is unquestionable and affecting.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small; font-family: georgia, palatino;\"\u003eSaying\n this, one adds reluctantly that the performance, for one reason or \nanother, began to fall before it was over. This at least was the \nreaction of one listener who is not a perfect Mahlerite. Was this only \ndue to certain characteristics of the performance? Both soloists were \ndeficient in diction. Svanholm, the tenor, could only shout, in the \nopening verses, against heavy orchestra, and in this Mr. Walter did not \nspare him.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small; font-family: georgia, palatino;\"\u003eBut \nMr. Svanholm was prevailingly hard-voiced and lacking in variety of tone\n color. Miss Ferrier had but recently emerged from a bad cold. Her voice\n became freer as she went on. She could not, however, give the full \nsignificance to her text and music. Some time before the end was reached\n “Lied von der Erde” was becoming langweiling, lachrymose, \nold-fashioned.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: monospace;\"\u003e\u003cstrong\u003eNEW YORK TIMES, 16 January 1948\u003c\/strong\u003e\u003c\/span\u003e\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":32418292429,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32418292493,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32418292621,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO137.jpg?v=1487682977"},{"product_id":"paco137-cd","title":"WALTER Mahler: Das Lied von der Erde (1948) - PACO137 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":31976593933,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976593997,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO137_182de7e5-cf6a-44c1-838f-0cd4a08d8a47.jpg?v=1658496462"},{"product_id":"pasc492","title":"WALTER Rarities, Volume Two (1923-1938) - PASC492","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \n\n\n\n\u003c\/p\u003e\u003cspan style=\"mso-bidi-font-weight:normal\"\u003e\u003cspan lang=\"EN-US\"\u003e\u003cb\u003eBERLIOZ\u003cspan style=\"mso-spacerun:yes\"\u003e  \u003c\/span\u003e\u003c\/b\u003eRoman Carnival Overture\u003c\/span\u003e\u003c\/span\u003e\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cspan style=\"mso-bidi-font-weight:normal\"\u003e\u003cspan style=\"mso-ansi-language:FR\" lang=\"FR\"\u003e\u003cb\u003eWAGNER\u003cspan style=\"mso-spacerun:yes\"\u003e  \u003c\/span\u003e\u003c\/b\u003eParsifal Act I Transformation Music\u003cbr\u003e\u003cb\u003eWAGNER\u003cspan style=\"mso-spacerun:yes\"\u003e  \u003c\/span\u003e\u003c\/b\u003eSiegfried Idyll\u003cbr\u003e\u003cb\u003eMOZART\u003cspan style=\"mso-spacerun:yes\"\u003e  \u003c\/span\u003e\u003c\/b\u003eLe\nNozze di Figaro – Overture\u003cbr\u003e\u003cb\u003eMOZART\u003cspan style=\"mso-spacerun:yes\"\u003e  \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003eEine Kleine Nachtmusik\u003cbr\u003e\u003cb\u003eHANDEL\u003cspan style=\"mso-spacerun:yes\"\u003e  \u003c\/span\u003e\u003c\/b\u003eConcerto Grosso In B Minor\u003cbr\u003e\u003cb\u003eWEBER\u003cspan style=\"mso-spacerun:yes\"\u003e  \u003c\/span\u003e\u003c\/b\u003eDer Freischütz – Overture\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003e\n\n\u003c\/p\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio recordings, 1923-38\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eTotal duration: 72:28\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eB\u003c\/b\u003e\u003cb\u003eruno Walter, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eBerlin Philharmonic Orchestra\u003cbr\u003eRoyal Philharmonic Orchestra\u003cbr\u003eMozart Festival Orchestra\u003cbr\u003eBritish Symphony Orchestra\u003cbr\u003eParis Conservatoire Orchestra\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fEnthusiastically recommended to all fellow Walterians578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHistoric reissue labels such as Pristine Audio \noften issue certain releases solely as a labor of love or for singular \ndocumentary value, knowing that their efforts will often be rewarded \nwith but a handful of sales. But one must especially admire Andrew Rose \nand Mark Obert-Thorn for going ahead with this release, which despite \nits merits may not even break into double digits for purchases of it. \nThe contents are a true odds-and-ends miscellany of performances by \nBruno Walter, with the mix containing two items of particular \nimportance.   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe first of these is the 1923 recording of Berlioz’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe carnaval romain Overture\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n which was overlooked when Pristine previously issued three CDs of \nWalter’s acoustics. Within the severe sonic limitations of its vintage \nit is a fine performance, and reminds one of just what an insightful \nconductor of Berlioz Walter was. Beyond that, however, this release \nmarks a historic milestone; excepting a possible separate acoustic \nrecording of the scherzo from Tchaikovsky’s “Pathétique” (it is \ngenerally presumed, but not certain, that it was recycled into the \ncomplete recording of the symphony that Walter made shortly thereafter),\n every officially released studio recording made by Walter has now been \nissued on CD. Ideally, I might wish that Pristine would have reissued \none of the first two discs in this series with this overture added \nin—there would be space for it on either one—but given that except for \nPristine’s doughtiness several of Walter’s acoustics would not be \navailable on CD, I’m not looking a gift horse in the mouth.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe other especially noteworthy item is the first-ever release of a recording of the overture to Mozart’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe nozze di Figaro \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ethat Walter made in Paris (with the Paris Conservatory Orchestra under a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003enom de plume\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e)\n in 1928. It originally was to have been a filler to what was planned as\n seven sides for a recording of Schumann’s Symphony No. 4, but when that\n took up eight sides on its own instead, plans to issue the overture \nwere scrapped. This one pressing is known to have survived, and a \npersonal background story goes with it. Over 30 years ago, it popped up \nfor sale in the hands of the well-known British record dealer Raymond \nGlaspole, with whom I was briefly in contact at that juncture. The \nasking price for such a rarity was far beyond my means then, as a \ntypical financially hand-to-mouth graduate student. I wrote him to ask \nif by any chance he could run off a cassette copy of the disc for me \nbefore selling it, and he most kindly did so. I’ve had that cassette in \nmy private collection ever since, hoping that at some point its contents\n might see the light of day more generally, and lo and behold the disc \nitself has now resurfaced to that end. I have never forgotten that \nexceptional gesture of gracious generosity. I see that Mr. Glaspole is \nstill alive and active, with his own website; I hope that this review \nwill come to his attention, so that he can once again accept my \nexpression of deep appreciation.   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe remaining contents of this release were chosen\n simply because they are among Walter’s more scarce recordings in terms \nof circulation, both on 78s and CDs. In his accompanying notes to this \nrelease, Obert-Thorn expresses “a particular affection” for this, the \nfirst of Walter’s four studio recordings of the Mozart Serenade (three \nlive performances are also extant). I do not share that inclination, and\n rank this rendition far below the conductor’s 1936 Vienna remake and \nthe live accounts from Stockholm (1950) and San Francisco (1954). In my \nreview back in 40:3 of Pristine’s release of Walter’s complete acoustics\n for Columbia, I provided a list of his 13 surviving performances of \nWagner’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSiegfried Idyll\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (more than for any other work in his repertoire), six studio and seven \nlive. There, based on my EMI Japan issue, I gave the timing for this \n1926 rendition as 17:34; in Obert-Thorn’s remastering here it is only \n17:03. As I trust Obert-Thorn’s work implicitly I’m confident he and not\n EMI Japan is correct; even so, it still ranks among the slowest of the \nconductor’s traversals of the score, especially relaxed and sunny. While\n it is not about to displace the 1953 New York Philharmonic studio \naccount as the finest version by Walter (or by anyone ever, for that \nmatter), it is very much worth having in its own right. The 1925 act I \nTransformation Scene from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eParsifal\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n was originally a filler side to the act I Prelude; Walter rerecorded \nall four sides just two years later, along with an orchestral \narrangement of Klingsor’s Magic Garden and the Flower Maidens’ Music \nfrom act II. Why remains a mystery to me, as the sound is not \nappreciably better, and the earlier interpretation is to my mind \nsuperior; but the latter set immediately displaced the earlier one. \nSince the 1925 recording of the Prelude was issued on CD by VAI (albeit \nalmost 20 years ago), Rose and Obert-Thorn elected to include only this \nfiller side here and save the extra space for a different Walter rarity.\n   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWalter did keep a handful of Baroque pieces in his\n active repertoire: Corelli’s “Christmas” Concerto (recorded in the \nstudio in 1938, with three live performances also surviving from 1939, \n1947, and 1948), Handel’s Concerto grosso op. 6\/6 (preserved in a 1940 \nNBC Symphony broadcast), and the 1938 studio version of the Concerto \ngrosso, op. 6\/12, presented here. Interpretively it is a forward looking\n account for its time, with lively tempos and, remarkably, use of \nharpsichord continuo (most likely but not certainly played by Walter \nhimself). The disc closes with Walter’s 1938 Paris remake of the \nOverture to Weber’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDer Freischütz\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n of which he originally made an acoustic recording in London early in \n1925 (a live 1950 performance with the Los Angeles Standard Symphony \nalso survives). Whereas the earlier London account is spread over three \nsides and requires a fairly typical 10-plus minutes to traverse, this \nrendition was issued on only two sides and comes in at a \nhell-for-leather 8:51. The orchestral playing is somewhat scrappy, but \nit’s an exciting if wild ride.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs always, Obert-Thorn’s transfers are exemplary. \nWhile this disc will by its nature only interest the most avid Walter \nenthusiasts, I hope that there are a sufficient number of those reading \nthese pages who will order a copy and make this venture unexpectedly \nworthwhile financially for proprietor Rose. Enthusiastically recommended\n to all fellow Walterians. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJames A. Altena  \u003c\/span\u003e\u003c\/b\u003e\n\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\u003eThis article originally appeared in Issue 40:6 (July\/Aug 2017) of \u003ci\u003eFanfare\u003c\/i\u003e Magazine.\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC492.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    While the first volume in this series (PASC 452) focused on Bruno Walter’s\n    American years, here we turn the clock back to his pre-war European\n    recordings. Like that earlier release, the emphasis is on presenting items\n    which have had scant, if any, CD availability. Many of the selections here\n    have been reissued in Japan and some in France, in releases that have had\n    spotty availability elsewhere. One performance is published here for the\n    first time.\n\u003c\/p\u003e\u003cp\u003e\n    The \u003cem\u003eRoman Carnival\u003c\/em\u003e Overture, one of Walter’s earliest recordings,\n    was inadvertently omitted from Pristine’s two volumes of his acoustic\n    Polydors (PASC 142 and PASC 342), and presents a work to which he would not\n    subsequently return in the studio. The \u003cem\u003eParsifal\u003c\/em\u003e excerpt comes from\n    a mere two years later; yet, the difference between the old acoustic\n    process and the new electrical technology makes it seem like an eon has\n    passed.\n\u003c\/p\u003e\u003cp\u003e\n    The \u003cem\u003eSiegfried Idyll\u003c\/em\u003e dates from the following year, and again the\n    sonic comparisons between this and the acoustic version Walter made two\n    years earlier with the same ensemble (on PASC 482) are striking. By this\n    time, Columbia was apparently imposing a four-minute limit to its\n    twelve-inch sides; and the same work which took up four sides in 1924 now\n    had to be spread over five. Perhaps because of this – or because of the\n    obtrusive swish which plagues the end of the first side – the recording was\n    never issued outside the USA. Oddly, despite the additional room to spread\n    out, the recording is notably faster than the four-sided acoustic version\n    (17:03 vs. 17:35, not including post-track spaces).\n\u003c\/p\u003e\u003cp\u003e\n    The next selection is a souvenir of a highly successful Mozart opera\n    festival that Walter led in Paris in June, 1928. Several recordings were\n    made with the “Mozart Festival Orchestra” (which was in fact the Paris\n    Conservatoire ensemble, perhaps renamed for contractual reasons), but only\n    two were released: the overture to \u003cem\u003eDie Zauberflöte\u003c\/em\u003e and, oddly,\n    Schumann’s Fourth Symphony. Two other overtures were recorded, probably\nintended to be coupled on a single disc:    \u003cem\u003eDie Entführung aus dem Serail\u003c\/em\u003e and \u003cem\u003eLe Nozze di Figaro\u003c\/em\u003e.\n    While no trace has turned up of the former, the latter has survived on a\n    unique shellac test pressing, which was used for the present transfer. It\n    makes its first appearance here.\n\u003c\/p\u003e\u003cp\u003e\n    \u003cem\u003eEine Kleine Nachtmusik\u003c\/em\u003e\n    was one of a series of recordings Walter made with the British Symphony\n    Orchestra, an ensemble created by returning veterans of the Great War. I’ve\n    always had a particular affection for this version, both because of the\n    quirky \u003cem\u003eLuftpause\u003c\/em\u003e Walter introduces after the opening phrase and\n    its repeats (an affectation he dropped in later recordings), and because of\n    the gusto with which the players attack the closing measures of the finale.\n\u003c\/p\u003e\u003cp\u003e\n    By the spring of 1938, Walter had settled in Paris after escaping Vienna\n    during the \u003cem\u003eAnschluss\u003c\/em\u003e. He made a series of recordings there with\n    the Conservatoire Orchestra, including the Handel and Weber works which\n    close our program. The Handel is noteworthy in its inclusion of a\n    harpsichord continuo, something not yet the norm at that time. Walter had\n    previously recorded the Weber overture acoustically, spread over three\n    sides (on PASC 482). Perhaps due to the time limits of the two sides he was\n    now allotted, the remake is nearly a minute and a half faster, and gains in\n    breathtaking excitement.\n\u003c\/p\u003e\u003cp\u003e\n    \u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n\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\n    1 \u003cstrong\u003eBERLIOZ: Roman Carnival Overture, Op. 9 \u003c\/strong\u003e (8:44)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eBerlin Philharmonic Orchestra\u003c\/strong\u003e\u003cbr\u003eRecorded 28 \u0026amp; 30 August or 8\/9 October 1923 in Berlin\u003cbr\u003eMatrices: 80 az and 81 ½ az (Grammophon\/Polydor 69588)\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    2 \u003cstrong\u003eWAGNER: Parsifal – Act I Transformation Music\u003c\/strong\u003e (4:40)\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003eRoyal Philharmonic Orchestra\u003c\/strong\u003e\u003cbr\u003eRecorded 25 November 1925 in the Columbia Petty France Studios, London\u003cbr\u003eMatrix: WAX 1170-2 (English Columbia L 1745)\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    3 \u003cstrong\u003eWAGNER: Siegfried Idyll\u003c\/strong\u003e (17:12)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eRoyal Philharmonic Orchestra\u003c\/strong\u003e\u003cbr\u003eRecorded 19 November 1926 in the Scala Theatre, London\u003cbr\u003eMatrices: WRAX 2180-1, 2181-2, 2182-1, 2183-2 and 2184-2 (American Columbia\n    67317\/19-D in Set 68)\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    4 \u003cstrong\u003eMOZART: Le Nozze di Figaro, K492 – Overture\u003c\/strong\u003e (4:03)\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003eMozart Festival Orchestra\u003c\/strong\u003e\u003cbr\u003eRecorded 14 June 1928 in Paris\u003cbr\u003eMatrix: WAX 3844 (Previously unpublished)\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e\n        MOZART: Serenade No. 13 in G major, ‘Eine Kleine Nachtmusik’, K525\n    \u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    5 Allegro (3:54)\u003cbr\u003e6 Romanza (4:53)\u003cbr\u003e7 Menuetto (2:22)\u003cbr\u003e8 Rondo (3:59)\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003eBritish Symphony Orchestra\u003c\/strong\u003e\u003cbr\u003eRecorded 21 May 1931 in Central Hall, Westminster, London\u003cbr\u003eMatrices: WAX 6104-2, 6105-3, 6106-2 and 6107-1 (English Columbia LX 144\/5)\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eHANDEL: Concerto Grosso in B minor, Op. 6, No. 12 (HWV330)\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    9 Largo (2:29)\u003cbr\u003e10 Allegro (3:43)\u003cbr\u003e11 Larghetto e piano (4:17)\u003cbr\u003e12 Largo (0:58)\u003cbr\u003e13 Allegro (2:23)\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003eParis Conservatoire Orchestra\u003c\/strong\u003e\u003cbr\u003eRecorded 17 May 1938 in the Théâtre Pigalle, Paris\u003cbr\u003eMatrices: 2LA 2393-2, 2394-2, 2395-2 and 2396-2 (HMV DB 3601\/2)\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    14 \u003cstrong\u003eWEBER: Der Freischütz, Op. 77 – Overture\u003c\/strong\u003e (8:51)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eParis Conservatoire Orchestra\u003c\/strong\u003e\u003cbr\u003eRecorded 9 May 1938 in the Théâtre Pigalle, Paris\u003cbr\u003eMatrices: 2LA 2531-1 and 2532-1 (HMV DB 3554)\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eBruno Walter (conductor)\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n    \u003cbr\u003eProducer and Audio Restoration Engineer: \u003cb\u003eMark Obert-Thorn\u003c\/b\u003e\u003cbr\u003eSpecial thanks to \u003cb\u003eRichard A. Kaplan\u003c\/b\u003e and \u003cb\u003eDavid Schmutz\u003c\/b\u003e for providing source\n    material\n\u003c\/p\u003e\u003cp\u003e\n    Total Timing: \u003cb\u003e72:30\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\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\/PASC492.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC492.