{"title":"Leopold Stokowski","description":"Leopold Anthony Stokowski (18 April 1882 – 13 September 1977) was a British conductor of Polish and Irish descent. One of the leading conductors of the early and mid-20th Century, he is best known for his long association with the Philadelphia Orchestra and for appearing in the film Fantasia. He was especially noted for his free-hand conducting style that spurned the traditional baton and for obtaining a characteristically sumptuous sound from the orchestras he directed.\u003cbr\u003e\u003cbr\u003eStokowski was music director of the Cincinnati Symphony Orchestra, the Philadelphia Orchestra, the NBC Symphony Orchestra, New York Philharmonic Symphony Orchestra, the Houston Symphony Orchestra, the Symphony of the Air and many others. He was also the founder of the All-American Youth Orchestra, the New York City Symphony, the Hollywood Bowl Symphony Orchestra and the American Symphony Orchestra.\u003cbr\u003e\u003cbr\u003eStokowski conducted the music for and appeared in several Hollywood films, including Disney's Fantasia, and was a lifelong champion of contemporary composers, giving many premieres of new music during his 60-year conducting career. Stokowski, who made his official conducting debut in 1909, appeared in public for the last time in 1975 but continued making recordings until June 1977, a few months before his death at the age of 95.","products":[{"product_id":"pasc422","title":"ELGAR, KOUSSEVITZKY, STOKOWSKI Accidental Stereo Recordings (1929-33) - PASC422","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Symphony No. 6 in B minor, Op.74 (Pathétique)\u003cb\u003e\u003cbr\u003eRAVEL\u003c\/b\u003e Boléro\u003cbr\u003e\u003cb\u003eSAINT-SAËNS\u003c\/b\u003e Carnival of the Animals\u003cb\u003e\u003cbr\u003eSTRAVINSKY\u003c\/b\u003e The Rite of Spring\u003cbr\u003e\u003cb\u003eELGAR\u003c\/b\u003e Cockaigne Overture\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\n\u003cp\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio recordings · 1929-1933\u003cbr\u003eTotal duration: 74:03\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\u003cb\u003eSir Edward Elgar - BBC Symphony Orchestra\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eSerge Koussevitzky - Boston Symphony Orchestra\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eLeopold Stokowski - The Philadelphia Orchestra\u003c\/b\u003e\n\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIf only there had been more accidents like this! 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWhat an odd and fascinating collection \nthis is—“Aquarium,” “Personages with Long Ears,” and “The Cuckoo in the \nHeart of the Woods” from the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCarnival of the Animals\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e;\n the Introduction, “Games of the Rival Tribes,” “Procession of the Wise \nElder,” “Adoration of the Earth” and “Dance of the Earth” from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Rite of Spring\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e; and the last four minutes or so of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCockaigne Overture\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, coupled with a complete “Pathetique” and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBoléro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n In his annotations the producer, Mark Obert-Thorn, explains what \n“accidental stereo” is: “Shortly after the introduction of electrical \nrecording, it became standard practice to make backups for wax matrices \nby simultaneously recording on a second cutting table….In the vast \nmajority of cases, the two cutters were fed from the same microphone. \nOccasionally, however, each was fed from its own microphone and where \nthose matching takes survive and have been released, it is possible to \ncombine them to produce what has come to be called “accidental stereo.” \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI don’t know how many readers will want\n this CD; it’s the sort of novelty you might play to surprise your \nfriends. If your curiosity gets the better of you, here’s what I \nsuggest: start off with the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBoléro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n preferably with a headset. Side one of the original 78s is monaural. \nThen you arrive at side two and suddenly the sound stage widens and \nblossoms into a rich, slightly directional sonority that I found \nastonishing and continues that way to the music’s conclusion. \nKoussevitsky was apparently someone who didn’t heed Ravel’s description \nof the piece as “\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eseventeen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n minutes of noise without music” and dispatches the piece in 13:25. \nThere’s a story that Ravel once burst into Koussevitsky’s dressing room \nafter hearing him race through the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBoléro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n shouting “It was a thousand times too fast … a thousand times!” The \nmaestro’s cynical rejoinder was, reputedly, “Really sir … hardly a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethousand \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003etimes.”\n Anyway, I detest the performance (I don’t like his later recording, \neither) but was thrilled by the sound. For another dramatic comparison, \ntry Koussevitsky’s 1930 Tchaikovsky Sixth, which starts out with two \nchannels. Then, on side eight, midway through the third movement, we \nsuddenly lose our second channel and the sound flattens out into (I have\n to say it) dull, flat monaural the rest of the way, and what a letdown \nit is. I’m surprised that, given the recording’s 1930 origin, Victor \ndidn’t have him rerecord the piece later, instead favoring Ormandy, \nStokowski, and Toscanini. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThe rest of the CD is stereophonic and\n frustrating because the sound is so remarkable and unexpected. If you \nthought Stokowski’s Philadelphia stuff sounded good in one channel, wait\n until you hear what it \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ecould\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n have sounded like with two, even with a narrow stereo spread. Even the \nbrief Elgar excerpt, with its under-nourished strings, sounds remarkably\n vivid. If only there had been more accidents like this! \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames Miller\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:4 (Mar\/Apr 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC422.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eAmazing \"accidental\" stereo 78rpm recordings made by Elgar, Koussevitzky and Stokowski\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eNew technologies and techniques produce astonishing stereo results from these unexpected early electric recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eShortly after the introduction of electrical recording, it became \nstandard practice to make backups for wax matrices by simultaneously \nrecording on a second cutting table, with the takes from the first being\n numbered 1, 2, etc. and the ones from the second 1A, 2A, etc. In the \nvast majority of cases, the two cutters were fed from the same \nmicrophone. Occasionally, however, each was run from its own microphone;\n and where those matching takes survive and have been released, it is \npossible to combine them to produce what has come to be called \n“accidental stereo”.\u003c\/p\u003e\u003cp\u003eSince this phenomenon was first brought to light some thirty years \nago, a number of matching “plain” and “A” takes have been proposed as \npossible stereo pairs; but until recently, the technology did not exist \nto prove whether they were or not. The problem lay in perfectly \nsynchronizing the two sides: there could be differences in speed between\n the original cutting turntables, within each recorded side, or in the \nplayback turntables. There was also the problem of “wow” caused by \nwarping of the original discs or imperfect centering on the turntable. \nAny one of these factors could lead to a false positive – identifying \ntwo recordings made from the same setup as stereo based on subtle \nvariations which caused them to be out of sync with each other.\u003c\/p\u003e\u003cp\u003eThe recent development of Celemony’s \u003cem\u003eCapstan\u003c\/em\u003e \npitch-stabilizing program, used in conjunction with phase alignment \nsoftware, finally enables these problems to be solved with a degree of \naccuracy hitherto unattainable. In successfully synchronizing some \nproposed stereo sides, others have proven to be only in mono. For \nexample, Side 4 of Koussevitzky’s 1930 Tchaikovsky Pathétique came out \nin takes labeled 1 and 1A; however, analysis has proven that at least \none of them was mislabeled, and that they are in fact identical. \nSimilarly, two 1941 Stokowski recordings previously released in what was\n believed to be accidental stereo were shown to be no more than slightly\n out-of-sync mono.\u003c\/p\u003e\u003cp\u003eThe present release brings together nearly all the sides that have \nbeen identified publicly so far as Classical accidental stereo \nrecordings. As the name implies, accidental stereo was never intended to\n be heard in synchronized form, and was not miked the way a stereo \nrecording would have been. Most likely, one microphone was centered on \nthe orchestra, while the other was pointed slightly off to one side. \nHowever, the joined-up results do suggest some directionality that \naccords with what is known of the orchestras’ seating patterns under \nthese conductors. For example, a 1947 picture of Koussevitzky and the \nBoston Symphony on stage at Symphony Hall displays the basses lined up \nto the left and back with the timpani stationed on the right – exactly \nas we hear them in the Tchaikovsky.\u003c\/p\u003e\u003cp\u003eOne can best appreciate the added dimension accidental stereo brings \nat those points where the music blossoms from mono into stereo. \nSuddenly, what has been the auditioning of a historical artifact takes \non a presence and a reality that puts us in the concert hall 85 years \nago – a time machine like no other.\u003c\/p\u003e\u003cp class=\"body\"\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\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSAINT-SAËNS\u003c\/b\u003e  Carnival of the Animals \u003c\/span\u003e\u003cbr\u003eAquarium – Personages with Long Ears – The Cuckoo in the Heart of the Woods [stereo]\u003cbr\u003e\u003cb\u003eOlga Barabini\u003c\/b\u003e and \u003cb\u003eMary Binney Montgomery\u003c\/b\u003e(pianos)\n\u003cp\u003eRecorded 27 September 1929 in the Academy of Music, Philadelphia\u003cbr\u003eMatrix nos.: CVE-51883-2\/2A\u003cbr\u003eFirst issued on Victor 7201 in album M-71\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eSTRAVINSKY  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: medium;\"\u003eThe Rite of Spring\u003c\/span\u003e\u003cbr\u003ePart 1: The Adoration of the Earth\u003cbr\u003eIntroduction [stereo]\u003cbr\u003eGames of the Rival Tribes – Procession of the Wise Elder – Adoration of the Earth – Dance of the Earth [stereo]\n\u003cp\u003eRecorded 24 September 1929 in the Academy of Music, Philadelphia\u003cbr\u003eMatrix nos.: CVE-37471-4\/4A and 47975-1\/1A\u003cbr\u003eFirst issued as Victor 7227 and 7228 in album M-74\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\u003e\u003cbr\u003eThe Philadelphia Orchestra ∙ Leopold Stokowski\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eTCHAIKOVSKY  \u003c\/b\u003eSymphony No. 6 in B minor, Op. 74 (Pathétique)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e1st Mvt.: Adagio – Allegro non troppo [mono\/stereo]\u003cbr\u003e2nd Mvt.: Allegro con grazia [stereo]\u003cbr\u003e3rd Mvt.: Allegro molto vivace [stereo\/mono]\u003cbr\u003e4th Mvt.: Adagio lamentoso – Andante [mono]\n\u003cp\u003eRecorded 14 - 16 April 1930 in Symphony Hall, Boston\u003cbr\u003eMatrix nos.: CVE-56824-2, 56825-2, 56832-2\/2A, 56833-1A, 56826-2\/2A, 56827-2\/2A, 56828-1\/1A, 56829-2, 56830-2A and 56831-2\u003cbr\u003eFirst issued as Victor 7294 through 7298 in album M-85\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eRAVEL  \u003c\/b\u003eBoléro\u003c\/span\u003e [mono\/stereo] \u003cb\u003e\u003cem\u003e \u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003eRecorded 14 April 1930 in Symphony Hall, Boston\u003cbr\u003eMatrix nos.: CVE-56820-1A, 56821-2\/2A and 56822-2\/2A\u003cbr\u003eFirst issued on Victor 7251\/2 [later in album M-352]\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eBoston Symphony Orchestra ∙ Serge Koussevitzky\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e \u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eELGAR  \u003c\/b\u003eCockaigne Overture (In London Town), Op. 40\u003c\/span\u003e – conclusion [stereo] \u003cbr\u003e\n\u003cp\u003eRecorded 11 April 1933 in Abbey Road Studio No. 1, London\u003cbr\u003eMatrix nos.: 2B 4176-1\/1A\u003cbr\u003eFirst issued on HMV DB 1936\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBBC Symphony Orchestra ∙ Sir Edward Elgar\u003c\/b\u003e\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\/PASC422.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC422.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eWhen Mark Obert-Thorn first suggested a collaboration on this project\n a few months ago, neither of us really knew what to expect. Mark's \ntheory that Capstan might prove helpful in synchronising these \nindependently-cut recordings was just that, a theory. I was less sure \nthat Capstan would be as consistant as would be required, particularly \nin certain passages of heavily-rhythmic music, or where microphone \nplacement might cause different instruments to dominate the mix, thus \nstressing different harmonics and changing, if only minutely, the \nsoftware's analysis of pitch.\u003c\/p\u003e\u003cp\u003eAs I began to work on the first recordings sent to me, it was clear \nthat we were onto something - and also that my involvement would have to\n be greater than originally envisaged. With Capstan doing at least 95% \nof the \"grunt work\" on most of the sides, there was still a considerable\n amount of additional work involved, preparing the sides specifically \nfor this project prior to their analysis and repitching to minimise risk\n of error, and then identifying minor mismatches between two \npost-Capstan sides and adjusting manually for this when mixing them \ntogether to produce the stereo result. Finally each side had to be \nfine-tuned using phase-alignment software to identify commonality \nbetween the two channels to a very fine resolution and adjust them to \nfit exactly.\u003c\/p\u003e\u003cp\u003ePrevious to this technology the results have been at times ambiguous.\n We made a number of dicoveries in the process of producing this release\n which strip away this ambiguity and introduce, for the first time, \ncertainty to the identification of these recordings as genuine \n\"accidental stereo\". After apparently successfully mixing \"stereo\" sides\n together I came to a pair of Stokowski recordings that had already been\n identified \u003cem\u003eand released elsewhere\u003c\/em\u003e as accidental stereo \nrecordings. My technique proved otherwise. By bringing a level of \nunprecendented accuracy to the pitching and matching of the two \n\"channels\" I discovered that both were actually identical, and thus the \nclaims for accidental stereo here were erroneous, based on phase errors \nand wishful thinking. No matter how I approached the recordings in \nquestion, I always ended up with the same result: mono.\u003c\/p\u003e\u003cp\u003eBy contrast, the final recording on our release, Elgar conducting his\n Cockaigne Overture, has been specifically highlighted as a recording in\n which \"accidental stereo\" would be impossible, due to working practises\n at EMI's Abbey Road studios at the time, based on testimony of people \nwho had worked there. Some very eminent names have been quoted, stating \nthat any suggestion of accidental stereo here can only be down to the \nkind of phase error and wishful thinking that we found in the case of \nthe Stokowski. They are wrong. There is absolutely no doubt that this is\n genuine accidental stereo in the case of this wonderful recording, and \nit's a fantastic find, given the work and its composer\/conductor here.\u003c\/p\u003e\u003cp\u003eFinally, I was originally thrown by recordings which seemed to wander\n around the stereo soundscape from left to right and then back again. \nWas this an error in my method? No. It became particularly obvious in \nthe third side of the Tchaikovsky symphony that someone was \"gain \nriding\" the output to the disc cutter that produced our left channel, \nwhilst the right channel was being recorded \"straight\" from the \nmicrophone, without any interference with levels. Once this was \nestablished it was a relatively straightforward job to correct for this \nand stabilise the stereo imagery, with the added bonus of accurately \nlosing the effect of gain riding by a nervous sound engineer keen not to\n overload his recording equipment.\u003c\/p\u003e\u003cp\u003eThe end results have been some of the most satisfying of my career in\n audio restoration. There is a real sense of wonder in the recordings \nwhere a mono sound suddenly opens out into a glorious - if perhaps a \nlittle confused - stereo picture. And when listening on headphones, one \nfinds oneself more \"there\" in the recording studio than I've ever felt \nbefore in any recordings of this era. It is a truly remarkable result \nthat I would recommend highly to anyone, regardless of their interest \n(or otherwise) in the pieces being performed or the musicians involved. \nThey only sweeten the pie!\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\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_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab5_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab5_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eHistoric Review: Stravinsky \u0026amp; Tchaikovsky\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: small;\"\u003eNB. This is how \nthe original reviews of these two highly unusual accidental stereo \nreleases appeared in The Gramophone in 1931. It is an incredible \ncoincidence that they not only appeared in the same review column, but \nthat one followed directly on from the other. It's also instructive to \nfind the music being reviewed over and above the performances at this \npoint in time.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"western\" lang=\"en-GB\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan\u003e\u003cspan style=\"color: #2b2b2b;\"\u003eIt \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003eis \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003enot disrespect that forces me to \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003edeal \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003ewith the Stravinsky work so briefly. The month is overwhelming! I wish I had space to argue the \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cem\u003eRite\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e and the wrong of it. Parts \u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003eof \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003ethe work are so extraordinarily powerful (taking the composer on his pagan ground) that \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003eit is \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003ea \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003epity \u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003ethe \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003erest does not come up to sample. Is \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003eit \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003etoo long? And are we not now too far from the \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003eballet to \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003eget \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003ethe \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003eflavour of the work? The music is obviously born for the ballet, like all the best of Stravinsky. Outside that, and \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003ehis \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003enationalistic colour and rhythm, \u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003eI \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003ecan find next to nothing in him. But the part that \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cem\u003eis\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e powerful cannot be forgotten, and should not be under-estimated. As far as \u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003eI \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003ecan\n tell without the score at hand (and it is a score one cannot well claim\n to know by heart!) this performance stands up to the music \nmagnificently. The parts are thus labelled :\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cem\u003e— First Part: Earth Worship\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e—\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cem\u003eIntroduction, Immanence of Spring, Adolescents’ Dance, Symbolic Scene of the \u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cem\u003eRape;\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e D1920 : \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cem\u003eDances in Honour of Spring, Mock Conflicts of Rival Communities, Procession of the Elder, Earth Worship, Dance of the Earth;\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e D1921 : \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cem\u003eSecond Part—The Sacrifice: Introduction, Mystic Circles of the Adolescents, Glorification of the Chosen Virgin \u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"color: #636363;\"\u003e\u003cem\u003e;\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003eD1922 : \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cem\u003eEvocation and Ritual of the Ancestors,\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e and \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cem\u003eSacred Dance of the Chosen One.\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e There is in that strange opening something sad, primitive and elemental \u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e: \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003ethere the composer \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003egets \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003enearest t\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003eo\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e imaginative reality. The short- windedness of \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003eso \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003emuch\n of the music, and its rhythmic complications, which do not always come \noff, its (to some of us) depressing primeval peasantism, prevent \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003eus \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003efrom enjoying half the work. Still, those who like the work as a whole will be glad to have this, than which \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003eit \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003ewould be difficult to imagine a clearer, more rapt performance.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"western\"\u003e\u003cspan\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eThe Tchaikovsky is of course a “ big noise ’’ (not \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ein \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ethe bad sense). Inevitably, \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ea \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eman like Koussevitzky is \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ethe \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eright match for \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ehis \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ecompatriot.\n Here is another side of the Russian, but Stravinsky and Tchaikovsky are\n scarcely to be compared, in spite of the former’s admiration for the \nearlier writer. Here is cultivation—to excess, \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eI \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003efeel\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003e: \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ethat is partly why some musicians find Tchaikovsky rather unhealthy. It is not only \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ethe \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003egloom, which one can take \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ein \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ethe stride \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003e: \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eand there \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eis \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eno disparagement of workmanship, which indeed, we enormously admire. The \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003e\u003cem\u003eideas\u003c\/em\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003e are not wearing well\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003e—\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eso we \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003efeel. \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eThe gloopiness \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #636363;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eis \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ejust a little too slick; but what stuff to give ’em in the nineties\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #636363;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003e! \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eI \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003elike Koussevitzky’s basses, his precision with \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ethe \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ebrass,\n the strings’ persuasiveness and their whoops aloft, the lighter wind \nwhiffs, the delicate phrasing in the 5-4 movement, with the touch of \ngravity here (needed for balance, since \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2c2c2b;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ethe March is rowdy, repetitive, but \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #404040;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003efull \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2c2c2b;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eof gusto). The First and \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #404040;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003elast \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2c2c2b;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003emovements, by the way, take two discs each, the second and third one each. The March \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #404040;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eis never \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2c2c2b;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eloud enough for me; the trouble \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eis \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #404040;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ethat \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2c2c2b;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eit cannot, accumulate force at every one of the (too many) \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #404040;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003erepetitions. \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2c2c2b;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eAt \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #404040;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ethe last, \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eJL \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2c2c2b;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ewant to see every door of the hall \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #404040;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eburst \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2c2c2b;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eopen, and \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #404040;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ea \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2c2c2b;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ebrass band march \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #404040;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ein at \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2c2c2b;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eeach \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003e: \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspa\u003e\u003c\/spa\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Stereo 16-bit FLAC","offer_id":31975526477,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":31975526541,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC422_a964a522-a949-432b-861f-9b094df175b3.jpg?v=1487682064"},{"product_id":"pasc441","title":"STOKOWSKI Acoustic, Volume 2 (1919-24) - PASC441","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\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eDEBUSSY\u003c\/b\u003e Prélude à l'après-midi d'un faune\u003cb\u003e\u003cbr\u003eSCHUBERT  \u003c\/b\u003e\"Unfinished\" Symphony, No. 8\u003cspan\u003e\u003cb\u003e\u003cbr\u003eWAGNER  \u003c\/b\u003eOrchestral excerpts\u003c\/span\u003e\u003cb\u003e\u003cbr\u003eTCHAIKOVSKY \u003c\/b\u003eSymphonic movements and short pieces\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\"\u003eAcoustic studio recordings, 1919-1924\u003cbr\u003eTotal duration: 79:01  \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eLeopold Stokowski, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThey are life-enhancing in a way that so few new recordings ever are578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn 1981, I hosted a semester-long \nweekly series on Harvard Radio devoted to Leopold Stokowski. If you had \ntold me at the time that we one day would have the historic material now\n available on these two CDs and in such fine sound, I never would have \nbelieved you. I think that throughout that whole radio series I had only\n one LP available to me of monaural content from our station’s library. \nFortunately Stokowski’s admirers are a dedicated bunch, and can support \nPristine’s enterprise of giving us CDs with small commercial potential. \nThe evening I first played these discs I had a terrible time falling \nasleep, such is the Stokowski magic they contain. To love recordings \nenough to write for \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eyou\n probably have to be a little bit crazy. I freely admit to suffering \nfrom an as yet undefined malady I would call “Stokowski-induced mania.” \nOf these two CDs, the one featuring the most recent material clearly is \naimed at my fellow sufferers. It collects all the post-acoustic era \nrecordings by Stokowski until now unavailable on CD and which are in the\n public domain in France, where Pristine Audio is based. For instance, \nthere is a previously unissued 1945 session by the New York City \nSymphony playing the Prelude and Libestod from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTristan\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n of which only the first and last 78-rpm sides survive. They \nnevertheless reveal the tremendous sense of style Stokowski had imbued \nhis one-year-old ensemble with. He is alternately vigorous and sensitive\n in selections from Prokofiev’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Love for Three Oranges\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, with the NBC Symphony performing with the precision and clarity this Toscanini trained ensemble was known for. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe remaining items on the CD feature \n“Leopold Stokowski and his Symphony Orchestra.” Perhaps the greatest \ndraw for the non-specialist collector is the music from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTannhäuser\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n The Overture opens with a blend of reverence and sensuality peculiar to\n Stokowski. The second statement of the Pilgrim’s Chorus is positively \necstatic. At its peak, the Venusberg Music reaches a pitch of controlled\n frenzy only Stokowski could achieve. Although he was a noted lady \nkiller, there also was a feminine side to Stokowski, expressed in his \nface’s sensitivity and the delicacy of his hands. The overall effect was\n an apparent androgyny that held a mysterious sway over orchestral \nplayers, helping to produce the remarkable Stokowski sound we hear here.\n As Wagner’s orgiastic music subsides, it is replaced by something like \npost-coital tristesse. In act III’s Prelude, Stokowski portrays the \nfever in Tannhäuser’s mind and his need for redemption. The brass \nplayers, drawn from the New York Philharmonic, cover themselves with \nglory in their chorales. While Solti and Doráti have given us memorable,\n stand-alone accounts of the Overture and Venusberg Music in stereo \n(Solti has the Dresden Overture and the Venusberg Music as separate \ntracks), nothing in my experience matches Stokowski in these highlights.\n \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAnother great reason to own this disc is Stokowski’s arrangement of Dido’s Lament from Purcell’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDido and Aeneas\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n It is filled with the archaic-sounding string sonorities Stokowski \nloved to exploit in his orchestrations of Baroque music. There’s a \nwondrous feeling of sorrow in the repetitions of Dido’s “Remember me” in\n the violins. Stokowski conducted music from Tchaikovsky’s Fifth \nSymphony in the 1947 movie “Carnegie Hall,” so RCA at the time \napparently saw the commercial value of his leading an abridged version \nof the slow movement that would fit on one 78. Judging by the \nperformance’s passion, Stokowski must have been happy to oblige. Two \nyears later, he conducted the “Dance of the Sugar Plum Fairy” from \nTchaikovsky’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNutcracker \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003efor\n a children’s disc, with Mozart’s “Sleigh Ride” on the flip side. New \nYork Philharmonic pianist (and future conductor) Walter Hendl plays the \ncelesta unusually expressively, as Stokowski brings out the menace \nunderlying Tchaikovsky’s fantasy. Restoration engineer Mark Obert-Thorn \nhas contrived highly listenable sonics throughout this CD, although the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTannhäuser\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n excerpts sound rather cramped for their 1950 recording date. Even if \nyou’re not collecting everything Stokowski ever did, this disc is a \nblast. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn 1977, a then elderly friend loaned \nme Stokowski’s 1923 acoustic 78s of the slow movement of Tchaikovsky’s \nFifth Symphony. Even played on my inexpensive equipment, I was amazed at\n the sound quality. Now we have this and other acoustic recordings by \nStokowski, made between 1919 and 1924, in new remasterings by Andrew \nRose. The results are highly illuminating. Rose has achieved a generally\n listenable sound from all this material, and their musical content for \nthe most part is first-rate. The main drawback for the acoustic \ntechnique in recording an orchestra is the absence of hall atmosphere, \nwith very little air around the instruments. The balance on these \nrecordings, though, in the main is very good. They document a period in \nStokowski’s career when, at about age 40, his interpretations tended to \nbe less idiosyncratic than they later became. A Metropolitan Opera \nbassist who played under Stokowski in the early 1960s told me that the \nconductor “did things just to be different.” There really is very little\n about these early recordings that the most Toscanini-minded purist \ncould find objectionable. The one recording where the music overtaxes \nthe engineering technique is that of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePrelude to the Afternoon of a Faun\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Stokowski had tried twice previously to make a recording of the work, \nbefore finally releasing this 1924 effort. The evanescence of the string\n writing really is beyond the capacity of the acoustic equipment to \ncapture. Still, there is much to enjoy in the eloquent playing of \nflutist William Kincaid, oboist Marcel Tabuteau, and a marvelous first \nhorn. They respond to the flexibility of Stokowski’s interpretation with\n great tenderness. Perhaps the conductor had reservations about this \nrecording as well, for he rerecorded the piece electrically only three \nyears later. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eStokowski’s Schubert “Unfinished” is a \ngreat performance, from a time when complete symphonies were still rare \non records. As one can hear on his London Philharmonic recording from \nthe 1960s, Stokowski was fascinated by the sound of this work. For an \nearly 1950s performance in San Francisco, he retouched the orchestration\n and also added an extra wind instrument. Even this 1924 recording \nsuggests the vivid, haunting colors Stokowski found in the piece. The \nensemble is vigorous and highly disciplined, quite different from, say, \nBruno Walter’s approach. There is no exposition repeat in the first \nmovement, repeats being sparing on 78s. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Wagner recordings here are pretty sensational. Stokowski’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRienzi \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture\n really swings, even though it is cut to fit onto two 78 sides. The \norchestral sound possesses a suavity I’ve rarely encountered elsewhere. \nThe Ride of the Valkyries has a dramatic tension that would have pleased\n Toscanini, while the tone of the performance is something the Italian \nmaestro never achieved. The brief excerpt from Wotan’s Farewell and \nMagic Fire Music has all the magic of Stokowski’s classic Houston \nversion for Everest, but with a better orchestra. If any recording on \nthis CD stands out as an engineering triumph, it’s the Prelude to Act \nOne of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLohengrin\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. Somehow the acoustic horn managed to capture the rapt beauty of Stokowski’s beautifully proportioned reading. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe third movement of Tchaikovsky’s \nSixth Symphony is a bit of a throw-away. It is cut to shreds to fit onto\n one 78 side, and the orchestra’s response is somewhat perfunctory. As I\n mentioned earlier, we do get a complete account of the slow movement of\n Tchaikovsky’s Fifth—beautifully molded in its playing and paced with \ngreat sensitivity. It is not as individual as the abridged version on \nthe previous CD in this review, but it is accomplished in a way very few\n conductors could achieve. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNutcracker \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003edance\n has great charm, while Tchaikovsky’s Song Without Words is one of those\n romantic Stokowski orchestrations that seems to linger in the \natmosphere after it ends. Pristine also gives us a cover with a \nwonderful drawing of the young Stokowski, from the record sleeve of one \nof his acoustic 78s. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eIf this exploration of the world of \nacoustic recordings of orchestras whets your whistle, I would also \nrecommend Biddulph’s set devoted to the discs of Willem Mengelberg and \nthe New York Philharmonic. These two new releases from Pristine fill out\n our view of one of the greatest conductors of all time. I’m aware that \nthey are likely to appeal to a specialized audience, but they are \nlife-enhancing in a way that so few new recordings ever are. There’s one\n more volume of acoustic Stokowski on the way from Pristine, and I can’t\n wait. \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 39:2 (Nov\/Dec 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC441.