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":38674412557,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 320kbps MP3","offer_id":38674412621,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC492.jpg?v=1496234065"},{"product_id":"pasc492-cd","title":"WALTER Rarities, Volume Two (1923-1938) - PASC492 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":32418882637,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":32418882701,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC492_c563a720-82c3-4013-85d0-650f9db15c52.jpg?v=1658744200"},{"product_id":"paco094-cd","title":"WALTER Mahler: Das Lied von der Erde (1960) - PACO094 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478062285,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478062349,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO094_43c91a5d-60e0-4a48-a9a7-48bafc50ed85.jpg?v=1658484276"},{"product_id":"pasc494-cd","title":"WALTER conducts Brahms, Volume 3 (1941-52) - PASC494 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD with case \u0026 artwork (+MP3)","offer_id":33404144909,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2CD only in plastic sleeve (+MP3)","offer_id":33404144973,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC494.jpg?v=1658744242"},{"product_id":"pasc494","title":"WALTER conducts Brahms, Volume 3 (1941-52) - PASC494","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Piano Concerto No. 1 - Haydn Variations\u003cbr\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Alto Rhapsody - Academic Festival Overture\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eUn Requiem Tedesco (A German Requiem, sung in Italian)\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003eLive recordings, 1941-52\u003cbr\u003eTotal duration: 2hr 31:33 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eB\u003c\/b\u003e\u003cb\u003eruno Walter, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eClifford Curzon\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eEnid Szantho\u003c\/b\u003e, contralto\u003cbr\u003e\u003cb\u003eRosanna Carteri\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eBoris Christoff\u003c\/b\u003e, bass\u003cbr\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003eHollywood Bowl Orchestra\u003cbr\u003eRome Symphony Orchestra \u0026amp; Chorus of RAI\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe concerto recording is a true treasure. As usual, Pristine’s transfers are as good as it gets578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe hugely important discovery here is the Piano \nConcerto No. 1 with Clifford Curzon, a New York Philharmonic concert in \nexcellent monaural (and\/or SR Stereo) sound from Pristine. This \nperformance has never been available before. Curzon’s second studio \nrecording for Decca, with George Szell has been a favorite of mine, and \nin fact I entered it into \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e’s\n Classical Hall of Fame in issue 15:5. That recording finds soloist and \nconductor each pulling the other toward a very happy middle ground that \ncombines Curzon’s poetry, lyricism, and remarkable feel for color with \nSzell’s sense of architecture and rhythmic tension and release. His \nfirst studio recording, with van Beinum and the Concertgebouw, is also \nin the top tier, with a bit more dash and frisson than the Szell.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis live performance offers a conductor and \nsoloist naturally attuned to each other, with some of the risk-taking \nthat is only likely to occur in a live performance. There are moments of\n hushed dialogue in both the first and second movements (particularly \nthe latter) that are pure magic. While I would not give away my Decca \nrecording, neither will I give this one away. Olin Downes, in his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNew York Times \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ereview\n of the concert in 1951, said “… those who did not and will not hear \nthese performances are missing something the like of which they are \nunlikely to hear again.” Now, thanks to Pristine, those of us who \nweren’t present can, in fact, have the experience. There seems an almost\n magical communication between pianist and conductor, in the way they \nshape phrases and scale dynamics. This is a true musical conversation.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe other special performance here is the 1947 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHaydn Variations\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. Walter is often mis-characterized, particularly by those who prefer simplistic reductions rather than complex realities, as a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003egemütlich \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003econductor\n whose principal performance style centers around a kind of generalized \nwarmth. In fact, Walter was in no way one-dimensional. Yes, he did bring\n a kind of trademark lyricism to his work, but that should not be taken \nto imply a lack of rhythmic drive. This \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHaydn Variations \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eperformance\n (as with the last movement of the Piano Concerto) is marked by a fierce\n energy, and fully engaged playing by the Hollywood Bowl Orchestra, \nalthough there are some shaky moments in terms of ensemble. Walter \nperfectly integrates the movements, with all their changes of tempo; the\n result is an organic, exciting performance that to my ears is an \nimprovement over Walter’s Columbia studio recording.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eEnid Szantho was a Hungarian contralto with a decent career, but there seems little that is special about her singing in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAlto Rhapsody\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n The Westminster Choir sings well enough, but frankly I see little \nreason to prefer this to Walter’s studio recording with Mildred Miller. \nThe \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAcademic Festival Overture\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n also recorded at the Hollywood Bowl in concert, is a wild \nride—surprisingly unbuttoned and, at times, even uncontrolled. There are\n some ensemble problems here too, as in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHaydn Variations\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n but you can make the case that they add to the excitement, and we know \nthat outdoor summer concerts have always been under-rehearsed.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe biggest puzzle to me is the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGerman Requiem \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eperformance\n chosen here. I don’t know what alternatives were available to Pristine,\n but this Italian-language performance seems a very odd choice. The \nsound is quite good, and the performance is at 68:25 a full five minutes\n slower than the studio recording Walter made with Irmgard Seefried and \nGeorge London. It is nice that Pristine gives us a good-sounding \ntransfer, but I’m not sure the performance is one I will listen to more \nthan once. The Italian language is odd in this music, the reading feels a\n bit cautious at times, and while the soloists have wonderful voices \nneither seems comfortable with the style of this music. The chorus \nsounds a bit raw at times too, less well blended than one would hope.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eDespite reservations, though, Andrew Rose and \nPristine deserve credit for increasing the available Bruno Walter \nmaterial, since he was surely one of the major conductors of the first \nhalf of the 20th century. And the concerto recording is a true treasure.\n As usual, Pristine’s transfers are as good as it gets. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eHenry Fogel  \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: 13px;\"\u003eThis article originally appeared in Issue 40:6 (July\/Aug 2017) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 13px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 13px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC494.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eThis final entry in the Walter conducts Brahms series features only \none recording from the 1951 series around which it has been constructed,\n the previously unissued and stunning performance with Clifford Curzon \nof the Piano Concerto No. 1. The surviving source for this recording has\n suffered some mild deterioration over the last 66 years that can at \ntimes be heard, but never to the extent that it distracts from the \nperformance - in this we have I hope largely achieved the wish of the \nNew York Times correspondent who wished it \"might have been transfixed \nand preserved immaculate for the generations\" - if not quite immaculate,\n then pretty close to it. It's certainly a major addition to the Walter \ndiscography. \u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003eFor the rest of this release I've had to sift \nthrough the archives - not all of Walter's 1951 performances survive, \nand there we no performances of either the German Requiem or the Alto \nRhapsody in the series. The latter, from a 1941 Carnegie Hall \nperformance appears here for the first time, whilst I decided on the \nItalian performance of the German Requiem  for both better sound quality\n and an unusually slower tempo from Walter than the other performances \ncaptured at this time. In both cases I've done what I can with the \narchive material available to me - the age of the Alto Rhapsody is \nreflected in a limited frequency range, whilst there is some top end \nhash heard during some of the louder passages of the Requiem. \u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003eThe\n other two recordings here come from the same Hollywood Bowl performance\n that appears on Volume 1 of this series, and yes, once again the \ncrickets make an appearance towards the end of the Haydn Variations!\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cbr\u003eAndrew Rose\u003c\/i\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\u003cb\u003eDISC ONE\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eBRAHMS  Variations on a Theme by Haydn, Op. 56a\u003c\/b\u003e*\u003cbr\u003e1 Theme. Chorale St. Antoni  (1:53)\u003cbr\u003e2 I. Poco più animato  (1:17)\u003cbr\u003e3 II. Più vivace  (1:02)\u003cbr\u003e4 III. Con moto  (1:52)\u003cbr\u003e5 IV. Andante con moto  (1:50)\u003cbr\u003e6 V. Vivace  (0:58)\u003cbr\u003e7 VI. - Vivace  (1:11)\u003cbr\u003e8 VII. Grazioso  (2:07)\u003cbr\u003e9 VIII. Presto non troppo  (0:59)\u003cbr\u003e10 Finale. Andante  (4:14)\u003cbr\u003e\u003cbr\u003e11 \u003cb\u003eBRAHMS Alto Rhapsody, Op. 53\u003c\/b\u003e  (11:02)\u003cbr\u003e\u003cb\u003eEnid Szantho\u003c\/b\u003e, contralto\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBRAHMS  Piano Concerto No. 1 in D minor, Op. 15\u003c\/b\u003e\u003cbr\u003e12 1st mvt. - Maestoso  (20:49)\u003cbr\u003e13 2nd mvt. - Adagio  (13:36)\u003cbr\u003e14 3rd mvt. - Rondo. Allegro non troppo  (10:49)\u003cbr\u003e\u003cb\u003eClifford Curzon\u003c\/b\u003e, piano\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e1 \u003cb\u003eBRAHMS Academic Festival Overture, Op. 80\u003c\/b\u003e*  (9:27)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eBRAHMS  Ein Deutsches Requiem, Op. 45\u003c\/b\u003e** (Sung in Italian) \u003cbr\u003e2 I. Selig sind, die da Leid tragen (Ben è vero che gli affliti son beati)  (10:03)\u003cbr\u003e3 II. Denn alles Fleisch (Dell'erba al par la carne è vile)  (14:00)\u003cbr\u003e4 III. Herr, lehre doch mich (Dio, svelami tu)  (10:01)\u003cbr\u003e5 IV. Wie lieblich sind deine Wohnungen (Le tue dimore sono dolci invero)  (5:01)\u003cbr\u003e6 V. Ihr habt nun Traurigkeit (Voi avete qui dolor)  (7:16)\u003cbr\u003e7 VI. Denn wir haben hie (Stabil secle in terra noi non abbiamo)  (10:40)\u003cbr\u003e8 VII. Selig sind die Toten (Oh, beati i morti che muoiono nel Signore)  (11:27)\u003cbr\u003e\u003cb\u003eRosanna Carteri, \u003c\/b\u003esoprano\u003cb\u003e\u003cbr\u003eBoris Christoff, \u003c\/b\u003ebass\u003cbr\u003e\u003cbr\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York \u003cbr\u003e*Hollywood Bowl Orchestra \u003cbr\u003e**Rome Symphony Orchestra \u0026amp; Chorus of RAI\u003cbr\u003eBruno Walter\u003c\/b\u003e, conductor\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eCover artwork based on  photographs of Walter \u0026amp; Brahms\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e*Haydn Variations: 10 July 1947\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eAlto Rhapsody: 9 November 1941\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003ePiano Concerto No. 1: 28 January 1951\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e*Academic Festival Ov.: 10 July 1947\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e**German Requiem: 16 April, 1952\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eAll performed at Carnegie Hall, New York \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eexcept *Hollywood Bowl, Los Angeles, **Auditorium Rai di Torino\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration:  2hr 31:33  \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\/PASC494.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC494.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fNY Times Concert Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eOne emerges from the second concert of the Brahms series which Bruno \nWalter is giving with the Philharmonic - Symphony Orchestra, which took \nplace last night in Carnegie Hall, with, if anything, an even deeper \nimpression of the music and its unique interpretation.\u003cbr\u003e\u003cbr\u003eThese \nconcerts apparently find Mr. Walter at the very zenith of his powers, \nabsorbed in a task which is especially dear to him. He conducted last \nnight the variations on the theme of Haydn, the Third Symphony, and the \nFirst Piano Concerto, with the fortunate collaboration of Clifford \nCurzon. He interpreted in such a manner that those who did not and will \nnot hear these performances are missing something the like of which they\n are unlikely to hear again.\u003cbr\u003e\u003cbr\u003eMr. Walter was fortunate in his \npianist, for Mr. Curzon treated the piano part of the concerto with the \nsame sense of grandeur and poetry and passionate feeling entertained by \nthe conductor. In one respect Mr. Curzon was not fortunate. He came at \nthe end of a long and substantial program. This did not deter him from a\n magnificent interpretation, in which he showed that while as a virtuoso\n he had the music in the palm of his hand, he also had the complete and \nsensitive understanding of the score which he would have manifested if \nhe had been conducting.\u003cbr\u003e\u003cbr\u003eThere was a further correspondence in the\n complete unaffectedness and virility of his reading, and his ability to\n capture mood and an introspective beauty of a rare kind in the passages\n that contrast exquisitely with the prevailing ruggedness and grandeur. \nThere were salvos for the conductor and the soloist. This was \ninevitable. One could only wish that the flying moment might have been \ntransfixed and preserved immaculate for the generations.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eOlin Downes \u003c\/b\u003e The New York Times, January 26, 1951 (excerpts)\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":38673485965,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":38673486029,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":38673486093,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC494_b7343d07-7410-414d-9e27-2d436fb09c8a.jpg?v=1496233253"},{"product_id":"paco046-cd","title":"LEHMANN Schumann: Dichterliebe \u0026 Frauenliebe und -leben (1941) - PACO046 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478091533,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478091597,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO046_4029a59e-fc98-4ae0-b624-1215fd2a5ed9.jpg?v=1657707285"},{"product_id":"paco024-cd","title":"WALTER Wagner: Die Walküre (Act 1) (1935) - PACO024 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478101069,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO024_c90abe4b-4fa2-4a5b-a2f9-1f914cefe16f.jpg?v=1500041748"},{"product_id":"pasc322-cd","title":"WALTER Polydor Acoustics Volume 2: Overtures (1923-25) - PASC322 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478137997,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478138061,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC322_fa611699-4caa-4e26-9486-f885f68166b7.jpg?v=1658307647"},{"product_id":"pasc376","title":"WALTER Mahler: Symphonies 1 \u0026 9 (1961) - PASC376","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 9\u003cbr\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 1\u003c\/span\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded in stereo 1961\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003e Total duration: 2hr 14:48\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eColumbia Symphony Orchestra\u003cbr\u003eBruno Walter \u003c\/b\u003econductor\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f For the first time, I can listen to this performance with real pleasure, rather than a somewhat grudging sense of obligation578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHere we have a brace of remasterings by Andrew \nRose of several of Bruno Walter’s legendary Mahler symphony recordings; \nonly the monaural New York Philharmonic versions of the First and Fourth\n symphonies are not included. The results are mixed, with no clear \npattern of superiority or deficiency emerging.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn the case of the First and the Ninth symphonies,\n I compared this Pristine issue against Sony’s 1994 “Bruno Walter \nEdition” issue; the recent 24 bit remasterings in the seven-CD set of \nall of Walter’s Mahler recordings for Columbia (see the Classical Hall \nof Fame review by Christopher Abbott in 35:6), and Japanese Blu-spec \nissues (once again kindly lent to me by friend and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n subscriber Bob Alps). In the case of the First, I had two different \nBlu-spec discs available to me, one pressed on gold rather than \naluminum, with the more expensive metallic base advertised as providing \nmore enhanced sound. I found virtually no difference between the two \ndomestic issues on the one hand, and the two Japanese issues on the \nother. Between those two pairs, the preference is probably more \nsubjective than objective. The Japanese versions are mastered at a \nhigher level, so that they have a more immediate presence; however, that\n brings with it more background noise (particularly hiss in the high \ntreble frequencies) and a slightly less well defined (albeit more \npowerful) bass register. The domestic versions have a bit less punch, \nbut have whisper-quiet backgrounds and crisper (if less thunderous) \nbass. Where the Japanese versions score points are in passages such as \nthe opening of the scherzo of the First, in which the unison lower \nstrings have more oomph and color without sacrificing clarity.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHow do the Pristine remasterings stack up against \nthis competition? Given that Rose works from LP copies instead of master\n tapes, remarkably well, but in the end his issue of the First takes a \nvery honorable third place. His sound palette falls about midway between\n the domestic and Japanese Sony issues. He manages to create a sense of \nslightly more body than in the domestic Sony discs, but not as much as \nin the Japanese ones; but in so doing he loses some of the clarity of \nthe bass lines in the domestic versions without gaining all the \ncompensating power of the Japanese ones. It also simply sounds too \nartificial at times; the opening of the scherzo is again a key \nindicator, as the lower strings have an unnatural ambience that makes \nthem sound both more distant and less distinct. Furthermore, there is a \nslight but audible low-frequency rumble from the LP present in the \nPristine remastering that afflicts none of its rivals. Rather than \nstriking a happy medium between two extremes, he gets only part of the \nstrengths of each side, along with part of the weaknesses as well. I for\n one would prefer either end of the spectrum to the middle. I wish that \nRose had devoted his attentions instead to Walter’s monaural 1954 New \nYork Philharmonic recording, which might well have yielded far more \npromising results.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eBy contrast, the Pristine transfer of the Ninth is\n far more competitive, and arguably even the one of choice. Once again, \nSony’s domestic and Japanese issues present contrasting polarities of \nremastering philosophies. In this instance, however, the Japanese effort\n is a major miscalculation, with overbearing high frequency tape hiss \nand extremely unpleasant harshness in the upper registers. (Did the \nfolks at Opus Kura temporarily hijack Sony in Japan?) By contrast, the \ndomestic issues in the 1994 Bruno Walter Edition and the 2012 24-bit \nremastering (again, no real difference between them) present an honest, \nclear sound portrait with minimal tape hiss, and just a touch of the \nclinically antiseptic lack of definition that sometimes has been the \ndisadvantage of the digital medium. Happily, Rose here manages to go \nmore or less toe-to-toe with the domestic Sony issues for clarity and \npresence of sound, while retaining the greater warmth of analog LP \nissues and beefing up the bass. While the rival versions are more or \nless of equal worth in the two outer movements, Pristine has a slight \nbut clear advantage in the two middle movements. However, given that the\n seven-CD Sony set can be had for the same price or less than the two-CD\n Pristine set, its purchase will commend itself to avid Mahlerians and \nWalterians rather than to more general collectors.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs for the Second symphony, here Rose went up \nagainst three different Sony remasterings: the original 1994 Bruno \nWalter Edition, a 1999 Japanese Sony DSD version, and a 2009 Japanese \nSony Blu-spec edition. The 1994 release was my one serious \ndisappointment in Sony’s BW Edition series; while a significant \nimprovement over the Odyssey CD issue and various preceding LP \nincarnations, it has a somewhat dry and underpowered bass register that \ndoes not faithfully reflect either Walter’s sonic palette or the \nacoustics of Carnegie Hall. It also still had the feeling of the sound \nbeing confined inside a cramped sonic box that needed to be opened up \nand aired out. The DSD version was the first to overcome that to some \nextent and do this recording a degree of justice, opening up the entire \nfrequency range in general and beefing up the bass in particular, but \nstill having an intangible but real sense of constriction remaining. \nThat edition is still in print and can be ordered from Japan through HMV\n Japan and similar outlets.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThankfully, these limitations are abolished at \nlast by the 2009 Blu-spec version—and how! The results of that \nremastering are simply mind-boggling in their transformative scope; were\n it not for some residual background tape hiss, one could easily be \nfooled into thinking it to be a new SACD digital recording, with the \nsoloists, chorus, and orchestra at last bursting forth in unrestrained \nsplendor, grounded in a positively earth-shaking bass register. Alas, \nthat edition appears to be already out of print, though as I type these \nlines used copies still can be had from Japan for about $60-$100 through\n Amazon.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eNot surprisingly, this Pristine remastering is not\n competitive with either the DSD or Blu-spec versions from Japan—but \nthen, it is in print and costs considerably less as well. When compared \nto the 1994 Bruno Walter Edition, it holds its own. The sound is fuller,\n the bass register stronger, and the boxiness partially opened up. \nHowever, I think that Rose slightly miscalculated here and added one \ndegree too much of resonance throughout the entire frequency range, \ncreating a noticeably artificial effect of a bit too much equalization. \nTaking the exact same approach, but slightly toned down, would have \nyielded superior results with no drawbacks. Still, if I did not have the\n two Japanese issues of this recording in my collection, I would want to\n have this one as an alternative—or should I say antidote?—to the BW \nEdition release. Rose does score two additional positive points with his\n version: He puts the entire performance on one CD (Sony’s failure to do\n so in any of its releases is positively maddening), and he inserts an \nextra track partway through the finale, so that one does not have to \nscroll through a single track lasting over half an hour in order to get \nto the mighty final climax.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWith his transfer of the Fifth Symphony, Rose \nfinally reaps sonic gold. According to booklet notes by producer Dennis \nD. Rooney in the 1994 Sony Bruno Walter Edition release, the performance\n was originally recorded at 33 1\/3 rpm on 16-inch lacquer masters. It \nwas then dubbed for commercial release first onto 78 rpm acetate discs \nand later onto a master tape. The latter was, Rooney states, used for \nall LP and CD issues of the performance prior to the BW Edition, which \nreturned to the lacquer masters. Unfortunately, those had suffered \nabrasive damage in the intervening years, so that the new issue was \nafflicted at points with patches of loud scratches. Despite some \nimprovement in the sound (though rather less than touted in those \nbooklet notes), I found the extraneous noise so painful that my \npreference remained with the 1991 digital remastering in the preceding \n“Masterworks Portrait” series. It was only with the appearance last year\n of the aforementioned seven-CD set by Sony that a truly listenable \nedition of this recording finally appeared, that did some justice to the\n performance. Even so, that release retains a very dry acoustic, flat \nand lacking in sheen, with an overly subdued bass register.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eRose has managed to correct and compensate for \nthat to a surprising degree. While no one will mistake this for a \nhigh-fidelity recording, the orchestral sound now has far more presence \nand color, with a greatly strengthened bass register. At a few \npoints—most noticeably, the opening trumpet fanfare of the first \nmovement—the sonic retouching is overly apparent and the added ambience \ndraws undue attention to itself, but such moments are few and readily \nacceptable for the acoustic wizardry worked throughout the whole. For \nthe first time, I can listen to this performance with real pleasure, \nrather than a somewhat grudging sense of obligation, and for that I am \nincalculably in Rose’s debt.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs always with Pristine, the packaging is bare \nbones, and notes must be downloaded from Pristine’s website. This issue \nof the Fifth belongs in the collection of every Mahlerite; the Ninth is \nalso well recommended, and the Second is quite respectable, leaving only\n the First as a relative disappointment. Now, on for Pristine to the \nFourth Symphony and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDas Lied von der Erde! \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESi\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJames A. Altena  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cb\u003eThis article originally appeared in Issue 37:1 (Sept\/Oct 2013) of Fanfare Magazine.\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC376.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eBruno Walter's classic stereo Mahler symphonies in hugely improved sound quality\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e \u003cspan style=\"font-size: 18px;\"\u003e\"...a superb, definitive realisation of the work, in interpretation, performance...\" - The Gramophone\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eAs with a number of recordings of this era, I approached\n this classic, some would say definitive historic document with a degree\n of trepidation. Once again I had to ask myself whether I could bring \nany significant improvement to the sound quality to justify my own \nefforts - and achieve something sufficient to persuade those who already\n know the recording well that it's worth hearing afresh.\u003c\/p\u003e\u003cp class=\"body\"\u003eMahler's 6th Symphony was once famously dismissed as \n\"Brass, lots of brass, incredibly much brass! Even more brass, nothing \nbut brass!\", yet here I would point the listener first to the brass to \nhear what dramatic sound improvements have been made. Gone is the dim, \nveiled sound of even the most recent \"official\" Sony CD issues, to be \nreplaced by an openness and clarity that lets these instruments shine \nthrough as never before. Suddenly the whole sound of the original \nrecordings sounds cluttered and constricted by comparison.\u003c\/p\u003e\u003cp class=\"body\"\u003eListen next to the very low end, the depths of bass \nwhich underpin the orchestra, the growling rumbled of double basses and \nlow percussion that seem almost absent in the original - they were there\n all along, just waiting to be found and returned to audibility. A \nmonumental work such as the Ninth requires a monumental sound - and now \nthis monumental recording has it.\u003c\/p\u003e\u003cp class=\"body\"\u003eCoupling it with the First beings together Walter's two \nstereo Columbia Symphony Mahler recordings, surely now sounding as fine \nas any ever recorded.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\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\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMAHLER\u003c\/strong\u003e Symphony No. 9 in D major\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cstrong\u003eMAHLER \u003c\/strong\u003e\u003c\/strong\u003eSymphony No. 1 in D major \"TITAN\"\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eColumbia Symphony Orchestra\u003c\/strong\u003e \u003cbr\u003e \u003cstrong\u003eBruno Walter \u003c\/strong\u003e conductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003e\u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cstrong\u003eSymphony No. 9\u003c\/strong\u003e (82:08)\u003cbr\u003e Recorded 16 January 1961\u003cbr\u003e American Legion Hall, Hollywood, USA\u003cbr\u003e First issued as Columbia M2S 676\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eSymphony No. 1\u003c\/strong\u003e (52:39)\u003cbr\u003e Recorded 14\/21 January \u0026amp; 4\/6 February 1961\u003cbr\u003e American Legion Hall, Hollywood, USA\u003cbr\u003e First issued as Columbia MS 6394\u003c\/span\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eXR remastering by Andrew Rose at Pristine Audio, January 2013\u003cbr\u003e Cover artwork based on a photograph of Bruno Walter\u003cbr\u003e \u003cbr\u003e Total duration: 2hr 14:48\u003cbr\u003e\u003cbr\u003e\u003c\/p\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\/PASC376.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC376.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eREVIEW Symphony No. 9\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eMahler's Ninth Symphony, his last completed work, and undoubtedly his consummate achievement, was presented to the world in Vienna in 1912, the year after his death, by his disciple Bruno Walter. For those who understood Mahler (few enough at that time), it seemed to sum up, not only the soaring aspirations and despairs of this tormented genius himself, but those of a whole civilisation - the pre-1914 world of Vienna and the rest of Europe. And when Vienna fell to the Nazis, one of the last performances given there by Walter, before he left, eventually to settle in the U.S.A., was of the same work; and this, perpetuated by HMV in the form of a 20-side 78 rpm recording - the first ever made of the work - seemed more than ever to be an appropriate memorial to a glorious and irrecoverable past, not least in the imperfections inseparable from a recorded concert performance, which were felt to be part and parcel of a poignant historic occasion . And now it is once more fitting that the eighty-five-year-old Bruno Walter should have rounded off his life's work with a recording of the Ninth which is a superb, definitive realisation of the work, in interpretation, performance, and recorded sound alike.\u003cbr\u003e\u003cbr\u003eBut even more than looking to the past, and to Vienna, this recording impinges powerfully on the present and the future, and on the world at large. In my experience, this is the first time the full significance of Mahler's Ninth has been revealed; and listening to this performance, with the new understanding gained from our ever-growing familiarity with Mahler's life's work, one realises how far this extraordinary music transcends period and place, and stands revealed as a timeless masterpiece, a tremendous feat of creative imagination and technical mastery, down to the last detail.\u003cbr\u003e\u003cbr\u003eWalter has been accused of sentimentalising Mahler, playing up his Viennese charm and haunting nostalgia, and playing down his biting sarcasm and bitter irony; but this opinion will not hold water, as is shown by the present performance. Admittedly, judging from the fascinating \"Talking Portrait\" on the accompanying bonus disc - a recorded interview with Arnold Michaelis - Walter would seem to have had a closer affinity with Bruckner, and to have taken a rather rosy view of the content of Mahler's music: \"In each of his symphonies Mahler was seeking God.\" This is only half the truth; but we also hear him say how much the \"demonic\" element in Mahler meant to him. This was no doubt a largely subconscious affinity, since he does not dwell on it; and we notice from the equally fascinating \"Working Portrait\" on the other side of the bonus disc - snippets from the orchestral rehearsals for the record - that he did not 'interpret' Mahler to the players, but was content to secure perfection of playing. But that the affinity with every aspect of Mahler was there is obvious from the intensity of the performance, achieved, as he himself says, by the \"occult power\" by which a conductor communicates his feeling of the music to the players, and through them to the audience.\u003cbr\u003e\u003cbr\u003eIn comparison with Horenstein's largely fine performance and Ludwig's mainly misconceived one, Walter's fundamental superiority lies in his masterly tempo and rhythm - always broad enough to carry the great weight of the expression, but never drawn out for rhetoric to the point of breaking continuity. The vast span of the opening Andante comodo, presenting a life-and-death conflict, offers the most difficult problem, in its appearance of sprawling diffuseness. Ludwig, no doubt afraid that it can only sag if taken at a true andante, achieves flow by a continual pressing forward, which sadly minimises the music's majesty, drama, and depth of expression. Horenstein, splendidly broad, dramatic, and expressive, loses the flow at times; in particular, he so emphatically holds back for each appearance of the big exultant theme (first heard just before fig. 6), that he defeats his own object, failing to make these essential main pillars of the whole structure register clearly for what they are. But Walter unifies in one single unbroken flow the poignant lyricism of the main melody, the anguished agitation of the contrasting material, the full-blooded surge of the big exultant theme, the cataclysmic climax, and the shadowy disintegration of the coda. He leaves one in no doubt that this is one of the most superbly planned and executed large-scale symphonic movements in existence.\u003cbr\u003e\u003cbr\u003eIn the horrifying negative vision of the two central movements, which pillory the soulless emptiness of the modern age, Walter's affinity with Mahler's \"demonic\" element is undeniable. The whole point of the second movement is its alternation of dry parodies of popular dance-music - a medium tempo Ländler and a quick waltz - with a genuinely nostalgic slow Ländler. This is entirely missed by Ludwig, who whips away at the start with an impossibly quick waltz-tempo, and treats the whole thing as a jolly affair. Horenstein makes all the points clearly, but rather overdoes the 'clumsiness' asked for by Mahler to the extent of dragging the music in places and getting some rough playing from the strings. Walter prefers to let the music speak for itself: the tempi, and their integration into one another, are dead right; and there is plenty of subtle irony in the phrasing, so that the parodies are no less parodIes for being played as expertly as the genuine article. Moreover, he brings such ineffable beauty to the slow Ländler that the rest of the movement is set off vividly in its true garish colours .\u003cbr\u003e\u003cbr\u003eNo conductor can fail to make a powerful impact with the fast and frenzied contrapuntal uproar of the Rondo-Burleske; but whereas Ludwig sees only the physical excitement of the music, Horenstein and Walter bl'ing out superbly the livid 'to hell with everything' mood of the movement. Walter makes the music snap and snarl no less viciously than Horenstein, and he also achieves a virtuoso precision and greater impact in many details-notably the sudden fantastic outburst of fury when the main material first returns after the trio-section .\u003cbr\u003e\u003cbr\u003eThe Adagio-Finale's 'farewell to life' is for many people the outstanding movement of the work - the ultimate musical expression of heartbreak. Here Ludwig rises more nobly to the occasion with a deeply felt performance; but Horenstein again outdoes him in intensity, even if his extremely slow tempo makes the music almost burst at the seams here and there. Where Walter rises above both is in bringing out the other element in the music - the passionate joy in being alive, which is inextricably woven with grief in the noble chorale-melody, and only yields at the very end. Again it is a matter of tempo and rhythm: at a true adagio, and no slower, and with great weight of expression, and no more, he moves the music relentlessly forward until it at last slows down of its own accord and fades into silence.\u003cbr\u003e\u003cbr\u003eWhat we must be just as thankful for is that this realisation of the work's full stature was not obscured by any deficiencies of engineering. The extracts from the orchestral rehearsals are introduced by the Music Director of American Columbia, John McClure, who describes with justifiable pride the concentrated effort which went into the technical side of the achievement. The absolutely lifelike reproduction of every strand of Mahler's complex texture, even in the loudest tutti passages, is an extraordinary feat of recording technique; and whereas Ludwig's performance sounds persistently remote, and Horenstein's persistently close, the present issue has a wide dynamic range, rising from a really hushed pianissimo to a really full-blooded fortissimo. Those with stereo equipment are especially lucky, for the unusually vivid separation will enable them to savour Mahler's fantastically intricate web of criss-crossing counterpoints to the full.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDeryck Cooke\u003c\/b\u003e, The Gramophone, September 1962\u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\u003cb\u003eREVIEW Symphony No. 9\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e[Mono issue review]\u003cbr\u003eIt is no doubt understandable that Bruno Walter, for one of his last recordings, should have chosen this work, for it was the first piece of Mahler that he ever heard, and he fell in love with it at first hearing. But all the same, one wishes that he had chosen the Third, Sixth, or Seventh, since he never recorded these at all, whereas he had already made a very fine recording of the First - the Philips issue listed above. Of course, this is also a fine performance, as we should only expect, and being different from the earlier one, it allows the Mahler-lover the fascinating experience of studying Waiter's changing approach to the music; but I feel that I shall personally stick to his earlier recording. There are certain gains here; the first movement works up to a much more gripping culmination, owing to a rather steadier tempo at figure 26 and a consequently more far-reaching accelerando to the end of the movement. Also the trio of the Scherzo is taken a shade more deliberately with a considerable deepening of the expression, and the two different sections of 'popular' music in the Funeral March are well differentiated by the adoption of a slightly quicker tempo for the second one (this drags a little on the earlier record).\u003cbr\u003e\u003cbr\u003eHowever, there are also certain losses which for me outweigh the gains. The rhythm of the Funeral March is nowhere near as steady and relentless as in the previous version, and in the trio-section (which Walter originally handled with utter simplicity, as indicated by Mahler) the tempo changes all the time in the interests of an extra expressiveness which I find makes the music less moving instead of more. Another strange thing is that at the end of the Scherzo, each time, Walter no longer carries out the accelerando marked by Mahler; this may help the horns to cope with their murderous task, but it takes a great deal of excitement out of the music. But it is in the finale that the greatest difference lies. I particularly admired Walter's previous recording for the really fast tempo he adopted for the main stormy music - he was the only conductor who made the stream of quavers on .the strings sound like the wind howling, not like a fussy chattering of separate notes. But here he has broadened considerably, and although this allows him to get great weight into the music, it gives the violin line just that fussy effect which spoils all the other conductors' performances. Also, it takes the wildness of youth out of the music, and replaces it with the mature Mahler of the Fifth and Sixth Symphonies; this music is surely one headlong mad rush or nothing. The whole movement is treated more deliberately, in fact, and although this makes for a really tremendous culmination, it means that the Funeral March has had to be split across two sides - the only case of this happening in any recording of the symphony. This is a large price to pay for the rather dubious expansion of the finale, and is the chief reason why I prefer to stick to my old recording.