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eStokowski's earliest recordings of Debussy, Schubert, Wagner \u0026amp; Tchaikovsky \u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThis is the second of four volumes dedicated to the acoustic \nrecordings Stokowski made with the Philadelphia Orchestra between 1919 \nand 1924. By acoustic we mean a recording process entirely devoid of \nelectrical equipment: a weight-driven cutting lathe on which master \ndiscs were cut, the minute variations in the grooves being driven \nentirely by the vibrations reaching the cutting head through a large \nhorn, concentrating as much acoustical energy as possible from the \norchestra. This frequency- and dynamically-limited process was the only \nmeans of recording sound for well over a quarter of a century, during \nwhich time the technology progressed from being considered a novelty toy\n to something which, although recognised as limited, was of serious \nartistic value. Stokowski was one of very few internationally known \nmusical artists to see the progression right through as a recording \nperformer from the acoustic horn to the multitrack studio. His acoustic \nbeginnings are, like so many, often consigned to ancient history.\u003c\/p\u003e\u003cp\u003eThis volume uses the latest 21st century technology to clean up, \nclarify, stabilise and bring you the best possible sound from recordings\n almost a century old. Volume One (PASC192) was restored 6 years ago - in that short time considerable further \nstrides have been made that have allowed me to find even greater \nfidelity and clarity from these marvellous relics of an almost lost age \nof sound recordings.\u003c\/p\u003e\u003cp\u003eThe transfers were made by Edward Johnson from his collection of (relatively) quiet-surfaced Victor original 78s.  \u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cb style=\"font-size: medium;\"\u003eDEBUSSY\u003c\/b\u003e\u003cspan style=\"font-size: medium;\"\u003e Prélude à l'après-midi d'un faune\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\u003eRecorded April 28, 1924. \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eDisk: Victor 6481, Matrices: C-21057-5, C-21058-5\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSCHUBERT\u003c\/b\u003e Symphony No. 8 in B minor, \"Unfinished\"\u003cspan\u003e\u003cspan class=\"bodybigblue\" style=\"font-size: small;\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003eRecorded April 18, 1924. \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eDisks: Victor 6459, 6460, 6461 \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrices: C-29052-5, C-29053-5, C-29054-5, C-29055-4, C-29056-5, C-29057-5\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Rienzi - Overture\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003eRecorded May 8, 1919. \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eDisks: Victor 74602, 74603 Matrices: Victor C-22815-3, C-22816-3\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Die Walküre: Ride of the Valkyries\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003eRecorded March 25, 1921. \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eDisk: Victor 74684 or HMV DB 387 Matrix: C-24987-4\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Die Walküre: Wotan's Farewell and Magic Fire Music\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003eRecorded December 5, 1921. \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eDisk: Victor 74736 Matrix: C-24124-12\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Lohengrin - Prelude to Act 1\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003eRecorded April 28, 1924. \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eDisk: Victor 6490 or HMV DB 839 Matrices: C 30021-2, C 30022-1\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Symphony No. 6 - March \u003cspan style=\"font-size: small;\"\u003e(heavily cut 3rd mvt.)\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003eRecorded April 18, 1921. \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eDisk: Victor 74713 Matrix: C-24628-11\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Symphony No. 5 - 2nd mvt. - Andante cantabile con alcuna licenza\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003eRecorded April 30, 1923. \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eDisks: Victor 6430, 6431 Matrices: C-27904-2, C-27905-1, C-27906-2\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e The Nutcracker - Dance of the Flutes\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003eRecorded February 13, 1922. \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eDisk: Victor 66128 Matrix: B-24938-6\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e (arr. Stokowski) Song Without Words, Op. 40, No. 6\u003cspan\u003e \u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003eRecorded April 28, 1924. \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eDisk: Victor 1111 Matrix: B-27065-7\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb style=\"font-size: medium;\"\u003eThe Philadelphia Orchestra\u003cbr\u003e\u003c\/b\u003e\u003cb style=\"font-size: medium;\"\u003eLeopold Stokowski\u003c\/b\u003e\u003cspan style=\"font-size: medium;\"\u003e, conductor\u003c\/span\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\/PASC441.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC441.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":31975976461,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975976525,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975976589,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975976653,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC441_ebcc8613-9985-4017-b5b2-c3509bb41068.jpg?v=1487682616"},{"product_id":"pasc471","title":"STOKOWSKI Acoustic, Volume 3 (1917-24) - PASC471","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\u003cb\u003eRACHMANINOV\u003c\/b\u003e Piano Concerto No. 2\u003cb\u003e\u003cbr\u003eVARIOUS \u003c\/b\u003eSymphonic movements and short pieces\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\"\u003eAcoustic studio recordings, 1917-1924\u003cbr\u003eTotal duration: 79:41 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eLeopold Stokowski, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eSergei Rachmaninov, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: MusicWeb International \u0026amp; Fanfare578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe metrical freedoms taken by the soloist-composer are a touch freer than in his remake, making this recording that much more uplifting and combustible ... a memorable achievement and it has been very well transferred here578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis is the third of a projected four \nvolumes in Pristine’s series devoted to acoustic recordings made for the\n Victor Company by Leopold Stokowski and members of the Philadelphia \nOrchestra between 1917 and 1924. I have long been skeptical about the \nvalue of orchestral recordings made with the acoustic process, prior to \nthe introduction of the microphone in 1926. As anyone at all familiar \nwith this primitive recording method would be aware, what is performing \nin these selections is not actually the Philadelphia Orchestra but \nrather a few of its members, clustered around a recording horn. \nAccordingly, a major issue in assessing this release is whether the \nsonic wizardry of Andrew Rose has been able to create the illusion of an\n actual orchestra playing in these recordings. The answer is “not \nentirely,” but the sound on this Pristine release is often substantially\n better than I would have expected, and there are portions where it is \npossible to overlook the absence of a full orchestra. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn the 1924 recording of the Rachmaninoff Concerto, the orchestral sound is acceptably full in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003etutti\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es,\n although opaque. Elsewhere, string tone is sometimes ample and \nsometimes thin or tubby, but the results remain thoroughly listenable. \nSurface noise from the source discs is audible but unobtrusive. What is \ntruly remarkable, however, is the piano sound, which is full, rich, \nsolid, and completely stable in pitch, although it is impossible to \ndetermine how closely this warm, rounded sound replicates the actual \nsound of Rachmaninoff’s playing. The sound of the Pristine remastering \nis in any case good enough to allow one to appreciate the performance, \nbut the 1929 remake by the same performers remains preferable for \nfull-orchestra sound and superior dynamic range. (I have that later \nrecording on a 1994 RCA Gold Seal reissue, but there are other \nremasterings that are probably better.) Other than sound, the main \ndifference between the two performances is the quicker main tempo for \nthe slow movement in the earlier one. Both performances are \ndistinguished by the composer’s effortless fluency at the piano, by a \nsuppleness and elasticity that never strays into mannerism, and by \npacing that is swifter than in most modern recordings. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eQuality varies among the shorter pieces\n filling out the disc, but one area where Pristine’s treatment has \nunquestionably produced a substantial improvement is in freedom from the\n wow and flutter one would expect in material of this vintage. The four \nBizet selections (recorded 1919–23) fare well sonically and \ninterpretively. Bizet’s transparent orchestration is done comparatively \nlittle harm by the reduced complement of instruments, while Stokowski’s \nreadings are lively but straightforward, without any fooling around with\n tempo. Liszt’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSecond Hungarian Rhapsody\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (recorded 1920) is heavily cut, but the roughly half of it that remains\n is brilliantly played by the Philadelphians, and the menacing opening, \nwith growling low strings, and the wild, headlong conclusion will \nimpress the listener. The sharp staccato attacks at the very beginning \nwere not employed by Stokowski in two later (complete) recordings of the\n piece, in 1936 and 1960–61. I don’t care much for the bloated \narrangement of the Chopin Prélude or the equally soupy rendition of \nGluck’s “Dance of the Blessed Spirits.” The sound in Ippolitov-Ivanov’s \n“Procession of the Sardar” (recorded 1922) is less good than in the \nBizet and Liszt selections, and some of the wind playing seems not up to\n Philadelphia standards. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMidsummer Night’s Dream\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e Scherzo (1917) suffers from a boomy, murky bass and a relatively high noise level. Chabrier’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEspaña\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (1919) is heavily cut, and the sound does not much disguise the limitations of the acoustic recording process. The march from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTannhäuser\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (1924) is an excerpt and cuts off abruptly after three minutes. The \nsound is brassy and not much like a full orchestra. The excerpt from the\n third movement of Tchaikovsky’s “Pathétique” (1917), in contrast, \nstarts off in the middle of the movement. The balances initially seem \nway off, and there is some imperfect ensemble, but things improve. It is\n difficult to know how closely these early recordings actually represent\n Stokowski’s interpretations during this period and the extent to which \nthey may have been influenced by the exigencies of the primitive \nrecording process, but it is noteworthy that he slows the tempo at \nexactly the same point in this 1917 recording as in his 1945 live \nHollywood Bowl performance (Memories), although tempo shifts in the \nearlier performance are somewhat less pronounced. The Wagner and \nTchaikovsky selections and the one by the obscure American composer \nEdgar Stillman Kelley (1857–1944) are previously unissued. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThis release demonstrates that some \nworthwhile listening can be drawn from the grooves of these early \norchestral recordings. Rachmaninoff’s earlier recording of his Concerto \nNo. 2 is, of course, the most valuable item on the program, in terms of \nhistorical significance and performance and sound quality, and its \npresence on the disc mandates a recommendation. The remaining selections\n will appeal primarily Stokowski completists but are worthwhile bonuses.\n \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDaniel Morrison\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 40:2 (Nov\/Dec 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\u003e \u003c\/p\u003e\u003cp\u003e\nPristine Audio reminds me of a plate-spinner on the variety stage. It \nhas a large number of plates spinning at the moment, with multi-volume \nseries devoted to Beecham, Stokowski and Monteux just three that have \ncome my way in the past few weeks. The third volume of their series \ndevoted to Stokowski’s acoustic recordings (see reviews of \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2010\/Jan10\/Stokowski_pasc192.htm\"\u003e Volume 1\/a\u0026gt; and \u003c\/a\u003e\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2015\/Sep\/Stokowski_acoustic_v2_PASC441.htm\"\u003e Volume 2\u003c\/a\u003e)\n has a major work, and then a raft of lighter material, several of which\n pieces will be of considerable interest to Stokowski collectors as they\n have never before been issued.\u003cbr\u003e \u003cbr\u003e The major work is Rachmaninov’s\n Second Piano Concerto with the composer as soloist. This 1924 recording\n shouldn’t be confused with the later electric remake. The strange \nhistory of its missing first movement – never issued at the time, thus \nforcing purchasers to buy a torso of the work – can be explored \nelsewhere, though suffice to say it first reappeared commercially in RCA\n Red Seal’s Rachmaninov edition of his complete recordings. It’s known \nthat he played a Steinway Model B here, which was raised on a platform \nto allow the horn better to pick up his sound – quite a common practice \nat the time – and the results were exceptional. Given that Rachmaninov \nnever approved the first movement for release, listeners would have had \nto start with the slow movement but for us no such impediment exists. It\n is one of those little ironies of recording history that Victor was \nrecording a pretty complete complement of orchestral players back in \n1917 but in succeeding years they actually cut back, so that by the end \nof the acoustic era the Philadelphia often had around 38 or 40 players \nin the studio. Any bass reinforcements in this Rachmaninov recording \nhave been utilised quite subtly. The metrical freedoms taken by the \nsoloist-composer are a touch freer than in his remake, making this \nrecording that much more uplifting and combustible. It is, in any case, a\n memorable achievement and it has been very well transferred here.\u003cbr\u003e \u003cbr\u003e\n The remainder of the programme is graced by a succession of \nsingle-sided sweetmeats. The quartet of Bizet gives the brass and winds a\n workout in particular – the \u003cem\u003eMarch of the Smugglers\u003c\/em\u003e is notably \nwell played – and whilst this is by no means the first recording of \nBoccherini’s Minuet, it is assuredly one of the most suavely played. \nIppolitov-Ivanov’s \u003cem\u003eProcession of the Sardar\u003c\/em\u003e from the \u003cem\u003eCaucasian Sketches Suite No.1\u003c\/em\u003e\n offers some exotic fair and Stokowski’s arrangement (and the \norchestra’s performance of Chopin’s Prelude in E minor) is persuasive: \nother Stoky Chopin arrangements were not always so tasteful. The Gluck \nis, alas, too bass heavy and lugubrious but the 1919 Chabrier \u003cem\u003eEspaña Rhapsody\u003c\/em\u003e\n makes up for it. The last three pieces have never before been released.\n Like everything else, the sound is excellent for the 1917-24 time \nperiod. We hear the second part of the Scherzo from Tchaikovsky’s Sixth \nSymphony, and part one (only) of Tannhauser’s \u003cem\u003eFestmarsch\u003c\/em\u003e\u003cu\u003e,\u003c\/u\u003e which duly stops abruptly. But the gem here is the piece by the American composer Edgar Stillman Kelley whose \u003cem\u003eThe Red Queen’s Banquet\u003c\/em\u003e, from his \u003cem\u003eAlice in Wonderland\u003c\/em\u003e\n suite, offers some busy material. In fine sound, it brings Kelley to \nthe attention of contemporary listeners and one wonders what else is out\n there by him.\u003cbr\u003e \u003cbr\u003e Full documentation can be found on Pristine’s \nwebsite, as there isn’t much room in the disc for much beyond a brief \nProducer’s Note and the running order.\u003cbr\u003e \u003cbr\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJonathan Woolf\u003c\/b\u003e\u003cbr\u003eMusicWeb International\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC471.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eRachmaninov plays his 2nd Concert with Stokowski in truly astonishing sound quality for an acoustic recording!\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"What is truly remarkable, however, is the piano sound, which is full, rich, solid, and completely stable in pitch\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThis is the third of four volumes which aims to present all of the \nsurviving acoustic recordings made by Leopold Stokowski with the \nPhiladelphia Orchestra at the studios of the Victor recording company \nbetween 1917 and 1924. The somewhat drawn-out nature of this project has\n allowed us to track down a number of rare and unreleased sides, several\n of which appear for the first time on this release.\u003cbr\u003e\u003cbr\u003eSince \nbeginning the series, a number of technological advances in the field of\n sound restoration have appeared, allowing each time for greater \nfidelity to be extracted from the limited opportunities found in the \ngrooves of acoustically-recorded discs, with their highly limited \nfrequency and dynamic range. \u003cbr\u003e\u003cbr\u003eOne such advance is in the control \nof pitch instability - the \"wow and flutter\" inherent to one degree or \nanother in all analogue recordings, and generally found to greater \ndegrees as recordings get older. To be able to restore solidity of pitch\n to Rachmaninov's piano is to give it a degree of realism never heard \nbefore. Despite the aforementioned technical limitations, a few moments \nlistening to the solo piano in the opening bars of the Piano Concerto \nNo. 2, not originally issued, may have you pinching yourself - surely \nthis is not the sound of a piano captured through a horn, cut into a \ndisc being driven by weights, just months before the introduction of \nmicrophones? The delicacy of touch, the immediacy of the sound, the \nsolidity and (relative!) realism of the piano's tone is quite remarkable\n to hear.\u003cbr\u003e\u003cbr\u003eFor many, the performance given by Rachmaninov and \nStokowski here was preferable to their 1929 electrical remake. Here we \ntake a step closer to that performance, alongside a panoply of single \nsides and previously unissued Wagner, Tchaikovsky and one Edgar Stillman\n Kelley, a composer who was new to me. My sincere thanks to all who make\n this release possible. A fourth and final volume in the series will \nfollow within a month.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\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\u003eSergei RACHMANINOV (1873-1943)\u003c\/b\u003e\u003cbr\u003e 1-3. Piano Concerto No. 2 in C minor, Op. 18 [30:38] \u003cbr\u003e rec. January 3 and December 22, 1924\u003cbr\u003e\u003cb\u003eSergei Rachmaninov, \u003c\/b\u003epiano\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e1st mvt: Unissued, matrices: \u003cspan style=\"color: black; font-family: arial; font-size: small;\" size=\"2\" color=\"black\" face=\"arial\"\u003eC-31395-2\u003c\/span\u003e, \u003cspan style=\"color: black; font-family: arial; font-size: small;\" size=\"2\" color=\"black\" face=\"arial\"\u003eC-31395-2\u003c\/span\u003e, \u003cspan style=\"color: black; font-family: arial; font-size: small;\" size=\"2\" color=\"black\" face=\"arial\"\u003eB-31397-1 \u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e2nd mvt: Victor 89166-68, matrices: \u003cspan style=\"color: black; font-family: arial; font-size: small;\" size=\"2\" color=\"black\" face=\"arial\"\u003eC-29233-4, C-29234-3, C-29235-4 \u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e3rd mvt: Victor 89169-71, matrices: \u003cspan style=\"color: black; font-family: arial; font-size: small;\" size=\"2\" color=\"black\" face=\"arial\"\u003eC-29236-3\u003c\/span\u003e, \u003cspan style=\"color: black; font-family: arial; font-size: small;\" size=\"2\" color=\"black\" face=\"arial\"\u003eC-29251-2\u003c\/span\u003e, \u003cspan style=\"color: black; font-family: arial; font-size: small;\" size=\"2\" color=\"black\" face=\"arial\"\u003eC-29252-2 \u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e \u003cb\u003eGeorges BIZET (1838-1875)\u003c\/b\u003e\u003cbr\u003e 4. Carmen – Prelude [2:13] \u003cbr\u003e rec. May 8, 1919, matrix: Victor B-22812-4\u003cbr\u003eVictor 64822, \u003cbr\u003e 5. Carmen - Changing of the Guard transc. Stokowski [3:35]\u003cbr\u003e rec. April 30, 1923 \u003cbr\u003eVictor 66263, matrix: B-27903-2\u003cbr\u003e 6. Carmen - March of the Smugglers transc. Stokowski [3:32]\u003cbr\u003e rec. April 30, 1923\u003cbr\u003eVictor 66264, matrix: B-27902-1\u003cbr\u003e 7. L'Arlésienne - Spanish Dance [1:40] \u003cbr\u003e rec. January 28, 1922\u003cbr\u003eVictor 1113, matrix: B-25942-5\u003cbr\u003e \u003cb\u003eFranz LISZT (1811-1886)\u003c\/b\u003e\u003cbr\u003e 8. Hungarian Rhapsody No. 2 orch. Karl Müller-Berghaus [3:59]\u003cbr\u003e rec. May 20, 1920\u003cbr\u003eVictor 74647, matrix: C-24126-4\u003cbr\u003e \u003cb\u003eLuigi BOCCHERINI (1743-1805) \u003c\/b\u003e\u003cbr\u003e 9. Quintet in E, Op. 11, No. 5 - Minuet transc. Stokowski [2:36] \u003cbr\u003e rec. January 28, 1921\u003cbr\u003eVictor 66058, matrix: B-25943-4\u003cbr\u003e \u003cb\u003eMikhail IPPOLITOV-IVANOV (1859-1935) \u003c\/b\u003e\u003cbr\u003e 10. Caucasian Sketches Suite No. 1 - Procession of the Sardar [3:20]\u003cbr\u003e rec. April 29, 1922 \u003cbr\u003eVictor 66106, matrix: B-26442-2\u003cbr\u003e \u003cb\u003eFryderyk CHOPIN (1810-1849) \u003c\/b\u003e\u003cbr\u003e 11. Prelude no 4 in E minor, Op. 28, No. 4 transc. Stokowski [2:15] \u003cbr\u003e rec. November 6, 1922\u003cbr\u003eVictor 1111, matrix: B-26408-7\u003cbr\u003e \u003cb\u003eFelix MENDELSSOHN (1809-1847)\u003c\/b\u003e\u003cbr\u003e 12. A Midsummer Night's Dream - Scherzo [4:30] \u003cbr\u003e rec. November 8, 1917\u003cbr\u003eVictor 74560, matrix: Victor C-21056-4\u003cbr\u003e \u003cb\u003eChristoph Willibald von GLUCK (1714-1787)\u003c\/b\u003e\u003cbr\u003e 13. Orfeo ed Euridice - Dance of the Blessed Spirits [4:43] \u003cbr\u003e rec. November 8, 1917\u003cbr\u003eVictor 74567, matrix: Victor C-21066-1\u003cbr\u003e \u003cb\u003eEmmanuel CHABRIER (1841-1894) \u003c\/b\u003e\u003cbr\u003e 14. España Rhapsody [4:28] \u003cbr\u003e rec. May 9, 1919\u003cbr\u003eVictor 74621, matrix: Victor C-22809-7 \u003cbr\u003e \u003cb\u003eEdgar Stillman KELLEY (1857-1944)\u003c\/b\u003e\u003cbr\u003e 15. Alice in Wonderland - Suite: The Red Queen's Banquet [4:36]\u003cbr\u003e rec. December 31, 1924*\u003cbr\u003eUnissued, Matrix No. C-31625-1\u003cbr\u003e \u003cb\u003eRichard WAGNER (1813-1883) \u003c\/b\u003e\u003cbr\u003e 16. Tannhäuser - Act II: Festmarsch (Entrance of the Guests) transc. Stokowski [3:08]\u003cbr\u003e rec. April 30, 1923*\u003cbr\u003eUnissued, Matrix No. C-27900-4\u003cbr\u003e \u003cb\u003ePyotr Ilyich TCHAIKOVSKY (1840-1893)\u003c\/b\u003e\u003cbr\u003e 17. Symphony No. 6 in B minor, Op. 74 - Scherzo - Part 2 [4:27] \u003cbr\u003e rec. December 4, 1917*\u003cbr\u003eUnissued, Matrix No. C-21230-2\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eRecorded at Camden Church Studio (Victor Building no 22) Camden NJ, USA \u003cbr\u003eexcept tracks 12, 13, 17: \u003cbr\u003eVictor Office Building no 2, Eighteenth Floor Auditorium, Camden, NJ, USA\u003cbr\u003e\u003cbr\u003e*Previously unissued\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLeopold Stokowski, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eThe Philadelphia Orchestra\u003c\/b\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\/PASC471.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC471.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":37537399181,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37537399245,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37537399309,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC471.jpg?v=1494861916"},{"product_id":"pasc476","title":"STOKOWSKI Acoustic, Volume 4 (1919-24) - PASC476","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003eJ. STRAUSS, DVOŘÁK, RIMSKY-KORSAKOV, SAINT-SAËNS, SIBELIUS, BRAHMS, SCHUBERT, MUSSORGSKY, R. STRAUSS, EICHHEIM, PUCCINI, HOFFSTETTER \u003c\/b\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\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\"\u003eAcoustic studio recordings, 1919-1924\u003cbr\u003eTotal duration: 64:44 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eLeopold Stokowski, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: MusicWeb International \u0026amp; Fanfare578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe Blue Danube is truncated to four-and-half-minutes what remains is still very appealing and well recorded for the date, May 1919578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis release is the fourth and final \ninstallment of Pristine’s series devoted to acoustic recordings made by \nLeopold Stokowski and members of the Philadelphia Orchestra. In \nreviewing Volume 3 for 40:2, I expressed some doubts regarding the value\n of acoustic orchestral recordings, since this primitive recording \nprocess was not capable of recording a full orchestra and had to make do\n with a few members of the orchestra clustered around a recording horn. \nThose reservations were only partially assuaged by the earlier disc, \nalthough I had no doubt that Pristine’s remasterings were probably \nbetter in sound than earlier efforts to resuscitate these recordings. \nThat release did contain one item of great historical importance, Sergei\n Rachmaninoff’s 1924 recording of his own Concerto No. 2. As was the \ncase with Volume 3, the selections on this release vary in sound quality\n and in the value of the performances, but there is nothing that matches\n the Rachmaninoff in significance. As before, a notable feature of \nPristine’s restorations is freedom from the wow and flutter that one \nexpects in material of this vintage. Even Pristine’s skilled \nministrations, however, cannot change the fundamental character of these\n early recordings, and it should be immediately clear to the listener \nthat they are acoustics, not electrical recordings. Most of the works on\n the new release are substantially abbreviated in order to fit onto one \nor two 78-rpm sides. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe 1920 Dvořák recording gives us a little more than one-third of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLargo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n movement. Although dynamic and frequency range are predictably limited,\n the sound is smooth and pleasing, and as full as one could hope. \nInstrumental details are clear. Stokowski recorded the complete “New \nWorld” with the Philadelphia in 1925, 1927, and 1934, with the All \nAmerican Youth Orchestra in 1940, with “His” Symphony Orchestra in 1947,\n and finally with the New Philharmonia Orchestra in 1973. The 1920 \nexcerpt is similar to the 1934 recording in its choice of tempo and \nrelative steadiness of tempo, although there is more of an acceleration \nin the minor-key central section in the earlier performance. The 1927 \nrecording is both quicker and more elastic, while the 1940 and 1973 \nreadings are considerably slower—truly glacial, in fact. (I don’t have \nthe 1925 and 1947 recordings.) In Pristine’s restoration of the 1920 \nrecording, one can appreciate the beauty of the playing and Stokowski’s \nexpressive but unexaggerated shaping, only to be disappointed when the \nselection comes to an abrupt end. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe 1921 excerpt from the third movement of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eScheherazade\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (“The Young Prince and the Young Princess”) gives us a bit less than \nhalf the movement. As it opens, it sounds like the sensuous main theme \nis being played by a solo violin rather than the full section. \nOtherwise, the treatment is straightforward, with only hints of \nportamento. When he recorded the complete work with the Philadelphians \nin 1934, Stokowski’s approach in this movement was a bit more mannered, \nwith more extravagant expressive gestures and more pronounced \nportamento. The 1919 “Festival in Baghdad” provides only about a third \nof the movement, skipping the solo violin passages at the beginning and \ncoming to an end well before the shipwreck. The performance is again \nstraightforward and in this case comparatively uneventful. The \ncorresponding passages of the 1934 recording are more exciting, due to \nstronger dynamic stresses and a more strongly projected rhythm. The \nlimited dynamic range of the acoustic recording may be partially \nresponsible for this contrast. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe 1921 recording of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePoco allegretto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n from Brahms’s Third Symphony, although less drastically cut than some \nof the other selections, is not very rewarding. The sound bears little \nresemblance to a full orchestra, and the performance seems prosaic. The \ngain in realism in Stokowski’s 1928 Philadelphia recording of the \ncomplete work (as reissued by Biddulph) is striking, and aside from \nissues of completeness and sound, the 1928 version is a better \nperformance, with more expressive playing and more convincing shaping. \nThe pacing is a bit quicker in the later recording, with elasticity that\n is more pronounced but not excessive. The choppy 1921 solo horn is \noutclassed by its later counterpart. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWith a timing of 7:32, Salome’s “Dance \nof the Seven Veils,” also recorded in 1921, is much less truncated than \nmany of the other selections on the disc, although the opening flourish \nis cut. As is true elsewhere in this collection, the recorded sound \ncomes off best in more heavily scored passages, where the thinness of \nthe ensemble is less evident. Stokowski’s rendition here is more urgent \nand purposeful than sensuous. In his 1959 recording for Everest, with \nthe Stadium Symphony Orchestra (a pseudonym, I believe, of the New York \nPhilharmonic), he employs a more flexible and dramatic approach. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWe get about half of the “Bacchanale” from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSamson et Dalila \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e(recorded 1920) and a bit less than that of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFinlandia\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (recorded 1921), but the performances are urgent and exciting, and the \nsound offers a more convincing image of a full orchestra than in some of\n the other selections. Stokowski performs his own transcription of the \nSchubert’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMoment musicale\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n in F Minor (recorded 1922). The playing here seems rather slack \ncompared to his 1927 Philadelphia remake, which has greater tension, \nalthough the tempos are not much different. Schubert’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGerman Dances\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n D 783 (recorded 1922), was originally a solo piano work, but the \ntranscriber is not named. The complete work manages to fit 16 dances \ninto an 11-minute span (in Alfred Brendel’s 1973 recording on Philips). \nStokowski provides not quite five minutes, and the playing is once again\n surprisingly slack. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOne would expect Stokowski to excel in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBlue Danube\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (recorded 1919), but in the roughly half of the piece he gives us his \nrendition strikes me as mainly brisk and efficient, without much \nshaping, and does not really capture the joyousness of the music. \nPerhaps he was constrained by the cumbersome recording process, although\n as with all of these recordings there were multiple takes in an effort \nto get it right. The eccentricity for which Stokowski was sometimes \nknown makes its appearance in the Brahms \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHungarian Dance\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (recorded 1920), where the main tempo, which is supposed to be \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro molto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n is outlandishly slow. It doesn’t work. Although Brahms himself \norchestrated this piece, Stokowski performs his own transcription, \npresumably from the four-hand piano original. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eKhovanshchina\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n excerpt, labeled here as an Entr’acte, is actually the prelude to act \nIV, scene 2. As it is playing, the disgraced Prince Golitsyn is being \nhauled away to exile. Here, too, Stokowski’s tempo strikes me as too \nslow, although not to the same degree. At this rate, Golitsyn’s journey \nto Siberia will be a very lengthy one. In terms of sound quality, \nthough, this recording is one of the better ones on the disc. This \nselection was recorded in 1922; Stokowski rerecorded the piece with the \nPhiladelphians in 1927 at a virtually identical tempo. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe last three items on the disc, by \nHenry Eichheim, Puccini, and Roman Hoffstetter, have never before been \nreleased, and according to Pristine Stokowski’s 1923 effort is the only \nknown recording of Eichheim’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eChinese Rhapsody\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, which is part of a suite entitled \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOriental Impressions.\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Eichheim (1870–1942) was an American composer, conductor, and violinist\n who took an interest in the music of the Far East and included some \nelements of it in his compositions. This one sounds like it could be \nmusic for an early Hollywood film set in the Far East, and I don’t find \nit of much value. The recording appears to be incomplete, as it \nterminates abruptly. The 1924 excerpt from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMadama Butterfly\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n identified as “Act II: Prelude (Waiting Music),” is actually the \n“Humming Chorus” that ends act II, scene 1 (without, of course, the \nhumming). The Hoffstetter selection, also recorded in 1924, is a \nStokowski arrangement of the familiar \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante cantabile\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n from a string quartet once attributed to Joseph Haydn as his op. 3\/5. \nStokowski here maintains a firm and fairly brisk tempo, avoiding the \ndaintiness and saccharinity with which some musicians of this era \ntreated 18th-century music. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs is often the case with Pristine CD \nreleases, there are some issues with the accompanying printed matter. \nThere is a typo in “Festival at Baghdad” (the “l” in “Festival” is \nomitted). The insert states that previously unissued recordings are \nmarked with an asterisk, but no items are so marked. One must go to the \nPristine web site to discover that the Eichheim, Puccini, and \nHoffstetter pieces are first releases. While the insert for Volume 3 \nindicated the year when each item was recorded, for this release such \ninformation is available only from the web site. A common problem with \nPristine inserts is that the track numbers are very small and faint and \ndifficult for my elderly eyes to make out. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThere can be little doubt that Pristine\n has presented these ancient recordings in the best possible sound, and \nthey offer some listening pleasure, but it is equally clear that their \ninherent limitations in sonic accuracy cannot be completely overcome. \nThat fact, and the fact that most of the selections are heavily cut and \nsome do not show Stokowski at his best, probably limits the appeal of \nthis release to Stokowski completists and those with a strong interest \nin the history of recording. For those not completely committed but \nwishing to give it a try, I would recommend going for Volume 3, because \nof the truly historic Rachmaninoff performance.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDaniel Morrison\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 40:3 (Jan\/Feb 2017) 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\nThe fourth and final volume documenting Stokowski’s acoustic legacy with\n the Philadelphia Orchestra delves back and forth between 1919 and 1924 \nand provides another raft of rare and stimulating music-making (reviews \nof \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2010\/Jan10\/Stokowski_pasc192.htm\"\u003eVolume 1\u003c\/a\u003e ~ \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2015\/Sep\/Stokowski_acoustic_v2_PASC441.htm\"\u003eVolume 2\u003c\/a\u003e ~ \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2016\/Sep\/Stokowski_acoustic_v3_PASC471.htm\"\u003eVolume 3\u003c\/a\u003e).\u003cbr\u003e \u003cbr\u003e\n Again, too, one mustn’t expect much by way of symphonic unity, if one \ncan put it thus. These are bleeding chunks, abridgements and the rare \nintact piece, all products of the recording horn in the days when one \nwas grateful for what one could get. So whilst the Blue Danube is \ntruncated to four-and-half-minutes what remains is still very appealing \nand well recorded for the date, May 1919. The Largo from the \u003cem\u003eNew World\u003c\/em\u003e\n serves to remind one that Stokowski recorded the whole work almost as \nsoon as electric recording appeared, in 1925 and – by one of those \nnow-familiar quirks (look at Albert Coates’ legacy, for instance, or \nHenry Wood’s) - he was to do so again in 1927. These two readings are \npreferable to the 1934 recording but the 1920 torso is revealing for the\n bass reinforcements, the sensitive portamenti and the rather abrupt \ncut-off.\u003cbr\u003e \u003cbr\u003e Thaddeus Rich was a long-serving Philadelphia \nconcertmaster, assuming the role in 1906 and relinquishing it two \ndecades later. Inveterate violin collectors may know he left behind a \nmeasly four solo 78rpm sides for Okeh, but one of them was of some \nFauré, so at least the A\u0026amp;R gurus at that small company showed some \ntaste. He takes the solo in one of the movements from \u003cem\u003eScheherazade.\u003c\/em\u003e\n Another eminent member of the orchestra was that elite player Marcel \nTabuteau whose oboe weaves its exotic and evocative spell in the \u003cem\u003eBacchanale\u003c\/em\u003e from \u003cem\u003eSamson and Dalila\u003c\/em\u003e. Whilst \u003cem\u003eFinlandia\u003c\/em\u003e was subject to the usual cuts it is notable for being the first American recording of the piece but with the \u003cem\u003eAllegretto\u003c\/em\u003e\n from Brahms’s Third Symphony, Stokowski went one better. This is the \nfirst recording of any movement from a Brahms Symphony: April 1921 was \nthe date. Later, as we know, Stokowski was to set down the first \nAmerican cycle of the complete Brahms symphonies.\u003cbr\u003e \u003cbr\u003e Recorded over a luxurious two sides Strauss’ \u003cem\u003eDance of the Seven Veils\u003c\/em\u003e\n offers plenty of opportunities for panache and colour. It’s known that \nthe Philadelphia’s complement in these sessions actually diminished over\n time, so by 1922 the Schubert German Dances was played by an orchestra \nlining up 7-4-3-3 with winds and including a saxophone and contrabassoon\n to get doubling or eking out that all important bass line. The \nperformance of the \u003cem\u003eEntr’acte\u003c\/em\u003e from \u003cem\u003eKhovanschina\u003c\/em\u003e \nactually features an audibly bigger band, and appropriately so, for this\n outstanding reading shows Stokowski’s Russophile antenna quivering with\n power.\u003cbr\u003e \u003cbr\u003e The final three items are all first releases. Both the \nPuccini and Hofstetter – then commonly attributed to Haydn – are very \nwelcome to the official discography but the standout piece is Henry \nEichheim’s \u003cem\u003eChinese Rhapsody\u003c\/em\u003e from his \u003cem\u003eOriental Impressions\u003c\/em\u003e.