\u003cbr\u003e\u003cbr\u003eThe sound in mono is fine, and is superior to that of the earlier Philips record in that there is a greater perspective, which makes the strings much more mellow; but on the other hand the Philips gives a clearer account of the extremely important first trumpet, which is rather too backward on the CBS disc. I still await the stereo version.\u003cbr\u003e\u003cbr\u003e...\u003cbr\u003e\u003cbr\u003e[Stereo issue review]\u003cbr\u003eAt last the stereo version of Mahler's First Symphony that we've been waiting for - a really lifelike recording which takes the heaviest climaxes without flinching. I was less enthusiastic about the mono last month because the performance as such by no means replaces Walter's own earlier mono version, but it is of sufficient stature to dwarf all competitors in the stereo field. Apart from the same slight deficiency as in the mono - a rather too reticent treatment of the important first trumpet part - the only snag is that the third movement is split across the two sides.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDeryck Cooke,\u003c\/b\u003e The Gramophone, March 1962 (mono) \u0026amp; April 1962 (stereo)\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":"Stereo 24-bit FLAC","offer_id":34190736973,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34190737037,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34190737101,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC376.jpg?v=1489681107"},{"product_id":"pasc376-cd","title":"WALTER Mahler: Symphonies 1 \u0026 9 (1961) - PASC376 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD with case \u0026 artwork (+MP3)","offer_id":40478173389,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2CD only in plastic sleeve (+MP3)","offer_id":40478173453,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC376_3e1c1fde-2648-4417-a18c-67e1d5727ebe.jpg?v=1658309115"},{"product_id":"pasc382","title":"WALTER conducts Mahler, Symphony No. 5 (1947) - PASC382","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 5\u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1947\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003e Total duration: 61:29 \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003eBruno Walter \u003c\/b\u003econductor\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fWith his transfer of the Fifth Symphony, Rose finally reaps sonic gold578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHere we have a brace of remasterings by Andrew \nRose of several of Bruno Walter’s legendary Mahler symphony recordings; \nonly the monaural New York Philharmonic versions of the First and Fourth\n symphonies are not included. The results are mixed, with no clear \npattern of superiority or deficiency emerging.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn the case of the First and the Ninth symphonies,\n I compared this Pristine issue against Sony’s 1994 “Bruno Walter \nEdition” issue; the recent 24 bit remasterings in the seven-CD set of \nall of Walter’s Mahler recordings for Columbia (see the Classical Hall \nof Fame review by Christopher Abbott in 35:6), and Japanese Blu-spec \nissues (once again kindly lent to me by friend and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n subscriber Bob Alps). In the case of the First, I had two different \nBlu-spec discs available to me, one pressed on gold rather than \naluminum, with the more expensive metallic base advertised as providing \nmore enhanced sound. I found virtually no difference between the two \ndomestic issues on the one hand, and the two Japanese issues on the \nother. Between those two pairs, the preference is probably more \nsubjective than objective. The Japanese versions are mastered at a \nhigher level, so that they have a more immediate presence; however, that\n brings with it more background noise (particularly hiss in the high \ntreble frequencies) and a slightly less well defined (albeit more \npowerful) bass register. The domestic versions have a bit less punch, \nbut have whisper-quiet backgrounds and crisper (if less thunderous) \nbass. Where the Japanese versions score points are in passages such as \nthe opening of the scherzo of the First, in which the unison lower \nstrings have more oomph and color without sacrificing clarity.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHow do the Pristine remasterings stack up against \nthis competition? Given that Rose works from LP copies instead of master\n tapes, remarkably well, but in the end his issue of the First takes a \nvery honorable third place. His sound palette falls about midway between\n the domestic and Japanese Sony issues. He manages to create a sense of \nslightly more body than in the domestic Sony discs, but not as much as \nin the Japanese ones; but in so doing he loses some of the clarity of \nthe bass lines in the domestic versions without gaining all the \ncompensating power of the Japanese ones. It also simply sounds too \nartificial at times; the opening of the scherzo is again a key \nindicator, as the lower strings have an unnatural ambience that makes \nthem sound both more distant and less distinct. Furthermore, there is a \nslight but audible low-frequency rumble from the LP present in the \nPristine remastering that afflicts none of its rivals. Rather than \nstriking a happy medium between two extremes, he gets only part of the \nstrengths of each side, along with part of the weaknesses as well. I for\n one would prefer either end of the spectrum to the middle. I wish that \nRose had devoted his attentions instead to Walter’s monaural 1954 New \nYork Philharmonic recording, which might well have yielded far more \npromising results.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eBy contrast, the Pristine transfer of the Ninth is\n far more competitive, and arguably even the one of choice. Once again, \nSony’s domestic and Japanese issues present contrasting polarities of \nremastering philosophies. In this instance, however, the Japanese effort\n is a major miscalculation, with overbearing high frequency tape hiss \nand extremely unpleasant harshness in the upper registers. (Did the \nfolks at Opus Kura temporarily hijack Sony in Japan?) By contrast, the \ndomestic issues in the 1994 Bruno Walter Edition and the 2012 24-bit \nremastering (again, no real difference between them) present an honest, \nclear sound portrait with minimal tape hiss, and just a touch of the \nclinically antiseptic lack of definition that sometimes has been the \ndisadvantage of the digital medium. Happily, Rose here manages to go \nmore or less toe-to-toe with the domestic Sony issues for clarity and \npresence of sound, while retaining the greater warmth of analog LP \nissues and beefing up the bass. While the rival versions are more or \nless of equal worth in the two outer movements, Pristine has a slight \nbut clear advantage in the two middle movements. However, given that the\n seven-CD Sony set can be had for the same price or less than the two-CD\n Pristine set, its purchase will commend itself to avid Mahlerians and \nWalterians rather than to more general collectors.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs for the Second symphony, here Rose went up \nagainst three different Sony remasterings: the original 1994 Bruno \nWalter Edition, a 1999 Japanese Sony DSD version, and a 2009 Japanese \nSony Blu-spec edition. The 1994 release was my one serious \ndisappointment in Sony’s BW Edition series; while a significant \nimprovement over the Odyssey CD issue and various preceding LP \nincarnations, it has a somewhat dry and underpowered bass register that \ndoes not faithfully reflect either Walter’s sonic palette or the \nacoustics of Carnegie Hall. It also still had the feeling of the sound \nbeing confined inside a cramped sonic box that needed to be opened up \nand aired out. The DSD version was the first to overcome that to some \nextent and do this recording a degree of justice, opening up the entire \nfrequency range in general and beefing up the bass in particular, but \nstill having an intangible but real sense of constriction remaining. \nThat edition is still in print and can be ordered from Japan through HMV\n Japan and similar outlets.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThankfully, these limitations are abolished at \nlast by the 2009 Blu-spec version—and how! The results of that \nremastering are simply mind-boggling in their transformative scope; were\n it not for some residual background tape hiss, one could easily be \nfooled into thinking it to be a new SACD digital recording, with the \nsoloists, chorus, and orchestra at last bursting forth in unrestrained \nsplendor, grounded in a positively earth-shaking bass register. Alas, \nthat edition appears to be already out of print, though as I type these \nlines used copies still can be had from Japan for about $60-$100 through\n Amazon.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eNot surprisingly, this Pristine remastering is not\n competitive with either the DSD or Blu-spec versions from Japan—but \nthen, it is in print and costs considerably less as well. When compared \nto the 1994 Bruno Walter Edition, it holds its own. The sound is fuller,\n the bass register stronger, and the boxiness partially opened up. \nHowever, I think that Rose slightly miscalculated here and added one \ndegree too much of resonance throughout the entire frequency range, \ncreating a noticeably artificial effect of a bit too much equalization. \nTaking the exact same approach, but slightly toned down, would have \nyielded superior results with no drawbacks. Still, if I did not have the\n two Japanese issues of this recording in my collection, I would want to\n have this one as an alternative—or should I say antidote?—to the BW \nEdition release. Rose does score two additional positive points with his\n version: He puts the entire performance on one CD (Sony’s failure to do\n so in any of its releases is positively maddening), and he inserts an \nextra track partway through the finale, so that one does not have to \nscroll through a single track lasting over half an hour in order to get \nto the mighty final climax.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWith his transfer of the Fifth Symphony, Rose \nfinally reaps sonic gold. According to booklet notes by producer Dennis \nD. Rooney in the 1994 Sony Bruno Walter Edition release, the performance\n was originally recorded at 33 1\/3 rpm on 16-inch lacquer masters. It \nwas then dubbed for commercial release first onto 78 rpm acetate discs \nand later onto a master tape. The latter was, Rooney states, used for \nall LP and CD issues of the performance prior to the BW Edition, which \nreturned to the lacquer masters. Unfortunately, those had suffered \nabrasive damage in the intervening years, so that the new issue was \nafflicted at points with patches of loud scratches. Despite some \nimprovement in the sound (though rather less than touted in those \nbooklet notes), I found the extraneous noise so painful that my \npreference remained with the 1991 digital remastering in the preceding \n“Masterworks Portrait” series. It was only with the appearance last year\n of the aforementioned seven-CD set by Sony that a truly listenable \nedition of this recording finally appeared, that did some justice to the\n performance. Even so, that release retains a very dry acoustic, flat \nand lacking in sheen, with an overly subdued bass register.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eRose has managed to correct and compensate for \nthat to a surprising degree. While no one will mistake this for a \nhigh-fidelity recording, the orchestral sound now has far more presence \nand color, with a greatly strengthened bass register. At a few \npoints—most noticeably, the opening trumpet fanfare of the first \nmovement—the sonic retouching is overly apparent and the added ambience \ndraws undue attention to itself, but such moments are few and readily \nacceptable for the acoustic wizardry worked throughout the whole. For \nthe first time, I can listen to this performance with real pleasure, \nrather than a somewhat grudging sense of obligation, and for that I am \nincalculably in Rose’s debt.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs always with Pristine, the packaging is bare \nbones, and notes must be downloaded from Pristine’s website. This issue \nof the Fifth belongs in the collection of every Mahlerite; the Ninth is \nalso well recommended, and the Second is quite respectable, leaving only\n the First as a relative disappointment. Now, on for Pristine to the \nFourth Symphony and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDas Lied von der Erde! \u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJames A. Altena  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC382.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eBruno Walter's Mahler 5: \"First class in every way\" (The Gramophone)\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e \u003cspan style=\"font-size: 18px;\"\u003eA new XR remastering that sounds truly incredible - for any recording of this vintage!\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThis recording, made at the end of the 78rpm direct-to-disc era, both benefits and suffers as a result, as has been clear from previous issues. The Philips LP referred to in our Gramophone review struggled with a lack of clarity, especially at the top end, whilst later CD issues have suffered a surfeit of surface noise. No previous issue has successfully tackled the somewhat constricted sonics of the original recordings in the manner that this new 32-bit XR remastering has succeeded in doing, unlocking the broad sweep both of Mahler and Walter's collective visions. Rebalancing the orchestral tone has revealed a fuller and more glorious sound than I had dared to anticipate in a remastering process that has taken on numerous incarnations since I began it eight months ago.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\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\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMAHLER\u003c\/strong\u003e Symphony No. 5\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/strong\u003e \u003cbr\u003e \u003cstrong\u003eBruno Walter \u003c\/strong\u003e conductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003e\u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e Recorded 10 February 1947\u003cbr\u003e Carnegie Hall, New York\u003cbr\u003e First issued as Columbia 78rpm album MM 718\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose at Pristine Audio, July 2012-March 2013\u003cbr\u003e Cover artwork based on a photograph of Bruno Walter\u003cbr\u003e \u003cbr\u003e Total duration: 61:29 \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\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 Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC382.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC382.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eREVIEW Symphony No. 5\u003c\/strong\u003e, 1957 UK LP issue\u003c\/p\u003e\u003cp class=\"body\"\u003eIn THE GRAMOPHONE for November, 1953, I wrote about this\n symphony at some length, expressing in general a degree of doubt as to \nits total coherence. The enormous structure, however, could scarcely be \ngiven a better chance of making its multitudinous points than on this \nnew set of discs, which are first class in every way. \u003cbr\u003e \u003cbr\u003e Walter \ntakes very great care, in particular, over accentuation, over the \nshaping of every one of Mahler's phrases. The result is often to propel \nthe music when it stands most in need of propulsion: not all \nperformances disclose a rhythmic shape to a cloud of notes as clearly as\n this one. Particularly does the Scherzo benefit; and the alert reading \nresults not merely in a winning effect but also in a practical advantage\n - the Adagietto can then be accommodated on the same side, leaving the \nwhole third side of the set available for the Finale, with obvious \nengineering advantages. \u003cbr\u003e \u003cbr\u003e Throughout the players respond readily\n not only to Walter's forward urge, but also to all the other demands of\n the music. The brass are on top of their form, with superbly confident \ntrumpets and rich-sounding trombones; so are the strings, with dash, \nunanimity, and, particularly in the Adagietto, a very full quality of \ntone. This movement does to some extent lack a clear reproduction of the\n important harp part; but the previous Scherzo always makes clear the at\n least equally important solo horn part, here most beautifully played. \u003cbr\u003e \u003cbr\u003e\n The recording is sonorous, even in the severest of Mahler's climaxes, \nwhich it approaches without flinching. The sonority does not, save \nexceptionally, exclude clarity; and it establishes beyond a doubt the \nsuperiority of this version of the symphony to the earlier Nixa set. \nThat was very clearly recorded (again, curiously, except as to that \nelusive harp part), but the overall sound was not as warm as that of the\n new Philips; nor did Scherchen achieve quite the felicities of \nphrasing, or, In places, the forward urge of Walter.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cstrong\u003eM.M., The Gramophone\u003c\/strong\u003e, December 1957 , \u003cem\u003eexcerpt\u003c\/em\u003e\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":34253283597,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34253283661,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34253283725,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34253283789,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC382.jpg?v=1489741771"},{"product_id":"pasc382-cd","title":"WALTER conducts Mahler, Symphony No. 5 (1947) - PASC382 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478178253,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478178317,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC382_738d74d0-a294-41ab-afcf-0a71710ee7b8.jpg?v=1658309288"},{"product_id":"pasc384","title":"WALTER conducts Bruckner, Symphony No. 9 (1959) - PASC384","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRUCKNER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e \u003c\/b\u003eSymphony No. 9\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1959\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003e Total duration: 59:03\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eColumbia Symphony Orchestra\u003cbr\u003eBruno Walter\u003c\/b\u003e conductor\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis remarkable release has caused me to re-evaluate the performance itself. Urgently recommended.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs the 50-years-and-out-of-copyright rule ticks \naway in the European Union, and early stereo LP recordings become fair \ngame for remastering and reissue by others, Andrew Rose is venturing to \napply his patented XR sonic enhancement program to those as well as to \nthe monaural recordings to which he has previously devoted himself. \nGenerally speaking, the gains to be expected for the former will be \nsignificantly less than for the latter, and in virtually all cases Rose \nalso is competing against state-of-the-art remasterings from the master \ntapes (as opposed to the LP copies used by Rose) by the original \nrecording companies. Nothing daunted, Rose has pressed ahead and \nadvocated for the superiority of his own releases.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn this case, the results fully justify the \nefforts; what Rose has accomplished here is truly remarkable. I compared\n his version to both the generally available 1995 Sony “Bruno Walter \nEdition” release, and to a 2004 Japanese Sony DSD remastering. (Thanks \nagain to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e \nreader and friend Robert Alps for providing a copy of the latter from \nhis personal collection.) The two Sony releases did not differ greatly, \nand had compensating advantages and disadvantages. While the DSD version\n has slightly more depth and a stronger bass register, that brought with\n it an added degree of overall resonance that resulted in a slight \nfuzziness and decrease in crispness of sound and clarity of detail when \ncompared to the very clear and well-balanced, but slightly dry and \nrecessed-sounding, original 1995 CD remastering.