\n Eichheim was a violinist and had been in the Boston Symphony from \n1891-1912. The rich tapestry of the winds and the rather fearsome \npercussive outburst easily transcend the technology and are heard \nsplendidly in this restoration. Collectors will know that in the 1930s \nStoky recorded the same composer’s \u003cem\u003eBali\u003c\/em\u003e, which can be found in a fascinating \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2002\/Feb02\/Stokowski_PhiladelphiaRarities.htm\"\u003ePhiladelphia Rarities\u003c\/a\u003e disc on Cala.\u003cbr\u003e \u003cbr\u003e\n All good things must come to an end and that’s the case with this \nseries. It’s been well compiled and transferred and has provided \ninvaluable première recordings of rare material. Who could want for \nmore?\u003cbr\u003e \u003cbr\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJonathan Woolf\u003c\/b\u003e\u003cbr\u003eMusicWeb International\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC476.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFinal instalment completing all of Stokowski's extant Philadelphia Acoustic 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 good things must come to an end and that’s the case with this series. \nIt’s been well compiled and transferred and has provided invaluable \npremière recordings of rare material. Who could want for more?\" - \nMusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThis fourth and final volume completes our set of Stokowski's \ncomplete surviving acoustic recordings, and again I'm grateful to Edward\n Johnson, Mark Obert-Thorn and Ward Marston for their assistance in \nsourcing these often rare and, again here in three cases, previously \nunissued recordings. The use of new pitch stabilisation techniques, \nalong with careful re-equalisation and noise reduction, has once again \nmade great strides in bringing us closer to the sound of The \nPhiladelphia Orchestra at the time of its earliest recordings, and \ndespite the massive limitations of the acoustic horn recording process, \nthis is a delightful listen from start to finish.\u003c\/p\u003e\u003cp\u003eOne final bonus: Henry Eichheim's \u003cem\u003eChinese Rhapsody\u003c\/em\u003e, never previously issued in the 93 years since it was recorded, appears here to be a world première release.\u003c\/p\u003e\u003cp\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\u003eJohann STRAUSS II (1825-1899)\u003c\/b\u003e\u003cbr\u003e 1. On the Beautiful Blue Danube (An der schönen, blauen Donau, arr. Stokowski), Op. 314 [4:35]\u003cbr\u003e Recorded May 10, 1919\u003cbr\u003eVictor 74627, matrix: C-22825-4\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eAntonin DVOŘÁK (1841-1904)\u003c\/b\u003e\u003cbr\u003e 2. Symphony No. 9 in E minor, Op. 95 \"From the New World\" - 2nd mvt - largo [4:39]\u003cbr\u003e Recorded May 21, 1920\u003cbr\u003eVictor 74631, matrix: C-24128-4\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eNikolai RIMSKY-KORSAKOV (1844-1908)\u003c\/b\u003e\u003cbr\u003e 3. Scheherazade, Op. 35 - Young Prince and Young Princess [3:45]\u003cbr\u003e Recorded March 25, 1921\u003cbr\u003eVictor 74691, matrix: C-24629-10\u003cbr\u003e 4. Scheherazade, Op. 35 - Festival at Baghdad [4:14]\u003cbr\u003e Recorded May 9, 1919\u003cbr\u003eVictor 74593, matrix: Victor C-22810-4\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eCamille SAINT-SAËNS (1835-1921)\u003c\/b\u003e\u003cbr\u003e 5. Samson et Dalila, Op. 47: Act 3 - Bacchanale [4:16]\u003cbr\u003e Recorded December 6, 1920\u003cbr\u003eVictor 74671, matrix: C-24630-5\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eJean SIBELIUS (1865-1957) \u003c\/b\u003e\u003cbr\u003e 6. Finlandia, Op. 26 [3:52]\u003cbr\u003e Recorded April 18, 1921\u003cbr\u003e Victor 74698, matrix: C-24988-4\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eJohannes BRAHMS (1833-1897)\u003c\/b\u003e\u003cbr\u003e 7. Hungarian Dance No. 1 in G minor transc. Stokowski [3:37]\u003cbr\u003e Recorded May 21, 1920\u003cbr\u003eVictor 1113, matrix: B-24130-3\u003cbr\u003e 8. Symphony No. 3 in F, Op. 90, 3rd mvt. - Poco allegretto [4:16]\u003cbr\u003e Recorded April 18, 1921 \u003cbr\u003eVictor 74722, matrix: C-24125-8\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eRichard STRAUSS (1864-1949) \u003c\/b\u003e\u003cbr\u003e 9. Salome, Op. 54 - Dance of the Seven Veils [7:32]\u003cbr\u003e Recorded December 5, 1921\u003cbr\u003eVictor 74729, 74730, matrices: C-25788-3, C-25789-2\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eFranz SCHUBERT (1797-1828)\u003c\/b\u003e\u003cbr\u003e 10. Moment Musical No. 3 in F minor, D.780 transc. Stokowski [2:18]\u003cbr\u003e Recorded January 28, 1922\u003cbr\u003eVictor 66098, matrix: B-25941-6\u003cbr\u003e 11. German Dances, D.783 [4:42]\u003cbr\u003e Recorded December 4, 1922\u003cbr\u003eVictor 74814, matrix: C-27012-7\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eModest MUSSORGSKY (1839-1881)\u003c\/b\u003e\u003cbr\u003e 12. Khovanshchina - Entr'acte [3:54]\u003cbr\u003e Recorded December 12, 1922\u003cbr\u003eVictor 74803, matrix: C-27069-4\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eHENRY EICHHEIM (1870-1942)\u003c\/b\u003e\u003cbr\u003e *13. Oriental Impressions - 5. Chinese Rhapsody (arr. Stokowski) [5:49]\u003cbr\u003e Recorded May 1, 1923\u003cbr\u003eUnissued, Matrix Nos. B-27909-1\/B-27910-1\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eGiacomo PUCCINI (1858-1921)\u003c\/b\u003e\u003cbr\u003e *14. Madama Butterfly - Act II: Prelude (Waiting music) [3:02]\u003cbr\u003e Recorded 22 December, 1924\u003cbr\u003eUnissued, Matrix No. B-31398-1 or 2\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eRomanus HOFFSTETTER\u003c\/b\u003e (attrib. Haydn, arr. Stokowski)\u003cbr\u003e *15. Quartet in F, Op. 3, No. 5 2nd mvt. - Andante Cantabile    arr. Stokowski [3:03]\u003cbr\u003e Recorded December 31, 1924\u003cbr\u003eUnissued, Matrix No. B-31624-1 or 2\u003cbr\u003e\u003cbr\u003e Recorded at Camden Church Studio (Victor Building no 22), Camden NJ, USA \u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e*Previously unissued\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLeopold Stokowski, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eThe Philadelphia Orchestra\u003c\/b\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\/PASC476.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC476.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":37143706765,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37143706829,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37143706893,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC476_283438c4-475d-4418-be44-24688697eea9.jpg?v=1494336908"},{"product_id":"pasc483","title":"STOKOWSKI Beethoven: Symphony No. 7; Schubert: Symphony No. 8 (1927) - PASC483","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\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 7\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003eSCHUBERT\u003c\/b\u003e  Symphony No. 8 in B minor, ‘Unfinished’\u003cb\u003e\u003cbr\u003eSCHUBERT\u003c\/b\u003e  Moment Musical ∙ \u003cem\u003eRosamunde\u003c\/em\u003e Ballet Music\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\"\u003eStudio recordings, 1927\u003cbr\u003eTotal duration: 74:03\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eLeopold Stokowski, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eThe Philadelphia Orchestra\u003cbr\u003e\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: Fanfare \u0026amp; Audiophile Audition578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fQuite amazing578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eFrom the beginning, as the orchestra’s double \nbasses pour out a deep, rich sound, I suspected that this Schubert \n“Unfinished” was going to caress the ears, but it does more than that—it\n is a model of discreet manipulation of the music’s pulse for expressive\n purposes. At first, it sounds like it’s going to be a slow performance \nbut before long, it has, if anything, become slightly faster than \naverage and remains so throughout except for some modest stretching of \ncadences. There’s an ever-present hiss from the original 78s but I found\n the performance sufficiently absorbing that I was able to ignore it. \nThis 1927 effort was Stokowski’s second recording of the symphony, \nhaving been preceded by a 1924 acoustic one and was eventually followed \nby two more, with other orchestras. As for the Schubert “encores,” they \nare pleasant enough. There are two recordings of the\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Rosamunde\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e excerpt. One of them, a 12-inch 78, was never issued on 78s—the other, also recorded in 1927, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ewas\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e issued on a 10-inch disc and has more repeats cut.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eSpeaking of repeats, here’s the score in the \nBeethoven Seventh for those interested: first movement, no repeat \nobserved; third movement, just the first one; fourth movement, just the \nshorter ones. This performance, also dating from 1927, simply crackles \nwith energy … it’s a good thing sparks can’t fly off the stage for \nthere’s at least figurative electricity up there. It’s generally a fast \nperformance except in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegretto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n which is stretched out to a dirge-like 10-and-a-half minutes, not what \none expects to encounter nowadays. To weaken the shock, let me point out\n that some distinguished colleagues have, at least, approached his \ntempo: Beecham 8:56, Reiner 9:00, Leibowitz 9:17, Walter 9:25, Fricsay \n9:36, Klemperer 10:00. On Stokowski’s later Seventh with the Symphony of\n the Air, the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegretto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e runs a slightly faster 10:18. Anyway, I don’t insist on a pure \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegretto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n and I survived. I suspect that Stokowski, perhaps at Victor’s \ninsistence, seems to be using a cut-down string section. That might \nexplain the remarkable precision with which the strings execute the \nrapid runs in the finale—there’s hardly any blurring at all even at \nStokowski’s headlong tempo. Quite amazing. The performance is preceded \nby an “outline of themes” from it with the maestro himself at the piano.\n The producer, Mark Obert-Thorn explains that Stokowski’s assistant \nconductor, Artur Rodzinski, assumed keyboard duties on two later \noutlines because Stokowski had a habit of turning away from the \nmicrophone as he was about to play the piano.\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e \u003cb\u003eJames Miller  \u003c\/b\u003e\u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\n      \n    \n  \n  \u003cbr\u003e\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\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eProducer and editor Mark Obert-Thorn revitalizes a select group of \n1927 recordings by Leopold Stokowski (1882-1977) with his Philadelphia \nOrchestra, at the time an ensemble whose discipline and homogeneity of \nexecution rivaled the Concertgebouw Orchestra of Amsterdam under \nMengelberg, the Boston Symphony under Koussevitzky, and the Halle \nOrchestra as led by Sir Hamilton Harty.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe first of Stokowski’s recorded interpretations of the Beethoven \u003ci\u003eSeventh Symphony\u003c\/i\u003e\n (6, 15 and 25 April 1927) projects an enthusiastic energy throughout, \nalthough occasionally the vehemence tends to exaggeration. The slow \nfirst-movement introduction enjoys a hearty sense of harmonic drama, \nleisurely in its traversal of three major keys of A, C, and F. The \nensuing\u003ci\u003e Vivace\u003c\/i\u003e carries a restless breadth quite exhilarating. The \u003ci\u003ea minor Allegretto\u003c\/i\u003e\n movement rings tragically true, with fine response in the divided \nstrings and the balanced voices from winds and brass. Stokowski does \nindulge in swoops in the line typical of a Romantic vestige of style.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe sudden eruption of \u003ci\u003eF Major\u003c\/i\u003e for the whirlwind \u003ci\u003ePresto\u003c\/i\u003e\n movement basks in the various sonorities of the Philadelphia players, \nparticularly in the low winds and brass in the two trio episodes. The \n“very much less than fast” designation from Beethoven here carries an \nalmost funereal sensibility in stark contrast to the manic outer \nimpulse. Stokowski wants a Dionysian revel for his \u003ci\u003eAllegro con brio finale\u003c\/i\u003e, and mid-way through we once more hear Stokowski negotiate creamy \u003ci\u003eportamentos\u003c\/i\u003e,\n especially in his high and low strings, almost a parody of rhythmic \nmotion. The dervish-dance gathers a momentum virtually unprecedented \nbefore Beethoven, and the sheer rush continues into the coda, where the \ncomposer builds the tension by pitting pairs of notes against each other\n in chromatic descent. Stokowski urges the mania with diabolic focus, \neasily a frothy companion to the later 1936 New York Philharmonic \nreading with Arturo Toscanini.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe Schubert \u003ci\u003eUnfinished Symphony\u003c\/i\u003e (28, 30 April 1927) projects \ndirectness and lyrico-dramatic tension, though its climaxes tend once \nmore to exaggerated dynamics. The main melody of the \u003ci\u003eAllegro moderato\u003c\/i\u003e\n basks in a sweet serenity that the Philadelphia strings enshrine with \ntheir especial sonority. Stokowski’s tempo remains generally quick, so \ninstilling a virtuoso cast on the performance, again indulging in \nswooped string phrases.  The tragic sensibility of the music retains its\n power and sincerity, despite the added sense of urgency in selected \ntransitions. For the \u003ci\u003eAndante con moto\u003c\/i\u003e, the clarity of the string \nand woodwind line testifies to the remastering process that has \nilluminated the original shellacs. The French horn sonority against the \nstrings, the clarinet and oboe lines, the flute, and the deep basses \nemerge effectively. When the orchestra plays tutti, we hear that \nidiosyncratic “organ” sonority Stokowski cultivated, as though the \nPhiladelphia ensemble were the diapason for a Romantic’s excursion into \nBach.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eProducer Obert-Thorn adds a trilogy of Schubert encores, recorded \nApril – October 1927: Stokowski’s own (syrupy) transcription of the \nlittle \u003ci\u003ef minor Moment Musical\u003c\/i\u003e for solo piano and two versions of the \u003ci\u003eBallet Music No. 2\u003c\/i\u003e from \u003ci\u003eRosamunde\u003c\/i\u003e,\n the latter of which (2 May 1927) derives from a previously unissued \n12-inch pressing, and runs a full minute longer than its official \ncounterpart from 11 October 1927.  Setting the entire stage is a \nmusic-appreciation “Outline of Themes from Beethoven’s \u003ci\u003eSymphony No. 7\u003c\/i\u003e”\n (30 April 1927) with Stokowski’s narration and keyboard examples \nrealized by Stokowski, a feat having only been initiated prior by Walter\n Damrosch for the slow movement of the Beethoven \u003ci\u003eEroica\u003c\/i\u003e.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e—Gary Lemco\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.audaud.com\/beethoven-7th-sym-schubert-8th-sym-encores-philadelphia-orch-stokowski-1927-pristine\/\" target=\"_blank\"\u003eAudiophile Audition\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC483.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eStokowski's 1927 readings of Beethoven and Schubert achieve an ardent, fiery gloss \u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Stokowski\n urges the mania with diabolic focus, easily a frothy companion to the \nlater 1936 New York Philharmonic reading with Arturo Toscanini\" - \nAudiophile Audition\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cspan\u003eLeopold Stokowski is not usually associated with the Viennese \nClassical repertoire; yet, there were certain composers and works to \nwhich he returned time and again throughout his career.  While he only \nmade one commercial recording of a Haydn symphony and only one movement \nof a Mozart symphony, his Beethoven discography is more substantial.  \nThe Seventh Symphony was a work he recorded three times.  The present \nversion is his first, and is prefaced by a discussion of themes by the \nconductor.  \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThis was not the first time such a venture into music \nappreciation had been attempted; two months earlier, Walter Damrosch had\n recorded a similar analysis of the “Eroica” Funeral March (reissued on \nPristine PASC 395).  At the same session, Stokowski recorded an outline \nfor the Brahms First Symphony, and later that year would record two \nmore, for the Franck Symphony and the Dvořák “New World”.  In the latter\n two recordings, an uncredited Artur Rodzinski would serve as the \npianist, as Stokowski tended to turn away from the microphone while \nstill speaking in order to play his excerpts.  The talk sides were only \nreleased in the USA, although a Spanish-language version recorded with \nanother speaker was prepared for the South American market.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThere are few Stokowskian exaggerations in the performance of \nthe symphony itself, the most notable being the distended, swooping \nportamenti employed midway through the final movement.  On the whole, it\n is a reading of immense vitality and rhythmic propulsion, aided by \nplaying which was on a level far above what every orchestra other than, \nperhaps, Mengelberg’s Concertgebouw was presenting on records at the \ntime.  A classic account, it ranks with Toscanini’s New York \nPhilharmonic version as one of the finest ever committed to disc.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eFor Schubert’s “Unfinished”, Stokowski and his Philadelphians \nwere returning to a work they had previously set down acoustically \nalmost exactly three years earlier (Pristine PASC 441).  The new \nelectrical process better conveys the burnished sheen of the strings in a\n swiftly-flowing reading which alternates lyricism with explosive \noutbursts.  As with the Beethoven, Stokowski would go on to re-record \nthis work two more times during his long career.  The Schubert encores \nwere also favored by the conductor in later recordings.  The 12-inch, \nlonger version of the \u003cem\u003eRosamunde\u003c\/em\u003e Ballet Music was not first \nreleased until late in the LP era, having been re-recorded later in the \nyear by a 10-inch version with more repeats cut.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe sources for the transfers were “Z” and “Gold”-label pressings, with vinyl tests used for the unissued \u003cem\u003eRosamunde\u003c\/em\u003e\n side as well as the last side of the first movement of the Beethoven.  \nThe first side of that same movement came from a first edition \n“Orthophonic” pressing.  Later copies on quieter shellac use a sonically\n inferior dubbing which was substituted to avoid blasting.  This \nmarginally-noisier side has been treated to a light decrackling, and all\n the sides have had their original rising pitches stabilized using \nCelemony Capstan software.  I have opted to keep the upper frequencies \nwide open, so as to reveal as much detail as possible.  As one can hear \non the two sides which come from vinyl pressings, there is a good deal \nof hiss inherent in the original recordings that is not a function of \nthe generally quiet shellacs used for the transfers.