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eBy contrast, this version captures the best of \nboth worlds, and then some. Compared to both Sony releases, it has \nsignificantly greater presence and weight. The entire frequency range \nseems more open, but particularly at the bass end, which now finally has\n the depth and richness of Walter’s live performances that Sony’s \nrecording techniques never really captured. (How I wish that Walter had \nmade all his recordings for Decca instead!) While there is more \nresonance, it does not in the slightest occlude the textures; indeed, \nhere the string tremolos actually have their clarity increased. The \nstrings also gain heft, overcoming the original paucity in their numbers\n that was a noticeable shortcoming of the original recording. \n(Columbia’s engineers apparently feared that the highly reverberant \nacoustics of the American Legion Hall in Hollywood, where most of \nWalter’s stereo recordings were made, would result in a sonic \nbouillabaisse if a full complement of strings was used.) So too do the \nbrass, which now have both a more burnished sound and a degree of bite \nnot noticeable before, while the woodwinds have greater color and \npresence.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIndeed, this remarkable release has caused me to \nre-evaluate the performance itself. Avid Walterian though I am, I have \nalways felt the conductor’s recordings of the Bruckner symphonies to be a\n relative weak point in his discography, with this release being the \nleast felicitous of the lot. (Most critics have highly praised the \nBruckner Seventh in Walter’s discography; my vote has been for the \nFourth as his best of the three studio recordings.) Compared to my \npersonal benchmarks of Furtwängler and the Jochum brothers (Georg-Ludwig\n as well as Eugen), Walter’s readings lack the apocalyptic intensity of \nthe former and the celestial splendor of the latter, having instead what\n Mortimer H. Frank once termed a “buttery” quality due to the autumnal \nwarmth and gentle lyricism typical of the conductor’s stereo efforts. At\n 59:03 (Sony’s release times out at 58:45 instead), this studio account \nis far slower (by 9-10 minutes) than any of the five live performances \nby Walter that have seen the light of day (not to mention a laser beam) \non compact disc. (See my comments in 36:3 on all eight of Walter’s \nsurviving Bruckner Ninths.)  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003ePreviously, I have tended to find this version too\n soft-grained and even somewhat ponderous and flaccid. But now, perhaps \ncontrary to expectations, the additional richness of sound has revealed \nthe performance to have a weighty, muscular strength that was heretofore\n veiled; in particular, the final minutes of the first movement build to\n a monumental, thrilling climax with floor-vibrating bass frequencies. \n(At one point while it played I walked downstairs to retrieve something,\n and those vibrations were transmitting down to the wood paneling in the\n basement.) Likewise, the mighty tread of alternately descending and \nascending passages of eighth notes in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n now has a powerful forward momentum that previously seemed absent. \nWhile still not anywhere near my favorite Bruckner Ninth (Eugen Jochum’s\n 1955 DG recording has a secure lock on that post), this is now one to \nbe highly regarded, with my previous reservations now largely obviated. \nMy one extra-musical caveat is with the garish trademark \ncomputer-enhanced colorized tray card photos that Rose produces; the one\n of Walter here is so ghastly that he looks as if he belongs in a horror\n film line-up with Boris Karloff and Bela Lugosi.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHowever much science and technology goes into it, \naudio remastering ultimately remains an art of subjective judgment. \nThere will always be a question of whether and to what extent the result\n has revealed previously obscured detail or subtly altered the \ninterpretation itself. As taken as I am with this new release, I can \nimagine another listener preferring one of the Sony issues instead. But \nif your judgment is open here, or if like me you previously found this \nrecording less than fully satisfying, definitely get this version; \nurgently recommended. \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\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 37:1 (Sept\/Oct 2013) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC384.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eBruno Walter's Bruckner 9: \"a truly noble reading\" (The Gramophone)\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e \u003cspan style=\"font-size: 18px;\"\u003eWalter's vision of Bruckner's final symphonic masterpiece - an unprecedented clarity of sound\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eBruno Walter made three studio recordings of music by Bruckner: the 4th, 7th and 9th Symphonies. Each was recorded during the very last years of his life, with the Columbia Symphony Orchestra (generally believed to consist largely of the Los Angeles Philharmonic) in stereo. As with the two Mahler recordings of the same provenance, released earlier this year as Pristine PASC376, these recordings were well made but - to modern ears at least - have something of a sonic veil over them. This may indeed not be apparent - until one compares the Sony\/Columbia releases with these new 32-bit XR-remastered transfers. Suddenly one discovers an immediacy, a fullness of tone, the rasp of the brass, the rumble of the deep bass, the sheer vitality of Walter's orchestra and performance conveyed as never before. The recordings were of course taped, and I've managed to correct some minor pitch drifts throughout the recording, as well as reduce some of the hiss inherent in any analogue recording. But what will impact most on the listener here will be the massive, three-dimensional impact of the performance, the precise detail in Walter's direction, and an unprecedented clarity of sound.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\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\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBRUCKNER\u003c\/strong\u003e Symphony No. 9 \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eColumbia Symphony Orchestra\u003c\/strong\u003e \u003cbr\u003e \u003cstrong\u003eBruno Walter \u003c\/strong\u003e conductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003e\u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e Recorded in stereo, 16 \u0026amp; 18 November, 1959\u003cbr\u003e American Legion Hall, Hollywood, California\u003cbr\u003e First issued in the UK as Philips SABL179\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e XR remastering by Andrew Rose at Pristine Audio, March 2013\u003cbr\u003e Cover artwork based on a photograph of Bruno Walter\u003cbr\u003e \u003cbr\u003e Total duration: 59:03\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\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 Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC384.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC384.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eREVIEW Symphony No. 9\u003c\/strong\u003e, 1961 UK LP issue\u003c\/p\u003e\u003cp class=\"body\"\u003eReaders of the correspondence columns of \u003cem\u003eThe Listener\u003c\/em\u003e\n will have noticed a recent set-to between anti- and pro-Brucknerites, \nhotly contesting whether or not Bruckner was tedious. What nobody \nthought to say was that, more than with most composers, his music \ndepends on his interpreters: lack of sympathy with his leviathan scores,\n or misunderstanding or wilful disregard of their markings (always \nassuming they are the right scores to start with, and not \"improvements\"\n by well-meaning editors) can easily result in performances which stress\n the naivete, the vast leisureliness, the structural weaknesses to an \nintolerable degree. When, on the other hand, a Bruno Walter takes \ncharge, the music can flow with an unruffled assurance, a sense of \ncoherence and quiet purpose, a direct eloquence which utterly transforms\n the work. So sensitive is Walter to the ebb-and-flow of Bruckner's \ntides of thought that even in such vast movements as the opening one \nhere, or the \u003cem\u003eAdagio\u003c\/em\u003e which represents the apotheosis of his \nhumble lifelong glorification of God , one forgets to become impatient \nwith their length but is absorbed into the rich romantic texture slowly \nunfolded. The Scherzo in this performance is taken at an unusually \nsteady pace, which slightly lessens the contrast of tempi intended; but \nit is so meticulously played, and so lightly, that the effect comes to \nseem entirely convincing. The Columbia Symphony Orchestra plays \nadmirably throughout, responsive to Walter's every direction; and the \nresult is a truly noble reading. After this \u003cem\u003eAdagio\u003c\/em\u003e indeed any \nfinale, had it ever been completed, might well have come as an \nanti-climax. The recording is outstandingly good, in mono as well as \nstereo; and the change-over which enables the symphony to be contained \non only two sides, coming as it does at the \u003cem\u003eda capo\u003c\/em\u003e from the Trio back to the Scherzo, is at as unobtrusive a point as possible.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cstrong\u003eL.S., The Gramophone\u003c\/strong\u003e, June 1961\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":"Stereo 24-bit FLAC","offer_id":34254901453,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34254901581,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34254901645,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC384_a2a19aad-f9fe-438c-bb3e-727eb4a08945.jpg?v=1489742742"},{"product_id":"pasc384-cd","title":"WALTER conducts Bruckner, Symphony No. 9 (1959) - PASC384 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478178573,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478178637,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC384_30504f41-760e-4314-b354-3389c30393bf.jpg?v=1658309327"},{"product_id":"pasc385","title":"WALTER conducts Mahler's Second Symphony (1957-8) - PASC385","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 2, Op. 47 \"Resurrection\"\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1957\/58 in stereo\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003e Total duration: 79:40\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eEmilia Cundari \u003c\/b\u003esoprano\u003cb\u003e\u003cbr\u003eMaureen Forrester \u003c\/b\u003econtralto\u003cb\u003e\u003cbr\u003eWestminster Choir\u003cbr\u003eNew York Philharmonic Orchestra\u003cbr\u003eBruno Walter \u003c\/b\u003econductor\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is an essential interpretation578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003ePristine has chosen a striking cover design for \n          this issue to reflect the cosmic nature of the \u003ci\u003eResurrection Symphony\u003c\/i\u003e: \n          artwork based on photos from the Hubble Space Telescope is used as the \n          backdrop to the image of Bruno Walter, baton poised. This is a recording \n          that was almost never completed: the sessions were delayed by a year \n          following Walter’s heart attack in March 1957, just after he had \n          recorded the fourth and fifth movements. \u003cbr\u003e\n            \u003cbr\u003e\n          Walter’s way with this mighty work has been revered since it first \n          appeared; regarding its musical content, I have nothing much to contribute \n          beyond reiterating the many virtues already commented upon by previous \n          reviewers. This is a recording which belongs in every serious Mahlerian’s \n          collection; the question is whether a newcomer or an established collector \n          should contemplate forking out for this XR re-mastering by Andrew Rose. \n          \u003cbr\u003e\n            \u003cbr\u003e\n          I have long been a fan of Pristine’s engineering and just recently \n          extolled the extraordinary clarity and depth which Mr Rose has breathed \n          into the Furtwängler La Scala \u003ci\u003eRing\u003c\/i\u003e. I am invariably impressed \n          by what he can do for venerable recordings and I can certainly hear \n          how he has reduced hiss, enhanced lower frequencies and revealed the \n          brass and chorus in greater glory. However, after repeated close comparison \n          with the CBS issue - originally very well recorded by Philips - I cannot \n          in all conscience claim that anyone who already owns it need rush to \n          replace it with this Pristine single disc, especially as the CBS double \n          CD set, offering the First Symphony too, is available at bargain prices. \n          Indeed, occasionally I even felt that that the CBS engineering retained \n          more bite and body than the Pristine version. \u003cbr\u003e\n            \u003cbr\u003e\n          Walter’s vision for this work is one of quiet mastery and concentration; \n          there is nothing showy or interventionist about his conducting but under \n          his direction the music seems always to be doing just what it should. \n          He never lingers or indulges and those looking for the equally masterly \n          but very different, slower approaches of Tennstedt or Levine or Klemperer’s \n          more granitic assault, will be surprised. Walter’s version fits \n          neatly onto one disc but he never seems to be rushing. He storms heaven \n          with an orchestra - here correctly credited as the New York Philharmonic, \n          which was originally billed as the “Columbia Symphony Orchestra” \n          for the usual contractual reasons - which plays out of its skin. \u003cbr\u003e\n            \u003cbr\u003e\n          The key to the first movement lies in the instruction “maestoso”; \n          Walter maintains a steady, majestic and inexorable stride in this funeral \n          march, but also permits the pastoral interludes to unfold gently, uniting \n          the two moods with a firm sense of purpose. His control is absolute; \n          he knows how to meld the contrasting and conflicting moods into a coherent \n          narrative. When the menacing opening theme returns on the insistent \n          brass, the discords build and build to a thrilling climax at 14:54 before \n          the tantalising offer of consolation subsides into a wholly ambiguous \n          conclusion, reflecting Mahler’s ambivalence about his search for \n          God; Walter displays a wholly convincing understanding of the spiritual \n          dimension of this symphony. \u003cbr\u003e\n            \u003cbr\u003e\n          The Andante unfolds with lilt and charm; Walter’s subtle rubato \n          and the singing cello tone effortlessly convey the recollection of happy \n          memories in a past life. This restrained style perhaps carries over \n          too much into the “St Anthony preaching to the fishes” movement, \n          eliciting a criticism from some quarters which has some validity, that \n          he is a tad too blithe and relaxed to capture fully the grim and bitter \n          irony of the saint’s efforts; the music here should sound like \n          a metaphor for the circularity and pointlessness of life’s frustrations, \n          but yet again Walter secures a powerful close to the movement. \u003cbr\u003e\n            \u003cbr\u003e\n          “Urlicht” is tender and prayerful, as it should be. Maureen \n          Forrester’s smoky, rich-toned contralto, with its appealing, flickering \n          vibrato, is amongst the very best in this music; only Janet Baker in \n          her many versions and perhaps Jessye Norman for Maazel surpass her. \n          The monstrous finale is simply glorious: Emilia Cundari - a singer with \n          whom, I confess, I am entirely unfamiliar - is silvery and soaring, \n          while Forrester intones her text like the Cumaean Sibyl. The Westminster \n          College Choir is wonderfully expressive, first mysterious, then impassioned \n          and ecstatic. The otherworldly off-stage effects in the “Grosse \n          Appel” are highly effective and in the last ten minutes are amongst \n          the most serene and ethereal of any recording. Consistent with his strategy \n          in directing the whole symphony, Walter makes a slow-burn progress towards \n          an overwhelmingly powerful climax. \u003cbr\u003e\n            \u003cbr\u003e\n          Whether you buy it on Pristine or CBS, this is an essential interpretation. \n          \u003cbr\u003e\n            \u003cbr\u003e\n          \u003cb\u003e\u003ci\u003eRalph Moore \u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC385.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eBruno Walter, \"whose reading may be accepted as authentic\", conducts Mahler's 2nd\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e \u003cspan style=\"font-size: 18px;\"\u003eFabulously improved sound quality for \"this admirable issue\" in this 32-bit XR remastering\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003eAs with other issues in this series of Bruno Walter's Mahler recordings, Pristine's 32-bit XR remastering system has succeeded in delving deep into the original recording to reveal new depths and new heights. Where previously the brass sounded perhaps a little veiled, now they can be heard in all their blazing glory. Meanwhile the choir opens out wonderfully, making previous issues sound perhaps a little strangled by comparison. Finally the full rumbling majesty of the lowest organ stops can be felt as well as heard to marvellous effect. The Gramophone's reviewer talks about an \"apocalyptic\" performance - now we can hear it in sound to match that artistic vision.\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\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\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMAHLER\u003c\/strong\u003e Symphony No. 2, \u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003eOp. 47 \"Resurrection\"\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eEmilia Cundari \u003c\/strong\u003esoprano\u003cstrong\u003e\u003cbr\u003e Maureen Forrester \u003c\/strong\u003econtralto\u003cstrong\u003e\u003cbr\u003e Westminster Choir\u003cbr\u003e John Finlay Williamson \u003c\/strong\u003echorus master\u003cstrong\u003e\u003cbr\u003e \u003cbr\u003e New York Philharmonic Orchestra\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e \u003cbr\u003e \u003cspan class=\"body\"\u003eBruno Walter \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003econductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003cbr\u003e \u003cbr\u003e 1st mvt. recorded 17 February 1958\u003cbr\u003e 2nd \u0026amp; 3rd mvts. recorded 21 February 1958\u003cbr\u003e 4th \u0026amp; 5th mvts. recorded 18 February 1957\u003cbr\u003e Carnegie Hall, New York\u003cbr\u003e First issued as Columbia M2L 256\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e XR remastering by Andrew Rose at Pristine Audio, April 2013\u003cbr\u003e Cover artwork based on a photograph of Bruno Walter\u003cbr\u003e \u003cbr\u003e Total duration: 79:40\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\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 Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC385.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC385.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eREVIEW 1959 UK LP issue\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eIn good time for next year’s Mahler centenary comes a recording which is certain to make a strong appeal to all real Mahler enthusiasts, all the more since it is conducted by the composer’s distinguished disciple, Bruno Walter, whose reading may be accepted as authentic and who clearly loves this music. The Second Symphony, provided by Mahler with a weighty “programme” about life and death, the Last Trump and the resurrection of the dead, and the assurance of a life hereafter (“Sterben werd* ich, um zu leben”), is nevertheless a work which takes a good deal of stomaching. Faced with concepts of such magnitude, Mahler becomes merely grandiloquent: the enormous apparatus he demands—a huge orchestra, with large reserves of extra brass and percussion, organ, chorus and soloists—ends jby becoming unwieldy; the suspicion increases, as the symphony’s vast length unfolds, that it would have been the better for more matter and less art; and it cannot be denied that at the very point where nobility of thought is needed, Mahler (like Strauss in a similar context) falls dangerously near bathos. For all that, beneath all the pomp there lie some characteristically striking and beautiful ideas, and when Mahler, for contrast, reverts to the vein of childhood innocence and naivete—as in the Landler movement - (based on one of the Knaben Wunder horn songs)—he is at his most charming. Indeed, there may be more of heaven here, as seen through the eyes of a child, than in all the alarums and excursions later.