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eMark Obert-Thorn \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\u003cp\u003e\u003cspan\u003e\u003cb\u003eOutline of Themes from Beethoven’s Symphony No. 7\u003cbr\u003eLeopold Stokowski (speaker and pianist)\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003eRecorded 30 April 1927 in the Victor Studios, Camden, New Jersey\u003cbr\u003eMatrix no.:  CVE 38605-2\u003cbr\u003eFirst issued on Victor 6669 in album M-17\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003eBEETHOVEN:  Symphony No. 7 in A major, Op. 92\u003c\/b\u003e\u003cbr\u003eRecorded 6, 15 \u0026amp; 25 April 1927 in the Academy of Music, Philadelphia\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eMatrix nos.:  CVE 37470-2, 37474-2, 37475-1, 37476-2, 37477-2, 37478-2, 37479-2, 37480-2, 37481-2 \u0026amp; 37482-1\u003cbr\u003eFirst issued on Victor 6670 through 6674 in album M-17\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003eSCHUBERT:  Symphony No. 8 in B minor, D759, ‘Unfinished’\u003cbr\u003e\u003c\/b\u003eRecorded 28 \u0026amp; 30 April 1927 in the Academy of Music, Philadelphia\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eMatrix nos.:  CVE 29052-6, 29053-6, 29054-6, 29055-6, 29056-7 \u0026amp; 29057-7\u003cbr\u003eFirst issued on Victor 6663 through 6665 in album M-16\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003eSCHUBERT (orch. Stokowski):  Moment Musicale No. 3 in F minor, D780\u003c\/b\u003e\u003cbr\u003eRecorded 6 April 1927 in the Academy of Music, Philadelphia\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eMatrix no.:  BVE 25941-8 ∙ First issued on Victor 1312-A\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003eSCHUBERT:  \u003cem\u003eRosamunde\u003c\/em\u003e, D797 – Ballet Music No. 2\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eRecorded 11 October 1927 in the Academy of Music, Philadelphia\u003cbr\u003eMatrix no.:  BVE 37497-1 ∙ First issued on Victor 1312-B\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003eSCHUBERT:  \u003cem\u003eRosamunde\u003c\/em\u003e, D797 – Ballet Music No. 2\u003c\/b\u003e\u003cbr\u003eRecorded 2 May 1927 in the Academy of Music, Philadelphia\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eMatrix no.:  CVE 37497-2 ∙ Unissued on 78 rpm\u003cbr\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003eThe Philadelphia Orchestra ∙ Leopold Stokowski\u003c\/b\u003e\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\/PASC483.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC483.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":32417825677,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps MP3","offer_id":32417825805,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC483_c8758bd0-7826-4c80-b493-5d7f63ad66ec.jpg?v=1487682625"},{"product_id":"pasc442","title":"STOKOWSKI CD Premières: Purcell, Tchaikovsky, Wagner (1941-50) - PASC442","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\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Tannhäuser – Overture and Venusberg Music ∙ Prelude to Act 3; Tristan und Isolde – Prelude and Liebestod (First Release)\u003cbr\u003e\u003cb\u003ePURCELL-STOKOWSKI \u003c\/b\u003e “When I am laid in earth” (Dido and Aeneas)\u003cbr\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Andante cantabile from Symphony No. 5; Dance of the Sugar Plum Fairy from The Nutcracker\u003cbr\u003e\u003cb\u003ePROKOFIEV\u003c\/b\u003e  Three excerpts from The Love for Three Oranges\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\"\u003eStudio recordings, 1941-50\u003cbr\u003eTotal duration: 65:02  \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eLeopold Stokowski, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eNew York City Symphony Orchestra\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eNBC Symphony Orchestra\u003cbr\u003e\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is a performance that needs to be heard by any Wagnerite578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs producer and restoration engineer \nMark Obert-Thorn notes in his booklet note, this release takes us one \nstep closer to having every last note recorded by Leopold Stokowski \navailable on CD. (His recording of Panufnik’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eUniversal Prayer\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n remains at large, and presumably will remain so until 2041, when it \nenters the public domain.) This is excellent news for Stokowski \ncompletists, and good news for his many admirers. For everyone one else \nreading this headnote, they might be taken aback by the grab-bag nature \nof this release, which features an odd assortment of works, some of them\n in incomplete recordings. \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\"\u003eTristan\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n excerpts, recorded in 1945, are accidentally incomplete, one assumes. \nApparently this comes from a two-disc test pressing, and the second disc\n (which would include the second and third sides) was either broken or \nhas not been found. Thus, we get the first half of the Prelude and the \nsecond half of the Liebestod. Stokowski’s music-making is white hot, but\n you have to be fairly dedicated to put up with such bleeding chunks, \nwhich are even more bloody than usual. The excerpt from the second \nmovement of Tchaikovsky’s Fifth (the movement’s second half, roughly) is\n a result of it having been featured in the 1947 film \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCarnegie Hall\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n It was intended more for movie-goers than for serious music lovers (not\n that the two groups can’t intersect).Too bad, because it’s an excellent\n performance, even though it is incomplete. The “Dance of the Sugar Plum\n Fairy” (Walter Hendl on celesta!) seems to have been a “B side” to a \n1949 recording of Mozart’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSleigh Ride\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n The tempo is luxuriously slow, and the effect is most seductive, \nespecially if you have a venereal sweet tooth. Stokowski’s arrangement \nof Purcell also makes Dido sound hot and bothered; “When I am laid” \nindeed! Obert-Thorn guesses that the cello soloist here, in this \nrecording from 1950, is Leonard Rose. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Prokofiev excerpts were recorded in\n 1941 in New York’s “Cosmopolitan Opera House.” (Really?) The March has \nbeen on CD before, but not the other two movements. “The Prince and the \nPrincess” languish with searing intensity, and so this is another \nworthwhile albeit incomplete find. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI’ve saved the best for last. The excerpts from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTannhäuser\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n date from 1950 and feature the conductor and his musicians at the top \nof their form; even the women’s chorus (unidentified) in the Venusberg \nMusic makes a memorable contribution. Although the music-making has a \nsweeping, theatrical spontaneity, one also senses Stokowski’s brain \nticking away as he deploys one gorgeous effect after another. Unless you\n like Wagner to be boring and sedate, this is a performance that needs \nto be heard by any Wagnerite, perfect of otherwise. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eObert-Thorn’s transfers probably get \neverything out of the source material that there is to be gotten; they \nsound remarkable for their age. But then again, so did Stokowski. \nScraping the bottom of the barrel? Well, maybe, but what happy \nscrapings!\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eRaymond Tuttle\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:2 (Nov\/Dec 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC442.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFabulous Stokowski recordings unheard for decades\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"They sound remarkable for their age. But then again, so did Stokowski\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cspan\u003eWith the publication this month of a Music \u0026amp; Arts set \ndevoted to all of Stokowski’s recordings with the All-American Youth \nOrchestra and Hollywood Bowl Symphony Orchestra that had not yet been \nreissued on CD, the number of the conductor’s post-acoustic era output \nin that category has been greatly reduced.  The present release brings \ntogether all but one of the remaining such recordings, and adds a first \nrelease.  (The single holdout is Stokowski’s 1970 Unicorn LP of \nPanufnik’s \u003cem\u003eUniversal Prayer\u003c\/em\u003e, which will not enter the public domain until 2041.)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe original labels of most of the items featured here credited\n “Leopold Stokowski and his Symphony Orchestra”, a pickup ensemble with \nwhich the conductor recorded almost exclusively for his RCA sessions \nfrom 1947 through 1953.  It has always been known that during these \nyears, it consisted of members of the New York Philharmonic (which \nrecorded exclusively for rival label Columbia at the time), the NBC \nSymphony, and top New York freelancers.  But what critic and \ndiscographer James H. North brought to light in an article published in \nthe Spring, 2013 issue of the \u003cem\u003eARSC Journal\u003c\/em\u003e was the actual mix of personnel:   Philharmonic members and freelancers far outweighed NBC players in participation.  The \u003cem\u003eTannhäuser\u003c\/em\u003e\n selections which begin our program provide a case in point:  All of the\n players came from the New York Philharmonic except freelance oboist \nRobert Bloom.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eFor all the various arrangements of music from \u003cem\u003eTristan\u003c\/em\u003e\n that Stokowski recorded over his career, it is remarkable that he made \nonly a single published version of the “standard” Prelude and Liebestod,\n and that only in 1973, toward the end of his career.  The previously \nunissued recording presented here was made with the New York City \nSymphony, an ensemble that Stokowski created in 1944.  Only the first \nand last sides of the set survive in test pressings, but they are enough\n to indicate the white-hot intensity of Stokowski’s performance.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe cello soloist in Stokowski’s deeply-felt Purcell \ntranscription is most likely Leonard Rose, who was listed as the first \nchair at that session.  The foreshortened single movement from the \nTchiakovsky Fifth is a souvenir of the conductor’s appearance in the \n1947 film, \u003cem\u003eCarnegie Hall\u003c\/em\u003e, in which he led this music.  The \nrecording of the “Dance of the Sugar Plum Fairy” which was issued on \nsingle 78 and 45 rpm discs coupled with Mozart’s “Sleigh Ride” has often\n incorrectly been thought to come from Stokowski’s 1950 recording of the\n entire \u003cem\u003eNutcracker\u003c\/em\u003e Suite, but it predates it by a year.  The celesta soloist here is future conductor Walter Hendl.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe Prokofiev selections with the NBC Symphony were originally \nrecorded on three separate 12-inch matrices and then were dubbed to two \nsides.  I was lucky to be able to work from undubbed vinyl test \npressings for the “Infernal Scene” and “March”, but had to use the \nsonically-compromised dubbed shellac release for “The Prince and the \nPrincess”.  While the March has appeared on CD previously, it is now \njoined to the other movements to conclude our program of “firsts”.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eMark Obert-Thorn (April 2015)\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            \u003cb\u003eWAGNER:\u003c\/b\u003e  Tannhäuser\u003cbr\u003e\u003cbr\u003e\u003cb\u003e \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e1          \u003cb\u003eOverture and Venusberg Music                                     \u003c\/b\u003e                                   \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e2          \u003cb\u003ePrelude to Act 3*                                                                                                    \u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e            Recorded 1 and 15 February 1950 in Manhattan Center, New York City\u003c\/p\u003e\u003cp\u003e            First issued on RCA Victor LM-1066 and *WDM-1383\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eWAGNER:\u003c\/b\u003e  Tristan und Isolde\u003c\/p\u003e\u003cp\u003e3          \u003cb\u003ePrelude to Act 1 (beginning)\u003c\/b\u003e                                                                              \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e4          \u003cb\u003eLiebestod (conclusion)\u003c\/b\u003e                                                                                       \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            Recorded 2 March 1945 in Manhattan Center, New York City\u003c\/p\u003e\u003cp\u003e            Matrix nos.:  D5-RC-866-2A \u0026amp; 869-1A                            \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            Previously unpublished\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e5          \u003cb\u003ePURCELL\u003c\/b\u003e (trans. Stokowski):  \u003cb\u003e“When I am laid in earth\u003c\/b\u003e” from Dido and Aeneas\u003c\/p\u003e\u003cp\u003e            Recorded 8 August 1950 in Manhattan Center, New York City\u003c\/p\u003e\u003cp\u003e            First issued on RCA Victor LM-1875\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e6          \u003cb\u003eTCHAIKOVSKY:\u003c\/b\u003e  Symphony No. 5 in E minor, Op. 64\u003c\/p\u003e\u003cp\u003e           \u003cb\u003e 2nd Mvt.:  Andante cantabile, con alcuna licenza\u003c\/b\u003e (abridged)                         \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            Recorded 26 February 1947 in the Lotos Club, New York City\u003c\/p\u003e\u003cp\u003e            Matrix nos.:  D7-RC-7330 and 7331\u003c\/p\u003e\u003cp\u003e            First issued on RCA Victor 11-9574\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e7          \u003cb\u003eTCHAIKOVSKY:  Dance of the Sugar Plum Fairy\u003c\/b\u003e from The Nutcracker\u003c\/p\u003e\u003cp\u003e            Recorded 2 March 1949 in Manhattan Center, New York City\u003c\/p\u003e\u003cp\u003e            Matrix no.:  D9-RB-244\u003c\/p\u003e\u003cp\u003e            First issued on RCA Victor 10-1487\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e            \u003cb\u003ePROKOFIEV:  \u003c\/b\u003eThe Love for Three Oranges, Op. 33\u003c\/p\u003e\u003cp\u003e8          \u003cb\u003eInfernal Scene \u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e9          \u003cb\u003eThe Prince and the Princess   \u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e10      \u003cb\u003e  March    \u003c\/b\u003e  \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            Recorded 27 November 1941 in the Cosmopolitan Opera House, New York City\u003c\/p\u003e\u003cp\u003e            Matrix nos.:  CS-071264-1, 071266-1R \u0026amp; 071265-1A\u003c\/p\u003e\u003cp\u003e            First issued on Victor 18497\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eTracks 1, 2, 5 – 7: Leopold Stokowski and his Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e            Tracks 3 - 4:  New York City Symphony Orchestra ∙ Leopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e            Tracks 8 – 10:  NBC Symphony Orchestra ∙ Leopold Stokowski\u003c\/b\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\/PASC442.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC442.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":31975993613,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31975993677,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC442_e998b253-2dad-431e-a148-e1a5c3d70677.jpg?v=1487682628"},{"product_id":"paco071","title":"STOKOWSKI Puccini: Turandot (1961) - PACO071","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\u003ePUCCINI \u003c\/b\u003eTurandot \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\"\u003eBroadcast performance, 1961\u003cbr\u003eTotal duration: 1hr 58:41\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 class=\"body\" style=\"font-size: 14px;\"\u003eBirgit Nilsson\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003e Turandot\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\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 class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003eAnna Moffo\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003e Liù\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\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 class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\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 class=\"body\" style=\"font-size: 14px;\"\u003eFranco Corelli\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003e Calaf\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\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 class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003eChoir and Orchestra of the Metropolitan Opera, New York\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\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 class=\"body\" style=\"font-size: 14px;\"\u003eLeopold Stokowski\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003e, conductor\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIf one wants a souvenir of a great night at the opera, this new Pristine release will do quite nicely; it’s also superior to many of the studio recordings578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAlthough she seems to have fought a \nlosing battle over the issue, Rosa Raisa, Puccini’s personal choice to \nsing the title role at the premiere of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTurandot\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n insisted that neither Puccini nor Toscanini, who conducted the \npremiere, pronounced the final “t” in the title. Given how the text is \nlaid out, this makes sense to me. After all, one of the advantages of \nItalian when it comes to singing is all those words that end in vowels. \nAnyway, I just thought I’d bring this up before I dealt with the \nrecording in question. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI was prepared to be disappointed by \nthis 1961 Met broadcast, which was the next performance after the \nproduction’s acclaimed premiere. I had not heard the broadcast but I did\n attend several of the subsequent performances and found them sloppy and\n sluggish a good bit of the time. The Met’s original choice to conduct \nits new production of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTurandot\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n was Dimitri Mitropoulos, but his death in 1960 forced general manager \nRudolf Bing to cast about for another conductor, preferably a famous \none. Fortunately Leopold Stokowski was available and amenable, but \nseveral weeks before the first performance, the conductor broke his hip \nplaying with his sons. Determined to meet his commitment, Stokowski made\n his way to the podium on crutches and, seated, conducted all the \nperformances at the house; with the exception of those in Boston, tour \naudiences heard the opera conducted by Kurt Adler, the Met’s chorus \nmaster. Claiming that none of the orchestration of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTurandot\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n was in Puccini’s hand, Stokowski said that he had to hold down the \nvolume as much as he could because the orchestration was too thick when \naccompanying the singers (but too thin when it wasn’t). He even wrote to\n Puccini’s publisher, Ricordi, asking for a duplicate of the original \nautograph score so he could “correct” all the “mistakes” in his. In any \nevent, whatever he may have done, I heard orchestral colors and details \nthat I did not remember hearing before, to the opera’s advantage. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSome choristers and soloists (including\n Nilsson) later claimed that they had difficulty following him (my \nimpression at the performances I attended), but he and Corelli \napparently got along fine and the tenor reputedly considered Stokowski, \nalong with Herbert von Karajan and Antonino Votto, to be one of his \nthree favorite conductors. Calaf was, more or less, Corelli’s signature \nrole, one in which his dashing appearance and ringing high notes really \ncounted for something. Although Stokowski praised Franco Alfano’s \ncompletion of the opera, he still makes the “authorized” (by whom?) cut \nin the duet because “we do not come to the final dénouement soon enough.