\u003cbr\u003e\u003cbr\u003eThe Klemperer recording which has been the only one available until now was not particularly satisfactory, owing to the general sense of constriction, the restricted dynamic range and the string quality, which tended to sound starved just when it should have been most opulent. The present issue, except for a short patch in the finale where the engineers, not altogether surprisingly, seem to have feared for the safety of their equipment and have brought their fader down a notch or so, is remarkably well recorded, with particularly good balance and excellent quality. Adequately to contain Mahler’s vision of the heavens opening, with trumpets disposed to right and left, near and far, stereo at least is called for (and, in fact, the stereo version exists in America); but even in mono this does not overload. It is Walter’s interpretation, however, which is the real joy of this issue: not only is he more apocalyptic than Klemperer, but in the lyrical passages he brings far more grace to the music. The second subject of the opening movement, for example, has more Viennese charro, without, as in the previous recording, turning into mere goo at the recapitulation; the Landler flows more easily (what lovely singing tone from the ’cellos, incidentally!); and the Scherzo, which before seemed unduly protracted, is taken at a better speed and is more pointed rhythmically. Though one should not forget the wonderfully steady singing of Hilde Rössl-Majdan in the earlier set, the soloists and chorus here are very good, and complete the attraction of this admirable issue.\u003cbr\u003e\u003cbr\u003eL.S., The Gramophone, June 1959\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":"Stereo 24-bit FLAC","offer_id":34255886349,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34255886413,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34255886541,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC385.jpg?v=1489743208"},{"product_id":"pasc385-cd","title":"WALTER conducts Mahler's Second Symphony (1957-8) - PASC385 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478178765,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478178829,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC385_b2d2c1d6-8f14-4c45-8598-25ac96e8af1c.jpg?v=1658309344"},{"product_id":"pasc389","title":"WALTER Mahler Symphony No. 9 - World premiere recording (1938) - PASC389","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 9\u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1938\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003e Total duration: 71:00\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eVienna Philharmonic Orchestra \u003cbr\u003e Bruno Walter \u003c\/b\u003econductor\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis famous performance demands to be heard578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eI detest the current almost universal use - one might say abuse - of the\n word ‘iconic’. However, I might stretch a point in the case of this \nfamous recording of Mahler’s Ninth. It was taken down live, in an act of\n extraordinary vision, by Fred Gaisberg and his HMV team in January \n1938. That was just a matter of weeks before the Anschluss which made \ncontinued life in Austria an impossibility for Bruno Walter and a good \nnumber of the players who had taken part in this performance. \u003cbr\u003e\n  \u003cbr\u003e\nIt was only a few months ago that I welcomed a fine Pristine \nre-mastering of Bruno Walter’s 1961 stereo recording of Mahler’s Ninth \nand now we have a new transfer from them of the celebrated 1938 \nrecording, which was the first-ever recording of the symphony. \nIncidentally, if Pristine gave the correct date for the 1961 recording -\n and in my \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2013\/Mar13\/Mahler_Walter_PASC376.htm\"\u003ereview\u003c\/a\u003e\n I suggested they may not have been quite correct - then the sessions \ntook place forty-three years to the day after the 1938 Vienna \nperformance. While on the subject of dates, I’m intrigued to see that \nPristine indicate that the 1938 recording took place over \u003ci\u003etwo\u003c\/i\u003e \ndays. I’ve always believed that HMV recorded a single performance - on \n16 January - and that seems to be confirmed by a 1944 article by Fred \nGaisberg in which he specifically states that the performance was \nrecorded that day though he does also say that there were “five \nrehearsals during which our engineers could make their tests and \nexperiments in ‘mike’ positions.” That article is reprinted in the \nbooklet for the transfer of the performance that I’ve owned for many \nyears. It’s a transfer by Michael J Dutton (Dutton Essential Archive \nCDEA 5005). \u003cbr\u003e\n  \u003cbr\u003e\nSo much has been written about this extraordinary reading that it seems \nalmost superfluous to say more. It’s often a scalding interpretation and\n the urgency of the music-making is as remarkable as it is palpable. In \nmy review of the 1961 disc I drew attention to the fact that the 1938 \nreading is some twelve minutes shorter. In the absence of any other \nrecordings of Walter around this time it’s impossible to know how \nrepresentative of his thoughts on the symphony at the time this 1938 \nevent was. One would normally assume that a performance presents the \nartist’s considered view at the time it was given but it’s possible that\n the feverish political atmosphere in Austria in early 1938 - and the \ntrepidation this must have caused people like Walter - may have added an\n extra febrile quality to his music-making at the time. Having said \nthat, a photograph of him, which was taken in the green room immediately\n before the 1938 concert, shows him looking serious but calm. \u003cbr\u003e\n  \u003cbr\u003e\nThe performance was discussed in some detail by Tony Duggan in his \u003ca href=\"http:\/\/www.musicweb-international.com\/Mahler\/mahler9.htm\"\u003esurvey\u003c\/a\u003e\n of some of the recordings of the Ninth and I largely concur with his \njudgements. I share his relative disappointment over the quite swift \npacing of the finale but Tony seems happier with the very sturdy pace \nfor the second movement \u003ci\u003eLändler\u003c\/i\u003e than I am: it seems almost stolid\n to me. I could also wish that Walter had been more expansive in the \ntrumpet-led nostalgic episode in the third movement (from 5:38). Tony \nwas absolutely right to comment on the strain under which the orchestra \nis audibly working and one of the ironies is that the clearer a modern \ntransfer is the more those frailties show up. One wonders whether the \nfrequent fallibilities in the playing owe more to the unfamiliarity with\n this complex score or to those volatile times. It’s salutary to \nremember that this was then a very new piece: Walter had led the \npremiere only in 1912 and one wonders how many members of the VPO had \nplayed it before. \u003cbr\u003e\n  \u003cbr\u003e\nA comparison of this new Pristine transfer and the one by Michael Dutton\n has been very interesting. The first bit of comparative listening I did\n - the opening of the first movement - was to the Dutton disc. Leaving \nthe controls unaltered I then played the same passage on Pristine. The \nPristine transfer is at a higher level and, to be honest, a comfortable \nlevel for listening to Dutton was a little uncomfortable for Pristine. \nOverall, my impression is that the Pristine sound is a little more \ndefined but it’s also rather fierce at times. I think perhaps Andrew \nRose of Pristine may have retrieved a bit more detail from his source \nmaterial - but there’s a good deal of detail on the Dutton transfer too.\n Thus, for example, we can hear it quite clearly when a member of the \norchestra drops something during the first movement (7:24); it’s just \nthat bit more obvious on the Pristine version, as is audience noise \ngenerally. Perhaps there’s a little more space round the orchestral \nsound in the Pristine transfer but it’s marginal and you get a good \nsense of the hall’s ambience in both transfers. \u003cbr\u003e\n  \u003cbr\u003e\nThe Dutton transfer makes for more comfortable listening when the \norchestra is playing loudly. Thus, for example, the first big climax in \nthe first movement (around 3:00) sounds a bit strident with Pristine and\n later on in the same movement (around 19:50) the brass do blare rather \nmore than they do with Dutton. On the other hand, lightly scored \npassages, such as the end of that movement, come off well with Pristine.\n I’ve referred earlier to Walter’s sturdy way with the \u003ci\u003eLändler\u003c\/i\u003e \nmusic in the second movement. Near the start of the movement he gets the\n strings really to dig in and the sense of that is almost tangible with \nPristine. \u003cbr\u003e\n  \u003cbr\u003e\nCome the great concluding Adagio and I think it’s the Dutton transfer \nthat does more justice to the tone of the VPO strings. Whichever version\n you hear allowances have to be made for the age of the recording but \nthere’s more edge to the sound of the strings with Pristine. Both \nversions report a good, solid string bass sound. The big climax, \nstarting around 12:00, is another example of unpleasantly blaring brass \nin the Pristine transfer. This is another instance where the Dutton \ntransfer tames the brass a bit more - to beneficial effect. In either \nversion it’s fascinating to listen from about 15:00 and to hear the \nsuccession of downward \u003ci\u003eportamenti\u003c\/i\u003e in the strings (around 15:20). \nThere’s aching nostalgia in the playing and a sense of a world that was \nvery soon to vanish for ever. As I listened to the last two or three \nminutes of the movement in each transfer I forgot about making \ncomparisons. \u003cbr\u003e\n  \u003cbr\u003e\nAfter I’d done my listening and as I sat down to type up this review I \ndecided to see what Tony Duggan had had to say about Walter’s 1938 \nrecording. I was interested to see that he’d compared an old EMI \nRéférences transfer, which I used to own years ago, with the Dutton. \nWhile praising the latter for, among other things, a gain in detail, he \nfelt that the EMI transfer offered a more comfortable listening \nexperience. As it happens that sums up my feelings after this present \ncomparison. The Pristine transfer is very clear and present but perhaps \nit shines too bright and unforgiving a spotlight. Some may feel that the\n Dutton tames the sound too much but I feel that it offers a more \ncomfortable experience for domestic listening - though, arguably, \nlistening to Mahler’s Ninth should never be ‘comfortable’. \u003cbr\u003e\n  \u003cbr\u003e\nIf you already have the Dutton I see no reason to part with that and \nacquire the new Pristine version. However, whichever transfer you opt \nfor this famous performance demands to be heard. It’s amazing that this \nremarkable, truly historic reading speaks to us, and does so vividly. \nseventy-five years after it was given. For that we must give thanks for \nthe vision and technical skills of Fred Gaisberg and his team and also \nfor the skill and dedication of transfer engineers such as Michael \nDutton and Andrew Rose. \u003cbr\u003e\n  \u003cbr\u003e\n\u003cb\u003e\u003ci\u003eJohn Quinn\u003c\/i\u003e\u003c\/b\u003e  \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC389.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eBruno Walter's world première recording of Mahler's 9th Symphony\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e \u003cspan style=\"font-size: 18px;\"\u003e\"I would urge everyone who cares about Mahler to listen to it\" - Gramophone\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eBruno Walter's historic first recording of Mahler's 9th \nSymphony, which he takes some eleven minutes faster than his 1961 \nColumbia recording (PASC376) has long been regarded as one of the great \nartefacts of the history of music recordings. It was remarkably \nwell-made for its day, and here, after extensive XR remastering work, is\n revealed to have held within the grooves a quality of sound that is \nquite incredible for any 1930s recording. Despite some occasional upper \nend distortion, this is a full frequency recording, and it sounds \nmagnificent as a result.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\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\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMAHLER\u003c\/strong\u003e Symphony No. 9 in D major\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e \u003cbr\u003e Vienna Philharmonic Orchestra\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e \u003cbr\u003e \u003cspan class=\"body\"\u003eBruno Walter \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003econductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003cbr\u003e \u003cbr\u003e Recording Producer: Fred Gaisberg\u003cbr\u003e Recorded 15-16 January 1938, Musikvereinssaal, Vienna\u003cbr\u003e First issued as HMV 78s DB.8569\/78\u003cbr\u003e Matrix Nos. 2VH.7027-46\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e Total duration: 71:00 \u003cbr\u003e Cover artwork based on a photograph of Bruno Walter\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, January-June 2013\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\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 Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC389.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC389.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eREVIEW 1989 CD reissue\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eBruno Walter conducted the first performance of Mahler’s Ninth Symphony in 1912 (it is dedicated to him) as well as this, its first commercial recording. It bestrode no fewer than ten 78 rpm discs and consumed many fibre needles! (I recall paying five shillings or 25p a record for this secondhand—and playing the set almost every evening for weeks on end, doubtless to the despair of those within earshot.) Although later performances (including Walter’s subsequent CBS recording in the early 1960s) have offered more polished orchestral playing and more vivid recording, none brings one closer to its world of feeling or takes one more deeply into its spirit. Its fires are white-hot and there is a blazing intensity that in my experience has never been surpassed on the gramophone. There is a demonic passion to the Rondo Burlesque (the orchestra play as if their corporate life is at stake) and the final Adagio has a poignancy that once heard is not easily forgotten. Even younger readers unencumbered by nostalgia will, i think, recognize the authenticity of feeling here, and I would urge everyone who cares about Mahler to listen to it.\u003cbr\u003e\u003cbr\u003eOf course, there can be no such thing as a 'definitive' performance but this is as near as one can get. This and a modern recording such as the Karajan (DG) or the Bernstein (CBS) are all one needs. Some years ago the Walter was excellently transferred to LP by Anthony Griffith (World Records-nla) with the Adagietto from the Fifth Symphony and the Siegfried Idyll as a fill-up. Let us hope that room can be found for the former as a fill-up, say, to Walter’s 1936 set of Das Lied with Kerstin Thorbord and Charles Kullmann, which must surely follow before too long. The digital remastering by Keith Hardwick enables one to hear more detail than before. As AB’s note says, “more then 50 years later it [the Mahler Ninth] still carries a unique charge in terms of dedication and intensity of utterance”.\u003cbr\u003e\u003cbr\u003eR.L., Gramophone, August 1989\u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\u003cb\u003eREVIEW 1939 78rpm release\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eThis, I understand, is a limited issue, which will be prized by those who love the composer’s music, not only for its own sake, but because of the associations of Walter and Vienna. The admirable recording was made at a concert a year ago. The conductor has written of Mahler with persuasive affection, and here is his testament of interpretation about a work that cannot be heard without deep sympathy for a composer who did not live to hear it. If he had, it seems likely that he might have compressed parts of it. It cannot be denied that extreme length is apt to deter well-wishers ; but it may be more rewarding, in the end, than acerbic brevities in which the heart pulsates too feebly, and the rhythm too brashly: a pulsation oddly paralleled, one notes, in the cock-a-whoops of the petty, who cannot uphold their idols without spitting upon those who do not share their adolescent enthusiasms: the surest sign, this, of the true shamateur, There is room for every kind of real devotion, whose deepest proof is often the quietness of the devotee, but I have no use for the mere fandom of the half-baked, One may well wish enthusiasms to be shared (though, as a medical writer on the late “slashings” pointed out, the followers of evil, just as much as the devotees of righteousness, are urgent to make converts) ; but I think the great bulk of intelligent music-Iovers now realise (even if other would-be dictators do not) the silly futility of attempted conversion by the bludgeon.\u003cbr\u003e\u003cbr\u003eWe listen, then, with all possible sympathy to these distinguished records of music that came at the end of a life too soon cut off (Mahler was little over fifty when he died in 1911). His belief in devotion to spiritual intimations was well expressed in his saying “One docs not compose: one is composed.” E. N. has aptly said “Mahler’s is the last noble mind in German music,” He sings, in the Song of the Earth, his twilight song. In the ninth symphony, which came after, the feeling is perhaps more equally divided between personal resignation and our sense of the end of German romanticism. Strauss, in some measure, had similarly sung, but in Mahler is a spirit of finer texture : one might say of it at its best, of divination. Heard against the background of historical knowledge, and with some appreciation of the forces that we now clearly see were piling up in those so deceptive years of the first decade of the century ; heard, too, with some understanding of the Austrian scene, of Mahler’s desire to escape from his long toil in the opera-housc, such music has much to say to the inseeing and inhearing. The quieter moods of the first movement are so quickly broken by dramatic urgencies ; here is obviously a powerful drive of interplaying forces ; superficially the most immediate reference is to the Strauss tone-poem style, but no “programme” is given us. We shall probably regard the music as a mentally concentratcd (if physically extended) working-out of problems not new, but now seen more clearly and more sharply suggested to the listener.\u003cbr\u003e\u003cbr\u003eThe second movement (beginning at side 8) turns again to the simplicities of old German and Austrian life, by making use of the style of the country dance, the Ländler ; but tills is no happy motion of minds at rest and bodies glad to keep them so. Not only the very striking orchestration (that throughout makes the music so vivid, even if sometimes almost affrighting), but the abrupt, perhaps harsh-feeling ejaculations bring a sense of doubt, which some might interpret as bearing a heart of sadness, expressed in a brusque heaviness. Though one does not at all attempt a comparison of values, it comes to my mind that here is some tincture of thinking-into-the-future, as well as of the past, not unlike (yet on a different plane to) that which late-Beethoven injects into an otherwise pcaccful world—and, so doing, makes it uneasy, dangerous, foreboding. We should not read too much, where so little was given out ; but the music does seem full of strange finger-posts, an impression not lessened by repetition.\u003cbr\u003e\u003cbr\u003eThe third movement (side 13), called “Burleskc,” adopts a more open wildness and stronger contrasts, and develops the contrapuntal art that Mahler so greatly esteemed (Bach and Beethoven were his prime delights). The word “ bitter ” is much in one’s mind ; but it is not easy to define the nature of the music, as its so varying lights sweep the sky of the mind of composer and listener. One searchlight may pick out an object for A, whilst another light momentarily blinds B. A cloud, even, may seem like a bomber.\u003cbr\u003e\u003cbr\u003eFinale (side 16). It is in moments such as the beginning of this movement that the faith of some who may have wavered about Mahler should be deepened. That does not at all mean that I think one ought to cherish equally everything written by a man who can write greatly ; I am all for making distinctions ; and the strongest of them all is, I think, not made for us, but by us: to adapt Mahler’s phrase that I quoted, about composition, we do not, in the end, distinguish, we are distinguished (however undistinguished, in one sense) : nature, temperament, upbringing, determine our bent: and so, perhaps, the less we deave others about that the better. But however we choose to regard late Mahler—whether as chiefly a testimony of unrest, uncertainty, self-doubt, as a more important future-forecasting than some of our friends consider it, or even as a too poignantly coloured decadence of romance, I cannot think that so remarkable a revelation of the man's spirit at the end of his life can fail to impress any musical mind and move any open heart.\u003cbr\u003e\u003cbr\u003eW.R.A., The Gramophone, January 1939\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab4_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":34261191693,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34261191757,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34261191821,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34261191885,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC389_48a2fa69-807c-4e0e-baf0-f9a0d3bc02c1.jpg?v=1489747295"},{"product_id":"pasc389-cd","title":"WALTER Mahler Symphony No. 9 - World premiere recording (1938) - PASC389 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478181581,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478181645,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC389_e5dc7f98-ffce-4eaa-9f19-3c4d352a997b.jpg?v=1658309417"},{"product_id":"pasc397","title":"BRONISLAW HUBERMAN the Complete Bach and Mozart Concerto Recordings (1934\/45) - PASC397","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBACH  \u003c\/b\u003eViolin Concerto No. 1\u003cbr\u003e\u003cb\u003eBACH  \u003c\/b\u003eViolin Concerto No. 2\u003cbr\u003e\u003cb\u003eMOZART  \u003c\/b\u003eViolin Concerto No. 3\u003cbr\u003e\u003cb\u003eMOZART  \u003c\/b\u003eViolin Concerto No. 4\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eStudio \u0026amp; Live Recordings · 1934 and 1945\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 76:12\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eBronislaw Huberman \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eVienna Philharmonic Orchestra - Issay Dobrowen\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York - Bruno Walter\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fHuberman deserves be reckoned among great violinists, not only among great humanitarians. Urgently recommended. 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMark Obert-Thorn, who produced Pristine’s release \nof Bronislaw Huberman’s studio recordings of violin concertos by Bach \nand Mozart (No. 3) as well as a live performance of Mozart’s Concerto \nNo. 4, notes that the original studio recordings weren’t particularly \nwell made, even for their vintage (the recording sessions took place in \nJune 1934). Henry Roth doesn’t include these performances among \nHuberman’s best, considering his version of Mozart’s Third Concerto \nponderous and Bach’s E-Major Concerto (No. 2) only “marginally better.” \nBut, to begin at the beginning, Huberman and the Vienna Philharmonic \nOrchestra bring springiness rather than solemnity to the first movement \nof Bach’s A-Minor First Concerto, with the ensemble introducing many \nslight crescendos and decrescendos into the tuttis and the violinist \nmaking passagework dance off the string. If Huberman has acquired the \nreputation for being old-fashioned, this performance doesn’t entirely \nbear out that impression. In the slow movement, however, he connects \nnotes with portamentos that most modern violinists couldn’t bring \nthemselves to duplicate, yet he keeps Bach’s rhetoric soaring. Neither \nthe soloist nor the orchestra seem inclined to drive the Finale forward,\n but Huberman nevertheless discharges a strong current of electricity in\n it, once again combining lightweight articulation with portamentos in \nan anomalous mixture of old and new.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHuberman sounds highly individual in the first \nmovement of Bach’s E-Major Second Concerto, tonally and conceptually, \nsetting a more recognizable seal on every passage than did violinists \nsuch as Jascha Heifetz, Mischa Elman, and Nathan Milstein—or even, \nlater, David Oistrakh. Issay Dobrowen imparts a pronounced character to,\n and traces the dialogue buried in, the tutti sections. The effect here \nwill perhaps seem as disfiguring to some as it will transcendent to \nothers. No one able to accept the anachronisms (such as the piano \ncontinuo’s prominence when the textures thin) even grudgingly should be \nable to deny the violinist’s (or the conductor’s) penetration, however \nmusical manners may have changed in the last 75 years. Listeners may \nalso react differently to the portamentos that Huberman introduces so \nlavishly into the slow movement (Roth dismissed them out of hand). And \nif Huberman never sounds like what Roth described as a “tonalist” (like \nHeifetz and Elman)—and even if his timbral palette takes some getting \nused to—the most hostile listeners should be able to hear through it to \nthe music’s core, which Huberman penetrates. The engineers have allowed \nhim to disappear behind an orchestral veil toward the end of the \nmovement. In the Finale, though his passagework sounds abrasive at \ntimes, it’s always light and vibrant.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eRoth thought Huberman’s recording of Mozart’s \nThird Concerto to be ponderous, but that can’t be because of \nheavy-handed bowing or sluggish tempos (in fact, his energy in the first\n movement recalls Isaac Stern’s); only the cadenza sounds at all \nperfunctory. If the slow movement doesn’t seem to waft down from \nviolinistic heaven (the accompanying triplets not so downy as angels’ \nfeathers), it still provides a moment of sweet respite (despite its high\n level of activity) from the surrounding \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n and Rondo. In the Rondo, he races at a tempo that might have earned a \nspeeding ticket in another time (remember Eugène Ysaÿe’s dash through \nthe Finale of Mendelssohn’s Violin Concerto), reminding listeners along \nthe way of Mozart’s wit as well as of his elegance.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe recorded sound from the live performance of \nthe composer’s Fourth Concerto 11 years later places Huberman far to the\n front of the orchestra—this time the New York Philharmonic-Symphony \nOrchestra conducted by Bruno Walter—allowing listeners to hear all the \nbetter the sparkle of his off-the-string bowings. The Concerto’s slow \nmovement provides contrast after such a vivid performance of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n with Huberman taking advantage of his instrument’s lower registers in \nits cantabile subsidiary theme; his walk up and down the scale at the \nmovement’s end sounds highly individual. Huberman and Walter endow the \nFinale with flinty wit. (Ruggiero Ricci once answered a question about \nthe hardest violin concerto of all by citing the Finale of this work, \nwith its tricky bowings—perhaps a surprising answer from one who has \ntackled finger-twisters that others avoid—or at least, did avoid until \nhe attempted them). Though some of the passages in this performance \nsound rough-hewn (exhibiting occasional ax-like articulation), they all \nbubble.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eFor the second and third \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBook of Lists\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n Isaac Stern and Yehudi Menuhin, respectively, compiled rankings of the \n10 best violinists, with Stern including Huberman and Menuhin not. It’s \nclear from the older violinist’s performances of this non-Romantic \nliterature alone, not perhaps his specialty, that Huberman deserves be \nreckoned among great violinists, not only among great humanitarians. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePace \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eRoth, urgently recommended. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eRobert Maxham  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 37:5 (May\/June 2014) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC397.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eBronislaw Huberman's complete Bach and Mozart Concerto Recordings\u003c\/span\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan class=\"bodymid\"\u003e\u003cem\u003e \u003cspan style=\"font-size: 18px;\"\u003eSpecial 25th anniversary* transfers by Mark Obert-Thorn\u003c\/span\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003eThis release brings together for the first time in a single place all of Huberman’s Bach and Mozart concerto recordings. The sources for the transfers of the commercially-issued discs were American Columbia pressings: a “Royal Blue” shellac set for the Bach A minor concerto; a large label, post-“Viva-Tonal” black shellac album for the Bach E major (except for the first side, which came from a late-1930s “microphone” label copy); and a small label “Master Works” set for the Mozart.\u003cbr\u003e\u003cbr\u003eThe original recordings were not state-of-the-art for their time. The hall is over-reverberant, obscuring detail; and the sound is inherently fuzzy and occasionally distorted. (The opening of the Bach E major is gritty on every copy I’ve heard, both European and American.) However, the U.S. Columbia pressings are probably the quietest available for these discs.\u003cbr\u003e\u003cbr\u003eFor the present remastering of an existing transfer of the Mozart D major broadcast, almost all clicks and pops have been eliminated, pitch variances have been corrected, and as much warmth as possible brought to the originally strident recorded sound. While still far from perfect, I believe it to be a significant improvement over how this performance has been heard until now.\n\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003e\u003cbr\u003eMark Obert-Thorn\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cem\u003e* \"\u003c\/em\u003eTwenty-five years ago this month, I was hard at work on my first releases as a professional transfer engineer ... This month we come full-circle, and I begin my silver anniversary as a reissue producer with a new transfer of the first CD of the three I did for Pearl in October, 1988 to be issued: Bronislaw Huberman’s recordings of Bach and Mozart Violin Concertos, now expanded to include his broadcast performance of Mozart’s Violin Concerto No. 4 with Bruno Walter conducting.\"\u003c\/p\u003e\n\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cem\u003e\u003cbr\u003eExcerpt from Pristine Newsletter article, 25 October 2013, by \u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\u003c\/em\u003e\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 class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cb\u003eBACH  Violin Concerto No. 1 in A minor, BWV 1041\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 13 June 1934, Mittlerer Konzerthaussaal, Vienna\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.:  WHAX 20-2, 21-1, 22-2 and 23-1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eFirst issued on Columbia LX 329 and 330\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eBACH  Violin Concerto No. 2 in E major, BWV 1042\u003cbr\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 13 June 1934, Mittlerer Konzerthaussaal, Vienna\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.:  WHAX 15-5, 16-2, 17-2, 18-2 and 19-4\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eFirst issued on Columbia LX 408 through 410\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eMOZART  Violin Concerto No. 3 in G major, K.216\u003cbr\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 13 - 14 June 1934, Mittlerer Konzerthaussaal, Vienna\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.:  WHAX 24-5, 25-5, 26-3, 27-2, 28-3 and 29-3\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eFirst issued on Columbia LX 494 through 496\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cb\u003eMOZART  Violin Concerto No. 4 in F major, K.218\u003c\/b\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003eFrom the CBS broadcast of 16 December 1945\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eCarnegie Hall, New York\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e \u003c\/p\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cstrong\u003eVienna Philharmonic Orchestra \u003c\/strong\u003e- Issay Dobrowen (Bach, Mozart Concerto No. 3)\u003cstrong\u003e\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York \u003c\/strong\u003e- Bruno Walter (Mozart Concerto No. 4)\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cstrong\u003eBronislaw Huberman \u003c\/strong\u003e- violin\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eProducer and audio restoration engineer: \u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\u003cbr\u003eFurther XR processing for Tracks 10 – 12: \u003cstrong\u003eAndrew Rose\u003c\/strong\u003e\u003cbr\u003eSpecial thanks to Nathan Brown, Frederick J. Maroth and Charles Niss for providing source material \u003cbr\u003e Cover artwork based on a photograph of \u003cstrong\u003eBronislaw Huberman\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eTotal duration: 76:12\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\/PASC397.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC397.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eThere is room for much useful discussion about the definition of \n“classical,” especially as over against “romantic”; but if an example of\n classical style in the first half of the eighteenth century is wanted, \nthe E major is a splendid one, and it affords excellent opportunity for \nthe exhibition of classical style in fiddling: a fine, nervous \nsensibility is wanted, with a strong, upstanding, no-finicking clarity. \nThere are easy distinctions to be noticed between the styles of admired \nplayers. Huberman, we expect, will not play this work quite like Busch, \nany more than Szigeti and Menges will give us the same Brahms in the \nConcerto; but whereas in the modem work there is a world of difference \nin the degree of romanticism possible in the outlook of various players,\n in the older work the difference chiefly lies in varieties of bowing \nand phrasing. Hence we are more likely to agree about the good qualities\n of any able performance than we are about the interpretation of the \nBrahms. And an able performance, of course, we are sure to get from \nHuberman—one that nobody need hesitate to recommend.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"text-align: left;\" align=\"center\"\u003e\u003cspan class=\"bodymid\"\u003e\u003cstrong\u003eW.R.A. - The Gramophone, November 1935\u003c\/strong\u003e\u003cem\u003e\u003cem\u003e\u003cbr\u003eExcerpt from review of Bach Violin Concerto No. 2 in E\u003c\/em\u003e\u003c\/em\u003e\u003c\/span\u003e\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":"Mono 16-bit FLAC","offer_id":36525945165,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":36525945293,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC397.jpg?v=1493123717"},{"product_id":"pasc397-cd","title":"BRONISLAW HUBERMAN the Complete Bach and Mozart Concerto Recordings (1934\/45) - PASC397 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478183437,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478183501,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC397_6d9a21b3-330d-4c08-87f6-884c7762f39f.jpg?v=1658309616"},{"product_id":"pasc108","title":"WALTER Das Lied von der Erde (1936) - PASC108","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eDas Lied von der Erde\u003c\/span\u003e\u003cbr\u003e  \u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded 1936\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 57:40\u003c\/span\u003e\u003cbr\u003e \u003c\/p\u003e\n\u003cp class=\"footer\" align=\"left\"\u003e\u003cb\u003eKerstin Thorborg, \u003c\/b\u003econtralto\u003cb\u003e\u003cbr\u003eCharles Kullman, \u003c\/b\u003etenor\u003cb\u003e\u003cbr\u003eVienna Philharmonic Orchestra\u003cbr\u003e\u003c\/b\u003econducted by\u003cb\u003e Bruno Walter\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC108.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cspan class=\"bodybig\" style=\"font-size: 24px;\"\u003e\u003cem\u003eThe world-première recording gets the XR treatment\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eOur first 24-bit release\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan class=\"body\"\u003eThe original 78s for this restoration were kindly supplied from the colleciton of Donald Dean, and were in excellent condition. Nothing prepared me, however, for the transformation brought about by the XR equalisation process, which really brings this entire recording to new life. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eThe considerable extra treble response heard here (by comparison to other issues) did reveal a degree of swish present on most sides, which required extensive manual treatment, one at a time. With an average of over 300 swishes per side across 14 sides, this is an awful lot of swish removal!\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\u003eMAHLER \u003c\/b\u003eDas Lied von der Erde\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eKerstin Thorborg, \u003c\/b\u003econtralto\u003cb\u003e\u003cbr\u003eCharles Kullman, \u003c\/b\u003etenor\u003cb\u003e\u003cbr\u003eVienna Philharmonic Orchestra\u003cbr\u003e\u003c\/b\u003econducted by\u003cb\u003e Bruno Walter\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003eRecorded live in Vienna on 24th May, 1936.\u003cbr\u003e\u003cbr\u003eIssued as UK Columbia 78s ROX.165-171\u003cbr\u003eMatrix nos. CHAX.125-138 - all matrices with suffix -2 except side 10: CHAX134-3\u003cbr\u003e\u003cbr\u003eTransfer and XR remastering by Andrew Rose at Pristine Audio, April 2008\u003cbr\u003eCover artwork based on a photograph of Gustav Mahler\u003cbr\u003e\u003cbr\u003eTotal duration: 57:40\u003cbr\u003e\u003cbr\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\/PASC108.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC108.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":8818216566845,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":8818216599613,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":8818216632381,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":8818216665149,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC108_9134cae4-753c-4e7e-8c38-4968e30c8ca5.jpg?v=1530548475"},{"product_id":"pasc109","title":"WALTER Das Lied von der Erde (1952) - PASC109","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eDas Lied von der Erde\u003c\/span\u003e\u003cbr\u003e \u003cspan style=\"font-size: 11px;\"\u003eRecorded in 1952\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 11px;\"\u003eTotal duration: 59:57\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cb\u003eKathleen Ferrier, \u003c\/b\u003econtralto \u003cb\u003e\u003cbr\u003e Julius Patzak, \u003c\/b\u003etenor \u003cb\u003e\u003cbr\u003e Vienna Philharmonic Orchestra\u003cbr\u003e \u003c\/b\u003econducted by\u003cb\u003e Bruno Walter\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe restoration is nothing short of magnificent578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis, of course, is the most famous studio \nrecording ever made of Mahler’s great symphonic song cycle. It’s \ncurrently available on a reissue by the nominal original label, Decca \n466576, as well as on Regis 1146. The latter disc also contains a \nFerrier performance of the Brahms \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAlto Rhapsody\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n with Clemens Krauss and the same orchestra from 1947. Yet this is as \ndemonstrably superior in sound quality to either of those as EMI’s most \nrecent issue of the Klemperer Mahler Fourth (67035) is to any other \nprevious edition.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe reasons will be obvious to anyone familiar \nwith this recording from the very first notes. The sound is fuller, more\n natural, and less edgy on the top end than any past or present CD \nincarnation. About a quarter-century ago, at the dawn of the CD era, I \nowned this on a different Decca issue, but eventually gave up on it \nbecause, although the sound was clear enough to allow you to hear the \nstays on the oboe, it was also slightly uncomfortable to my ears.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eFor me, personally, this is the best of the four \nWalter performances I’ve heard, the others being Thorborg\/Kullmann \n(1936); Ferrier\/Svanholm, with the New York Philharmonic (1948); and \nForrester\/Lewis from 1960. It’s one of his swiftest readings, coming in \nunder an hour, and actually less romantic in feeling than Otto \nKlemperer’s supposedly non-romantic recording from 1965. But it is not \nmy all-time favorite reading of the score, great as it is. That honor \ngoes to the little-known 1939 Dutch broadcast by Thorborg, Carl Martin \nÖhmann, and the Concertgebouw Orchestra conducted by Carl Schuricht (Bel\n Age 15). For me, Schuricht conducts the most intense and texturally \ntransparent reading on records, bar none; the 1939 sound quality is \nabsolutely stupendous for its time; and Öhmann is the finest tenor \nsoloist I’ve \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eever \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eheard\n in this work. (I should also mention that my favorite stereo\/digital \nreading is the out-of-print DG disc with Brigitte Fassbaender, Francisco\n Araiza, and Carlo Maria Giulini conducting the Berlin Philharmonic, a \nrecording savaged by critics for reasons I could never quite fathom. \nDespite slower tempos, Giulini’s pacing and shaping are simply magical, \nand the way Fassbaender’s voice melts into nothingness in “Der Abschied”\n still sends chills down my spine.)  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eBut back to this \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDas Lied. \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eJulius\n Patzak was a very great artist who was simply not born with a great \nvoice. Even in the best of circumstances, its tone was thin and rather \ncolorless, yet to listen to the intelligent way he sings here is to \nunderstand why both Walter and Furtwängler admired him—also why he was \nconsidered a great Florestan in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFidelio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n despite having a very small, un-Florestan-like voice. Ferrier, on the \nother hand, had one of the great voices of all time. Relistening to her,\n I was struck by how much she, like Louise Kirkby-Lunn and Helen Watts, \nsounded like a German contralto. Her low range is so effortless as to \nalmost sound bottomless: she sounds as if the voice extended at least \nthree notes further down than the lowest note she sings. Her \ninterpretation, particularly in “Der Abschied,” has always been a matter\n of personal taste (she does not really sing softly in all the passages \nmarked as such, but in fact sings out forte on certain notes), which for\n me discounts it slightly—but only slightly—in comparison to the other \nrecordings I’ve named. But omigod could she sing. No one, in my memory, \nimparts such geniality and lightness to “Von der schönheit” as Ferrier. \nHere, no one can touch her, not even Thorborg or Fassbaender.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Vienna Philharmonic, like the New York \nPhilharmonic, always had Mahler “in its blood,” so to speak, and they \nplay their hearts out for Walter here. One little thing I noticed which \nI’d forgotten: the solo violin in “Der trunkene in Frühling” plays with \nmuch more portamento than we’re used to nowadays.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIf you admire this recording as much as I do (or \nmore), this is clearly the pressing to own. The restoration is nothing \nshort of magnificent. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eLynn René Bayley  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 32:2 (Nov\/Dec 2008) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC109.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cspan class=\"bodybig\" style=\"font-size: 24px;\"\u003e\u003cem\u003eOne of the great recordings of all time \u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eXR remastering brings a new depth and dimension \u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003eIt may come as something of a surprise to find this recording here at Pristine Classical - it can surely never have left the catalogue in its Decca release, and was most recently remastered by decca from their master tapes as recently as 2000.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eIt was during the preparation of our issue of the same piece in its 1936 world première recording (PASC108) that curiosity got the better of me and I obtained a copy of one of the movements of the 1952 recording from iTunes in its current incarnation. I was surprised by the sound, but not pleasantly so - it had an unnatural harsh forwardness which grated on the ears, a kind of tiring artificiality which I didn't like. As I had all of the requisite recordings on my system I carried out a quick XR re-equalisation of the movement (the 4th, as it happens), and shared the results with my colleague Peter Harrison of \u003cem\u003edisk2disc\u003c\/em\u003e in England, asking him to tell me which he preferred without informing him which was the Decca issue and which was my own tweaked version.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003e It was no surprise to me, but perhaps a surprise to Peter (who has always held Decca's engineers - rightly - in very high regard) to find my XR remastering clearly and considerably improved upon the Decca issue. This testing was done effectively blind, as i did not reveal which file was which until after he'd made his mind up.\n\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eIt was at this point that Peter revealed to me that he had a near-mint vinyl copy of the original issue. Taking that same movement, Peter transferred it from the vinyl disc and sent it to me as a lossless 24-bit FLAC file to receive the same XR treatment I'd given the iTunes download. Once again the results were excellent, clearly outshining the Decca CD and LP.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eAnd so the perhaps surprising decision was made to restore and issue this well-known recording and put it head-to-head against Decca's own much-praised CD issue. I hope you'll agree with those who've heard and commented on it prior to release that it is not only a truly magnificent recording in its own right, but that this remastering brings us closer than ever to the magic spell cast in May 1952 by the Vienna Philharmonic, Bruno Walter, Julius Patzak, and of course the incomparable Kathleen Ferrier, already only too aware of the cancer that would take her life the following year.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003e\u003ci\u003eAndrew Rose\u003c\/i\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\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eDas Lied von der Erde\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eKathleen Ferrier, \u003c\/b\u003econtralto \u003cb\u003e\u003cbr\u003e Julius Patzak, \u003c\/b\u003etenor \u003cb\u003e\u003cbr\u003e Vienna Philharmonic Orchestra\u003cbr\u003e \u003c\/b\u003econducted by\u003cb\u003e Bruno Walter\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eRecorded in Vienna in May, 1952. \u003cbr\u003e Issued as Decca LPs LXT 2721-2 \u003c\/p\u003e\u003cp\u003eTransfer from LP by Peter Harrison at disc2disk\u003cbr\u003e Restoration and XR remastering by Andrew Rose at Pristine Audio, April 2008\u003c\/p\u003e\u003cp\u003eCover artwork based on a photograph of Kathleen Ferrier\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\nTotal duration: 59:57\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\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 Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC109.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC109.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":119353737242,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":119353770010,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":119353802778,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":119353835546,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC109_141bbc0f-829b-4fa5-b4ba-79fc9174a7d1.jpg?v=1502106228"},{"product_id":"pasc109-cd","title":"WALTER Das Lied von der Erde (1952) - PASC109 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":119354753050,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":119354785818,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC109_8830fa7e-9093-4b76-947c-5d20a0cd2376.jpg?v=1658241247"},{"product_id":"pasc108-cd","title":"WALTER Das Lied von der Erde (1936) - PASC108 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":8818234228797,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":8818234261565,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC108.jpg?v=1658241227"},{"product_id":"pasc124","title":"WALTER Brahms Symphony No. 2 (1951) - PASC124","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 2\u003c\/span\u003e\u003cbr\u003e  \u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded 1951\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 40:01\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eNew York Philharmonic Orchestra \u003cbr\u003e \u003c\/b\u003econducted by\u003cb\u003e Bruno Walter\u003c\/b\u003e   \u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC124.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cspan class=\"bodybig\" style=\"font-size: 24px;\"\u003e\u003cem\u003eA real treasure from Bruno Walter's 1951 Brahms cycle period\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eLive performance beautifully captured on this recording\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003eThis recording was rebroadcast by BBC Radio on Christmas Day, 1977 and captured in excellent quality on quarter-inch open reel tape, from which I was able to make a highly effective remastering. Restoration work consisted mainly of removing a number of coughs and extraneous noises present in the original live broadcast.\u003c\/span\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003eXR remastering served to further bring out the rich and full sound of the New York Philharmonic, while the addition of Ambient Stereo processing does an excellent job of filling out the acoustical space that is the Carnegie Hall. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003eNow you've read all of that you can probably forget it! This is one of those wonderful recordings where the music simply takes over and sweeps you away - and there's nothing in the sound quality to come between you and that concert on a February Sunday in 1951.\u003c\/span\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\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 2 in D, Op. 73\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eNew York Philharmonic Orchestra \u003cbr\u003e \u003c\/b\u003econducted by\u003cb\u003e Bruno Walter\u003c\/b\u003e   \u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eLive broadcast concert at Carnegie Hall, Sunday 4th February 1951\u003cbr\u003e This transfer remastered from a BBC re-broadcast on 25th December 1977.\u003cbr\u003e\u003cbr\u003e Transfer and XR remastering by Andrew Rose at Pristine Audio, September 2008\u003cbr\u003e Cover artwork based on a photograph of Bruno Walter\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 40:01\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e \u003c\/span\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 Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC124.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC124.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":34665533645,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34665533709,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34665533773,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34665533837,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC124.jpg?v=1490277677"},{"product_id":"pasc124-cd","title":"WALTER Brahms Symphony No. 2 (1951) - PASC124 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478276813,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478276877,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC124_ee813ebe-ae8e-4124-80ad-fbf34953b0c7.jpg?v=1658241647"},{"product_id":"pasc142","title":"WALTER Rare Polydor Acoustic Recordings (1924\/25) - PASC142","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eCosì fan tutte - Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eIdomeneo - Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBIZET \u003c\/b\u003eCarmen - Intermezzo, Act 3\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBIZET \u003c\/b\u003eCarmen - Prelude, Act 4\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSymphony No. 6 \"Pathétique\"\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cbr\u003e \u003c\/span\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded 1924 and 1925\u003c\/span\u003e\u003cbr\u003e\u003cp\u003e\u003cspan class=\"bodysmallarial\" style=\"font-size: 10px;\"\u003eTotal duration: 59:35 \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eBerlin State Opera Orchestra\u003cbr\u003e \u003c\/b\u003econducted by \u003cb\u003eBruno Walter\u003c\/b\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC142.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eMOZART\u003c\/strong\u003e: Così fan tutte - Overture\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eMOZART\u003c\/strong\u003e: Idomeneo - Overture\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eBIZET\u003c\/strong\u003e: Carmen - Intermezzo, Act 3\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eBIZET\u003c\/strong\u003e: Carmen - Prelude, Act 4\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eTCHAIKOVSKY\u003c\/strong\u003e: Symphony No. 6 in B minor, \"Pathétique\", Op. 74\u003c\/span\u003e \u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003e(N.B. Symphony recording is complete and un-cut)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eTracks 1-4 recorded in 1924 (trk 4 poss. 1923), Tchaikovsky (tracks 5-8) recorded in 1925\u003cbr\u003e \u003cbr\u003eIssued as Polydor 78s, Cat Nos: 66027 (1, 2); 65954 (3, 4); 66332-66336 (5-8, also issued on Polydor 69771-69775)\u003cbr\u003e Matrix numbers: 646 az, 649 az, 1517as, 69 az (tracks 1-4) 1918 as, 1634as, 1919as, 1641 1\/2 as, 1920as, 1921as, 1750as, 1751as, 1642as, 1643 1\/2as (tracks 5-8)\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTransfer and remastering by Ward Marston, January 2009\u003cbr\u003e Cover artwork based on a photograph of Bruno Walter, c.1930\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003eTotal duration: 59:35 \u003c\/span\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_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC142.jpg578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC142.pdf578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":34734863437,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34734863501,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC142_94ea1058-aaaf-4ef5-9bf2-b7768160c771.jpg?v=1490349793"},{"product_id":"pasc142-cd","title":"WALTER Rare Polydor Acoustic Recordings (1924\/25) - PASC142 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478292621,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478292685,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC142_b0a7c598-022f-42c4-a5ed-0cc01fa2b5d5.jpg?v=1658242125"},{"product_id":"pasc158","title":"WALTER Brahms: Double Concerto (1951) - PASC158","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eDoubl\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003ee Concerto\u003c\/span\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded 1951\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 32:26 \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eJohn Corigliano, \u003c\/b\u003eviolin \u003cb\u003e\u003cbr\u003e Leonard Rose, \u003c\/b\u003ecello \u003cb\u003e\u003cbr\u003e New York Philharmonic Orchestra \u003cbr\u003e \u003c\/b\u003econducted by\u003cb\u003e Bruno Walter\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC158.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eBruno Walter conducts one of the great live performances\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eNewly transferred \u0026amp; remastered, the soloists shine through\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003eThis 1951 live recording was amongst a very large collection of quarter-inch tapes donated to Pristine Audio in 2007, the result of a life-time's collection of fine and rare recordings.\n\u003cp class=\"body\" align=\"left\"\u003eOf the many thousands of recordings held in this priceless archive, this one was additionally hand-annotated \"\u003cem\u003eThe Best Performance\u003c\/em\u003e\", and thus caught my eye. Although taken from an excellent BBC rebroadcast, it was clear that the audio quality of the original recording was at times less than optimal, with the often excellent acoustic of Carnegie Hall rather poorly captured during full orchestral sections. However, the soloists were well-recorded, and much cleaning up of background hiss and rumble has been possible, together with a gentle re-equalisation through the XR remastering process which has served to bring a greater focus and clarity to the recording.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eAdditionally, a very short gap was evident in the original broadcast, and a single orchestral chord from a more recent recording has been seamlessly merged in from another recording to prvide continuity, having first been tonally matched to this recording. It is unclear as to whether this very short gap was present in the BBC's tape copy or was a broadcast error on the day - the music faded out for about half a second, partway through an orchestral section of the first movement, and then faded quiickly back in.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eSome residual tape hiss is still evident during quieter sections of the recording, but should not serve as a distraction from this '\u003cem\u003ebest performance\u003c\/em\u003e', a sentiment it's hard to disagree with!\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\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eConcerto for Violin, Cello and Orchestra, Op. 102 \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eJohn Corigliano, \u003c\/b\u003eviolin \u003cb\u003e\u003cbr\u003e Leonard Rose, \u003c\/b\u003ecello \u003cb\u003e\u003cbr\u003e New York Philharmonic Orchestra \u003cbr\u003e \u003c\/b\u003econducted by\u003cb\u003e Bruno Walter\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eRecorded in concert at Carnegie Hall, 2nd February 1951\u003cbr\u003e This transfer from BBC rebroadcast, 25th December, 1977\u003cbr\u003e\u003cbr\u003e Transfer and XR remastering by Andrew Rose at Pristine Audio, April 2009\u003cbr\u003e Cover artwork based on a photograph of Leonard Rose\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 32:26 \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\/PASC158.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC158.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":34751455949,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34751456013,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34751456077,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34751456141,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC158.jpg?v=1490372720"},{"product_id":"pasc158-cd","title":"WALTER Brahms: Double Concerto (1951) - PASC158 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478305165,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478305229,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC158_527f4af8-fa81-410f-b6f4-3ddd56c53948.jpg?v=1658242519"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/collections\/Bruno_Walter.jpg?v=1495805330","url":"https:\/\/www.pristineclassical.com\/collections\/artist-bruno-walter.oembed?page=8","provider":"Pristine Classical","version":"1.0","type":"link"}