\n With the cut we come straight to it, and after that there is wonderful \nmusic right to the end of the third act.” He also makes all three \nstandard cuts in the Ping\/Pang\/Pong scene of act II. Some tempos might \nhave gone a bit faster but there’s enough animation for me and some \nimpressive, majestic moments. I wonder if he actually did make \n“adjustments.” In his case, there’s ample precedent for it. Some things,\n to be sure, would have been cleaned up if this had been a studio \nrecording. In the love duet, for example, Corelli and Stokowski are \nsimply not on the same page, and this could be the tenor’s congenital \nsloppiness—there’s ample precedent for that, too. The passage near the \nend of act II when Nilsson’s voice cuts through the full chorus and \norchestra is impressive here, but in the house it was simply stunning, a\n truly great operatic thrill. Anna Moffo is an almost ideal Liù. Is it \npossible to have a voice that might be described as “silvery” and yet \n“meltingly beautiful”? Soft, floating \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epianissimos\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n and smooth volume control were part of her vocal arsenal then, too. If \nonly she could have sounded like this for another dozen years! Timur is a\n passive role and a good one for Bonaldo Giaiotti, the unimaginative \npossessor of a deep, mellow bass voice. The Ping, Pang, and Pong are \nably handled by Frank Guarrera, Robert Nagy, and Charles Anthony; too \nbad Stokowski didn’t let them do their entire act II scene. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eIt was inevitable that Nilsson and \nCorelli would make a studio recording of the opera and they finally did,\n but even that one was beset by problems. The original choice to conduct\n the recording, John Barbirolli, refused to work with Corelli. His \nsubstitute, Francesco Molinari-Pradelli, was hardly a Corelli favorite \nand reputedly had disputes with other singers, including Renata Scotto, a\n last-minute substitute for Mirella Freni, who was ill and unable to \nsing Liù. Nilsson, who had been appearing at Bayreuth, showed up just as\n the aggravated Corelli was ready to bug out of the recording sessions \nearly, which he, in fact, did. As a result, the final duet was recorded \nwith Turandot and everyone else in Milan and Calaf, on headphones, in \nLondon. Nilsson later complained that “he mastered the dynamics the way \nhe wanted. And that is why you can’t hear my big notes there, because \nhis are way too overpowering.” Ah, singers! Nevertheless, if I had to \nchoose between the two recordings, my choice would be the EMI because I \nthink Nilsson and (especially) Corelli sing a bit better for \nMolinari-Pradelli (whether they liked him or not) than they did for \nStokowski, and Scotto, if she can’t melt like Moffo, is, nevertheless, \nan outstanding Liù. It’s a tighter performance than Stokowski’s and \nthere is, after all, stereo, less gain-riding, and no audience or stage \nnoise. On the other hand, if one wants a souvenir of a great night at \nthe opera, this new Pristine release will do quite nicely; it’s also \nsuperior to many of the studio recordings but not to those of \nMolinari-Pradelli, Leinsdorf, Mehta, and Serafin. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames Miller\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 35:6 (July\/Aug 2012) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO071.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eStokowski's trimphant debut - aged 78 - at the New York Metropolitan Opera\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eNilsson and Corelli fabulous in this knockout performance of Turandot!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eAs I was writing the editorial for our newsletter of 6th January, \n2012, I was listening through to the work-in-progess version of \nStokowski's 1961 Met Opera \u003cem\u003eTurandot\u003c\/em\u003e. It was going on quite nicely in the background and, to be honest, my concentration was elsewhere.\u003cbr\u003e \u003cbr\u003e Then the famous opening bars of \u003cem\u003eNessun Dorma\u003c\/em\u003e\n began to play, and Franco Corelli began to sing. It was the first time \nI'd heard him sing this aria, and the performance completely overwhelmed\n me. My eyes filled with tears and the lump in my throat threatened to \nchoke me. I had to stop what I was doing and leave the room to gather \nmyself back together. Clearly the audience were also moved - to such \nadulation that Stokowski was forced to stop the orchestra and calm them \ndown, before going back a line or two and picking up again.\u003cbr\u003e \u003cbr\u003e I'm\n relieved that this hasn't happened to me before when remastering \nrecordings for Pristine. It's a terrible handicap! When it came to \nworking closely on that particular section I had to stop and start a \ngood number of times, trying my best to tune out of the music and listen\n to the noise of clumping feet I was aiming to remove.\u003cbr\u003e \u003cbr\u003e It is of\n course an aria that I know well - there can be few British males over \nthe age of 30 who don't associate it equally with the Football World Cup\n of 1990, which took place in Italy and meant we heard Pavarotti singing\n it before every match on TV. But it's not the memory of yet another \npainful moment on the pitch for the England players which causes this \nreaction - other performances don't seem to have the same effect. But \nthe magical combination of singer, conductor, orchestra and occasion in \nthat Met Opera performance just seems to push the big button marked \n\"blub\" in me, and I don't know why.\u003cbr\u003e \u003cbr\u003e How can a few lines of music be so immediately emotionally powerful?\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\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 Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003eTurandot \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Broadcast performance, March 4, 1961, with announcements by Milton Cross\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003eTHE CAST\u003cbr\u003e (in order of vocal appearance)\u003cbr\u003e \u003cb\u003eA Mandarin\u003c\/b\u003e \u003cem\u003e(baritone)\u003c\/em\u003e - \u003cb\u003eCalvin Marsh\u003c\/b\u003e\u003cbr\u003e \u003cb\u003eLiù\u003c\/b\u003e, a young slave girl (\u003cem\u003esoprano\u003c\/em\u003e) - \u003cb\u003eAnna Moffo\u003c\/b\u003e\u003cbr\u003e \u003cb\u003eCalaf\u003c\/b\u003e, the Unknown Prince \u003cem\u003e(tenor)\u003c\/em\u003e - \u003cb\u003eFranco Corelli\u003c\/b\u003e\u003cbr\u003e \u003cb\u003eTimur\u003c\/b\u003e, his aged father, exiled king of Tartary \u003cem\u003e(bass)\u003c\/em\u003e - \u003cb\u003eBonaldo Giaiotti\u003c\/b\u003e\u003cbr\u003e \u003cb\u003ePrince of Persia\u003c\/b\u003e \u003cem\u003e(non-singing role)\u003c\/em\u003e - \u003cb\u003eEdilio Ferraro\u003c\/b\u003e\u003cbr\u003e \u003cb\u003ePing\u003c\/b\u003e, the Grand Chancellor \u003cem\u003e(baritone)\u003c\/em\u003e - \u003cb\u003eFrank Guarrara\u003c\/b\u003e\u003cbr\u003e \u003cb\u003ePang\u003c\/b\u003e, the General Purveyor (\u003cem\u003etenor)\u003c\/em\u003e - \u003cb\u003eRobert Nagy\u003c\/b\u003e\u003cbr\u003e \u003cb\u003ePong\u003c\/b\u003e, the Chief Cook \u003cem\u003e(tenor)\u003c\/em\u003e - \u003cb\u003eCharles Anthony\u003c\/b\u003e\u003cbr\u003e \u003cb\u003eEmperor Altoum\u003c\/b\u003e of China \u003cem\u003e(tenor\u003c\/em\u003e) \u003cb\u003e - Alessio de Paolis\u003c\/b\u003e\u003cbr\u003e \u003cb\u003ePrincess Turandot\u003c\/b\u003e, his daughter (\u003cem\u003esoprano)\u003c\/em\u003e - \u003cb\u003eBirgit Nilsson\u003c\/b\u003e\u003cbr\u003e \u003cb\u003e\u003cbr\u003e Choir and Orchestra of the Metropolitan Opera, New York\u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003eProduction designed by \u003cb\u003eCecil Beaton\u003c\/b\u003e\u003cbr\u003e Metropolitan Opera Chorus Master \u003cb\u003eKurt Adler\u003c\/b\u003e\u003cbr\u003e Associate Chorus Master \u003cb\u003eThomas P Martin\u003c\/b\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cb\u003e \u003cbr\u003e Leopold Stokowski \u003c\/b\u003econductor \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBroadcast performance, 1961\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, January 2012\u003cbr\u003e Cover artwork based on a photograph of Corelli, Nilsson \u0026amp; de Paolis in Turandot at the Metropolitan Opera\u003cbr\u003eTotal duration: 1hr 58:41\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\/PACO071.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO071.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fContemporary Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"body\"\u003e\"For Stokowski (the musical saviour of a situation \njeopardized by Dimitri Mitropoulos's death last fall), this was more \nthan the crown of his long musical career in New York - it was the \ncorona. Because of a back injury sustained some weeks ago, he was barely\n able to reach the conductor's desk on crutches - a slow trek made to a \nrising clamor of applause and bravos - but, once in place, he was all \nauthority and impulse, dominating the scene with the assurance that \ncomes from complete command.\u003c\/p\u003e\u003cp class=\"body\"\u003eIt should be emphasized that the sonorities Stokowski \nachieved, whether ear-pounding or gossamer, were always sonorities, not \nnoise, which supported and blended with the strong voices at his command\n rather than opposing them. There was aural drama in Birgit Nilsson's \ndeployment of her jet-like sound to cope with the inhumane range and \npower Puccini demands of Turandot.\u003c\/p\u003e\u003cp class=\"body\"\u003eIn Anna Moffo, Liu had an interpreter of equal, if \nopposite, qualifications to Nilsson's Turandot, a figure of humility and\n tenderness whose vocal freshness and artistic response to Stokowski's \nshaping influence provided a touching balance to the Princess of \"fire \nand ice.\"\u003c\/p\u003e\u003cp class=\"body\"\u003eHow Franco Corelli might perform under a less resolute \nmaestro than Stokowski may be proved soon enough; but this time his \nprodigious power was all at the service of the score.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe evening was a memorable theatrical experience ... It\n became a historic one, musically, through the pulsing splendor of \nvocalism sustained without flaw to the final ringing climax of Act III, \nwhen dawn broke on the scene and on Turandot's emotional life.\"\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eSaturday Review (11 March 1961) by Irving Kolodin\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\"When Turandot is as magnificently performed as it was \nat the Metropolitan Opera House, it is a breathtaking spectacle. The \nconducting of Leopold Stokowski, who got to the podium on crutches (he \nis still recovering from a serious accident to his hip), is \nextraordinarily dashing and vivid, and the cast is of such high quality \nthat few opera houses in the world could touch it. Birgit Nilsson belts \nout her powerful tones with rare brilliance. Franco Corelli is an ideal \nCalaf - handsome, virile and vocally splendid. And Anna Moffo is a \nperfect Liu, touchingly lyric in voice and very beautiful to look at. \nThe lesser characters are played with individuality and spirit, the \nchorus sings superbly, and all the trimmings are handled with polished \nartistry. Though Turandot may not be Puccini's greatest opera, its \nproduction at the Met is certainly one of the greatest shows to be seen \ncurrently on Broadway.\"\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eThe New Yorker (4 March 1961) by Winthrop Sargeant\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\"Turandot is Puccini's most fascinating opera and the \nnew production does it justice. Its master is Leopold Stokowski, who \nmade a brilliant Met debut at 78 and on crutches (he is recovering from a\n broken hip). Having always been a theatrical conductor in the concert \nhall, he seemed completely at home in the theatre, drawing all the \nscore's turbulence from the orchestra without trying to make it the star\n of the show at the singer's expense.\u003c\/p\u003e\u003cp class=\"body\"\u003eNewcomer Franco Corelli, as the prince who stakes his \nlife on winning the cold Turandot, is as handsome as any tenor who ever \nwalked the Met stage and has a big, bronze voice that he can fling forth\n most of the time without strain. Anna Moffo, as Liu, makes the part far\n more than the usual sweet rag doll: singing with impeccable beauty of \ntone but also with surprising force, she gives the character backbone, \nthus rendering plausible the scene in which she chooses to die rather \nthan to betray Calaf. Beyond a doubt, it is soprano Nilsson who \ndominates the production. The famed second act aria, In questa reggia, \nand the whole scene that follows, is one of the most difficult \nhalf-hours in all opera. Nilsson's voice was unshakable. She was never \nshrill and her crystal voice was hard without harshness, cutting without\n hurting, thus embodying the ultimate paradox of Turandot.\"\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eTime (3 March 1961)\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\"As he slowly made his way on crutches down in the pit, \nthe Metropolitan Opera House exploded into a standing ovation for \nLeopold Stokowski who was, at 78, finally making his debut as a Met \nconductor. As Turandot, Birgit Nilsson poured forth such a flood of \nsoaring, stabbing top notes that the ear rang in disbelief. Franco \nCorelli, the company's handsome new 36-year-old Italian singer, looked \nlike a prince who might sweep a lady off her feet, and he sang like one,\n too. When asked after the performance how he felt about the tumultuous \nevening, Stokowski replied: \"Really great music, written from the heart.\n I felt it went to the hearts of those who were listening.\" Was he \nunduly tired after such an exacting ordeal? \"No,\" he said softly, \n\"conducting never tires. You give much, but you receive more.\"\"\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eNewsweek (6 March 1961)\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":"Ambient Stereo 24-bit FLAC","offer_id":33843764813,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":33843764877,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":33843765005,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":33843765069,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO071.jpg?v=1489153839"},{"product_id":"pasc402","title":"The Music of Harl McDonald, Volume 1 (1935-41) - PASC402","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\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMCDONALD \u003c\/b\u003eSymphony No. 1 etc.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr style=\"font-size: medium;\"\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\"\u003eStudio Recordings · 1935-1941\u003cbr\u003eTotal duration: 72:06\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eEugene Ormandy · Leopold Stokowski · Harl McDonald\u003c\/b\u003e\u003cb\u003e\n\u003c\/b\u003e\u003cdiv\u003e\n\u003cbr\u003e\u003cb\u003eThe Philadelphia Orchestra\n\u003c\/b\u003e\u003cdiv\u003e\u003cb\u003eSerge Koussevitzky\u003c\/b\u003e\u003c\/div\u003e\n\u003cb\u003e\n\u003c\/b\u003e\u003cdiv\u003e\u003cb\u003eBoston Symphony Orchestra\u003c\/b\u003e\u003c\/div\u003e\n\u003cp data_liveedit_tagid=\"000000000D775340\"\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\/p\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fA composer of great gifts marvelously realized ... music that charms our lives and lightens our existence578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis is an exceptionally valuable \nrelease. How is it that an American composer whose music was recorded by\n Stokowski, Ormandy, and Koussevitzky fades from consciousness? I could \nfind only two available recordings of Harl McDonald’s compositions made \nin almost the last 60 years. Based on the contents of the present CD, \nthis is a grave injustice. McDonald was born on a cattle ranch near \nBoulder, Colorado in 1899, and his music compares quite favorably with \nthat of another western-born Romantic composer, Howard Hanson. The most \nprominent positions McDonald held were head of the music department at \nthe University of Pennsylvania and, for 16 years, manager of the \nPhiladelphia Orchestra. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eMcDonald’s music is agreeably tonal and\n rich in color. He is a master of orchestration, with a palette that \nalternately is delicate, earthy, and kaleidoscopic. The works on this CD\n generally are programmatic. McDonald has a penchant for creating \natmosphere and suggestive dramatic content. The three great conductors \nrepresented here clearly relish the opportunity to visit the scenes and \npersonalities conjured up by these works. Mark Obert-Thorn has done his \nusual conscientious job of securing honest sound out of these 78s, but \nMcDonald’s music cries out for the spaciousness and subtleties of modern\n digital recording. Surely his compositions are naturals for Naxos’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAmerican Classics\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e series and other labels’ explorations of the American repertoire. For the moment, at least, this CD gives us much to savor. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIt may be just a coincidence, but McDonald’s First Symphony, “The Santa Fé Trail,” was composed one year after Ferde Grofé’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGrand Canyon Suite\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n McDonald’s piece is less a traditional symphony than three related \nsymphonic poems. He makes no allusion to Native Americans in the \nSouthwest, so by today’s standards the Symphony is politically \nincorrect. The first movement, “The Explorers,” is like the Prelude to \nact I of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLohengrin \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ein\n that it begins softly and mysteriously, builds to a climax, then \nsubsides. The next movement, “The Spanish Settlements,” functions as a \nscherzo, with swirls of vivid color. “The Wagon-Trains of the Pioneers,”\n which concludes the Symphony, features music alternately of dramatic \nhardship, chorale-like beauty, and triumph. I would say “The Santa Fé \nTrail” is almost as good a symphony as Hanson’s Second, the “Romantic.” \nThe \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTwo Hebraic Poems \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eshow\n the influence of Ernest Bloch combined with McDonald’s typically warm, \nengaging sound. The second poem feels like Hassidic dance music at \ntimes. “Cakewalk” summons up the atmosphere of a minstrel show, \nincluding even a soft-shoe episode. McDonald makes imaginative use of \nblaring brass and wind choirs. Ormandy conducts all of the above works \nvividly and with frequent virtuosity. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eKoussevitzky must have loved \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSan Juan Capistrano—Two Evening Pictures\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n In the first picture, McDonald paints a sensitive rendering of the \nmission, with a Respighi-like feeling for portraiture in sound. \n“Fiesta,” the second picture, offers delicate handling of Latin color \nand dance. Another Boston maestro, Keith Lockhart, revived “Fiesta” for \nthe Boston Pops’ \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAmerican Visions \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eCD. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003e“Rhumba,” an apotheosis of this dance \ncraze, pulses with excitement. What I would give for a video of \nStokowski’s performance! The piece belongs in Gustavo Dudamel’s \nrepertoire. Stokowski discerns in the “Dance of the Workers” the kind of\n entr’acte he did so well. He delivers a wealth of color in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Legend of the Arkansas Traveler\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n This is the sort of stylized folk art one finds in the paintings of \nThomas Hart Benton, complete with hoe-down. Concertmaster Alexander \nHilsberg plays an elegant solo. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWhen McDonald visited Philadelphia \nOrchestra harpist Edna Phillips at her home, he found her singing old \nEnglish nursery rhymes to her children while improvising a harp \naccompaniment. The composer suggested this might be the basis of a work,\n which became \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFrom Childhood\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Its solo harp part is charming, while McDonald handles the blend with \norchestra with immense finesse. He gives the harp sonically an antique \nflavor. There is nothing coy or patronizing in his use of the nursery \nrhymes. The work presents a rarefied vision of childhood, ages away from\n our world of iPads and video games. There are some suggestions of \nchildren’s mischief, however, as in a brassy treatment of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThree Blind Mice\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. Edna Phillips plays elegantly, while the composer proves a deft and accomplished conductor. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFrom Childhood \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ealso was recorded by harpist Ann Mason Stockton with conductor Felix Slatkin. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eI hugely enjoyed this voyage through \nthe music of Harl McDonald. He is a composer of great gifts marvelously \nrealized. Isn’t it time to rediscover music like this, music that charms\n our lives and lightens our existence? \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 37:6 (July\/Aug 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC402.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eHarl McDonald: one of America's great forgotten tonal C20 composers\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"I\n hugely enjoyed this voyage through the music of Harl McDonald. He is a \ncomposer of great gifts marvelously realized\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003eHarl McDonald was born on a cattle ranch near \nBoulder, Colorado on July 27, 1899 and grew up in southern California. \nMusically talented from an early age, he studied piano and French horn, \nbecoming proficient enough in the latter to join the Los Angeles \nPhilharmonic while still in his teens. He received his Bachelor’s degree\n in music from the University of California at Berkeley in 1921. An \norchestral suite he composed won a national prize, allowing him to \ncomplete his compositional studies at the Leipzig Conservatory the \nfollowing year.\u003cp class=\"western\"\u003eReturning to the United States, he began a career as a\n piano soloist, accompanist, and lecturer on composition, also working \nas a church choirmaster and, occasionally, a boxer. He received an \nappointment to teach piano at the Philadelphia Musical Academy in 1924. \nWithin three years, he joined the faculty of the University of \nPennsylvania, leading several of its choral groups and eventually \nbecoming the head of its music department.\u003c\/p\u003e\u003cp class=\"western\"\u003eIt was probably while preparing some of the \nuniversity choruses that appeared with the Philadelphia Orchestra that \nMcDonald first met Leopold Stokowski, who encouraged his compositional \nactivities by premièring his \u003cem\u003eSanta Fé Trail\u003c\/em\u003e Symphony in 1934, \nthe first of several McDonald premières the conductor would undertake. \nThat same year, McDonald was appointed to the board of directors of the \norchestra, eventually becoming its manager in 1939, a post he would hold\n for the next sixteen years.\u003c\/p\u003e\u003cp class=\"western\"\u003eMcDonald was a prolific composer; by 1944, it was \nestimated that he had written over 150 works. Several of them were \ninfluenced by his upbringing in the American southwest with its Spanish \nlegacy, which can be heard in \u003cem\u003eThe Santa Fé Trail\u003c\/em\u003e and \u003cem\u003eSan Juan Capistrano\u003c\/em\u003e. Other compositions were suggested by folk themes, such as those in \u003cem\u003eThe Legend of the Arkansas Traveler\u003c\/em\u003e and the \u003cem\u003eHebraic Poems\u003c\/em\u003e.\u003c\/p\u003e\u003cp class=\"western\"\u003e\u003cem\u003eFrom Childhood\u003c\/em\u003e came about as a result of \nMcDonald’s visit to Philadelphia Orchestra harpist Edna Phillips’ home. \nShe was singing old English nursery rhymes to her children while \nimprovising accompaniments on the harp. McDonald suggested that a suite \nbased on the songs would make a good piece, which led Phillips and her \nhusband to commission him to write one. The first movement quotes \u003cem\u003eI saw three ships\u003c\/em\u003e and \u003cem\u003eLavender’s blue\u003c\/em\u003e; the second features \u003cem\u003eThe jolly miller\u003c\/em\u003e and \u003cem\u003eThree blind mice\u003c\/em\u003e; while the third combines references to \u003cem\u003eThere was a lady loved a swine, Oranges and lemons\u003c\/em\u003e and \u003cem\u003eSt. Paul’s steeple\u003c\/em\u003e.\u003c\/p\u003e\u003cp class=\"western\"\u003eInterest in performing and recording McDonald’s works\n waned after his death on March 30, 1955 in Princeton, New Jersey. \nAlthough Ormandy conducted \u003cem\u003eThe\u003c\/em\u003e \u003cem\u003eSanta Fé Trail\u003c\/em\u003e as late \nas 1971, no new recordings of McDonald’s compositions have appeared in \nnearly 60 years, and reissues of earlier ones have been sparse. The \nStokowski and Koussevitzky sides were released on CD in the early 1990s,\n but Ormandy’s recordings of \u003cem\u003eThe Santa Fé Trail\u003c\/em\u003e and \u003cem\u003eCakewalk\u003c\/em\u003e have not been seen since the LP era, while the \u003cem\u003eHebraic Poems\u003c\/em\u003e and \u003cem\u003eFrom Childhood\u003c\/em\u003e have never previously been reissued. It is hoped that the current release will spark a new interest in this neglected composer.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"western\"\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\u003cp\u003eFull Track Listing\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eSymphony No. 1, “The Santa Fé Trail” (1932)\u003cbr\u003e\u003c\/b\u003eRecorded 20 October 1940 in the Academy of Music, Philadelphia\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eMatrix nos.: CS 056567-1, 056568-1, 056569-2, 056570-1, 056571-1 \u0026amp; 056572-1\u003cbr\u003eFirst issued on Victor 17765\/7 in album M-754\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eTwo Hebraic Poems (from Three Poems on Aramaic Themes) (1935)\u003cbr\u003e\u003cspan style=\"font-weight: normal;\"\u003eRecorded 5 April 1937 in the Academy of Music, Philadelphia\u003c\/span\u003e\u003cbr style=\"font-weight: normal;\"\u003e\u003cspan style=\"font-weight: normal;\"\u003eMatrix nos.: CS 07572-2 \u0026amp; 04003-1\u003c\/span\u003e\u003cbr style=\"font-weight: normal;\"\u003e\u003cspan style=\"font-weight: normal;\"\u003eFirst issued on Victor 14903\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eCakewalk (Scherzo from Symphony No. 4) (1937)\u003cbr\u003e\u003c\/b\u003eRecorded 9 May 1938 in the Academy of Music, Philadelphia\u003cbr\u003eMatrix no.: CS 022376-1\u003cbr\u003eFirst issued on Victor 15377\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eThe Philadelphia Orchestra · Eugene Ormandy\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e \u003c\/p\u003e\n\u003cp class=\"western\"\u003e \u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eSan Juan Capistrano – Two Evening Pictures (1938)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e1. The Mission\u003cbr\u003e2. Fiesta\u003c\/p\u003e\n\u003cp class=\"western\"\u003eRecorded 8 November 1939 in Symphony Hall, Boston\u003cbr\u003eMatrix nos.: CS 043582-2A \u0026amp; 043583-2A\u003cbr\u003eFirst issued on Victor 17229\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eBoston Symphony Orchestra · Serge Koussevitzky\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e \u003c\/p\u003e\n\u003cp class=\"western\"\u003e \u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cdiv\u003e\n\u003cb\u003eRhumba (Scherzo from Symphony No. 2, “The Rhumba”) (1934)\u003c\/b\u003e \u003cbr\u003eRecorded 25 November 1935 in the Academy of Music, Philadelphia\u003cbr\u003eMatrix no.: CS 94619-2A\u003cbr\u003eFirst issued on Victor 8919\u003c\/div\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eDance of the Workers (from Festival of the Workers) (1932)\u003cbr\u003e\u003c\/b\u003eRecorded 25 November 1935 in the Academy of Music, Philadelphia\u003cbr\u003eMatrix no.: CS 94620-1\u003cbr\u003eFirst issued on Victor 8919\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eThe Legend of the Arkansas Traveler (1939)\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eAlexander Hilsberg, solo violin\u003cbr\u003e\u003c\/b\u003eRecorded 27 March 1940 in the Academy of Music, Philadelphia\u003cbr\u003eMatrix no.: CS 047815-1\u003cbr\u003eFirst issued on Victor 18069\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eThe Philadelphia Orchestra · Leopold Stokowski\u003cbr\u003e\u003cbr\u003e \u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eFrom Childhood – Suite for Harp and Orchestra (1940)\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eEdna Phillips, harp\u003cbr\u003e\u003c\/b\u003eRecorded 15 March 1941 in the Academy of Music, Philadelphia\u003cbr\u003eMatrix nos.: CS 062564-1, 062565-1A, 062566-1, 062567-1A, 062568-1 \u0026amp; 062569-1\u003cbr\u003eFirst issued on Victor 18256\/8 in album M-839 \u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eThe Philadelphia Orchestra · Harl McDonald\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e \u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003e \u003c\/b\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003c\/p\u003e\n\u003cp class=\"western\"\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source material\u003c\/p\u003e\n\u003c\/li\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\/PASC402.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC402.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":90077233178,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":90077265946,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC402_6401a462-95ac-41ee-8222-89c201cd9a4b.jpg?v=1501752106"},{"product_id":"pasc430","title":"The Music of Harl McDonald, Volume 2 (1937-50) - PASC430","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\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMCDONALD \u003c\/b\u003eConcerto for Two Pianos and Orchestra etc.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr style=\"font-size: medium;\"\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\"\u003eStudio recordings, 1937-50\u003cbr\u003eTotal duration: 78:06 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eJeanne Behrend, Alexander Kelberine\u003c\/b\u003e - piano\u003cb\u003e\u003cbr\u003eLeopold Stokowski • Eugene Ormandy\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eArthur Fiedler • Harl McDonald\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eArthur Fiedler’s Sinfonietta\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eUniversity of Pennsylvania Choral Society\u003c\/b\u003e\n\n\u003cp class=\"bodybigblue\" data_liveedit_tagid=\"000000000D776290\"\u003e \u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fI can think of no living American composer who surpasses McDonald at his best.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThis is Pristine’s second CD devoted to the music of Harl McDonald. \nThe first was an absolute triumph, and this one is nearly as good. \nMcDonald grew up in the American West during the early years of the last\n century, and his musical personality exhibits the warmth and \nopenheartedness one associates with such an upbringing. That is not to \nsay McDonald lacked technique; he possessed all the compositional \napparatus one expects from a student at the Leipzig Conservatory. In \nparticular, he was an exceptionally resourceful orchestrator, and gets a\n sound that seems as natural to him as breathing. Although he spent most\n of his career at the University of Pennsylvania, McDonald was no mere \nacademic composer. He absorbed influences from many cultures and \ndifferent strata of music, from the arcane to the popular. His \ncompositions are affecting without ever being sentimental. I listen to \nMcDonald’s music the way I listen to Alexander Glazunov’s symphonies, \nrelishing his ease of expression, his good nature, and a mastery of form\n that picks you up in one place and drops you off comfortably in \nanother. As with Glazunov’s symphonies, McDonald’s tunes are not \nespecially memorable in themselves, yet they are of a piece with the \nartfulness of his total concept. McDonald is a composer who convinces \nyou that you are better off for having known him and his oeuvre. \u003cbr\u003e\u003cbr\u003eIn\n the opening movement of the concerto for two pianos and orchestra, \nsoloists Jeanne Behrend and Alexander Kelberine play with rhythmic \nurgency, while Stokowski and the Philadelphians send waves of color \ndrifting over them. The next movement, a theme and variations, has a \ndeftness in orchestration underlying pianistic elegance that recalls \nSaint-Saëns’s piano concertos. The work concludes with a dance of \nnorthern Mexico called a juarezca, a real toe-tapper which subsides only\n for a pianistic interlude that is pure Latin sensual reflectiveness. \nRecording two pianos with orchestra is difficult with the best \nequipment, so to do it ably in 1937 is a tribute to this recording’s \noriginal producer, who I would guess was Charles O’Connell. \u003cbr\u003e\u003cbr\u003eMcDonald’s\n suite My Country at War seems to me as successful as a more celebrated \nwork of the Second World War, George Antheil’s Symphony No. 4, “1942.” \nThe opening movement, “1941,” is a song of foreboding over the events \nprior to Pearl Harbor. In the next movement, Ormandy draws haunting \nplaying from the Philadelphia first chairs in a beautifully subdued \nstudy of American heroism in the failed defense of Bataan. An “Elegy” \nfollows, with a reflective cello solo, and the work ends with a “Hymn of\n the People,” which is a sturdy confection of marches and chorales \nleading to a populist gesture, McDonald’s introduction of “The Battle \nHymn of the Republic.” \u003cbr\u003e\u003cbr\u003eSongs of Conquest is a choral work set to\n poems by Phelps Putnum (texts are not given). It basically is a \ncelebration of the pioneer spirit, with a sound recalling William \nBillings. The composer draws stirring, even rousing singing from his \nuniversity’s choral society. The second song, “A complaint against the \nbitterness of solitude,” is a rare moment of angst in McDonald. John \nChristopher Smith: Miniature Suite is a selection of works by a protégé \nof Handel, “freely transcribed” by McDonald. The piece has at least as \nmuch charm as Hamilton Harty’s arrangements of Handel. Arthur Fiedler’s \nSinfonietta play it with style and panache. The composer conducts the \nPhiladelphians in an alert and enthusiastic performance of his \nChildren’s Symphony, a largely pedagogical work. It uses children’s \nsongs to introduce kids to the orchestra and symphonic form. It has \ntender moments and raucous ones, like the noisy treatment of Jingle \nBells. I doubt kids today, in the era of Radio Disney, would be drawn to\n the Victorian world of innocent melodies McDonald draws upon. Still, it\n is an exuberant composition and worth hearing, though it lacks the \nstaying power of McDonald’s From Childhood—Suite for Harp and Orchestra,\n which appears on volume one of Pristine’s series. \u003cbr\u003e\u003cbr\u003eRestoration \nengineer Mark Obert-Thorn appears to have done a sane and conscientious \njob of transferring the various source materials. It is well to ponder \nthe role of fashion in taking a composer like Harl McDonald out of the \nrepertoire. Even the revival in the recording studio of American \nRomantic music from the middle of the last century largely has passed \nhim by. Surely American conductors such as Gerard Schwarz and Leonard \nSlatkin would have something valuable to say about his music. In the \nmeantime, we are fortunate to have Pristine’s reissues of the historic \nrecordings of McDonald’s work. I am not an expert on contemporary music,\n but I can think of no living American composer who surpasses McDonald \nat his best. It’s time he was rediscovered.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eDave Saemann \u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:5 (May\/June 2015) of Fanfare Magazine.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC430.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eHarl McDonald - Second volume celebrating the music of a forgotten American composer\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"I can think of no living American composer who surpasses McDonald at his best. It’s time he was rediscovered\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThis second release devoted to the works of Harl McDonald (1899 - \n1955) begins with a Concerto for Two Pianos whose eclecticism reflects \nthe wide-ranging influences of the American composer.  The second \nmovement variations start with a Bach-like original theme, while the \nthird is inspired by a dance of northern Mexico called the \u003cem\u003eJuarezca\u003c\/em\u003e.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eMy Country at War\u003c\/em\u003e gathers together three of McDonald’s prior works into a suite.  The first movement, originally titled \u003cem\u003eOverture 1941\u003c\/em\u003e,\n premièred two days before the Pearl Harbor attack that drew America \ninto the war that was already raging in the rest of the world.  The \nsecond was inspired by the unsuccessful attempt by American forces to \nwithstand a long siege at Bataan.  The final two movements were \noriginally set for baritone and orchestra, but revamped without soloist \nfor the suite.\u003c\/p\u003e\u003cp\u003eThe cycle \u003cem\u003eSongs of Conquest\u003c\/em\u003e, based on poems by Phelps \nPutnam, looks back with pride at the achievements of the American \npioneers while looking forward with unease at the then-current world \nsituation.  The first song celebrates humankind’s triumphs (“Man has \nprevailed ... over insect and beast\/He has forgotten the variable \nseas”).  The second depicts man as alone and terrified (“I am one who am\n solitary ... I have hurled my questions into the universe\/I have \npressed them into the earth and into my flesh”).  The third makes a \nstatement about nations being able to resolve their differences \nrationally, a sentiment which must have already seemed like a lost cause\n by the time this was recorded (“Let us declare ... That the weight of \nseeing is upon us”).  The final song returns to the pioneer theme (“We \nhave cut ourselves from our home as with an axe\/The sea could not stop \nus, being our simple road”) before ending with a reprise of “Man has \nprevailed”.\u003c\/p\u003e\u003cp\u003eThe \u003cem\u003eMiniature Suite\u003c\/em\u003e presents McDonald in the rôle of \narranger.  John Christopher Smith was a protégé of Handel, who later \nbecame an amanuensis to his patron when the older composer became \nblind.  The three movements were drawn from Smith’s \u003cem\u003eMy Hand and Musicke Book\u003c\/em\u003e, published in London in 1784. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eLike his suite \u003cem\u003eFrom Childhood\u003c\/em\u003e on Volume One (PASC 402), McDonald drew upon nursery rhymes for his \u003cem\u003eChildren’s Symphony\u003c\/em\u003e. \n Here, he introduces young people to symphonic structure by using \nfamiliar tunes in a four-movement framework, each of which has a \nprincipal and a secondary theme.  The songs used are “London Bridge is \nFalling Down” and “Baa, Baa, Black Sheep” in the first movement; “Little\n Bo Peep” and “Oh, Dear, What Can the Matter Be” in the second; “The \nFarmer in the Dell” and “Jingle Bells” in the third; and “Honey Bee” and\n “Snow is Falling On My Garden” in the final movement, with a reprise of\n “London Bridge” to close.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eMark Obert-Thorn\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\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eConcerto for Two Pianos and Orchestra (1936)\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cp\u003e1          1st Mvt.:  Molto Moderato\u003c\/p\u003e\u003cp\u003e2          2nd Mvt.:  Theme and Variations \u003c\/p\u003e\u003cp\u003e3          3rd Mvt.:  Juarezca – Allegro  \u003c\/p\u003e\u003cp\u003e            Recorded 19 April 1937 in the Academy of Music, Philadelphia \u003c\/p\u003e\u003cp\u003e            Matrix nos.:  CS 07596-1, 07597-1, 07598-1, 07599-1, 07600-1 \u0026amp; 07601-1\u003c\/p\u003e\u003cp\u003e            First issued on Victor 15410\/2 in album M-557\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eJeanne Behrend \u0026amp; Alexander Kelberine (Pianos)\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e     \u003cb\u003e       The Philadelphia Orchestra ∙ Leopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMy Country at War – Symphonic Suite (1941-43)\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e4          1st Mvt.:  1941 \u003c\/p\u003e\u003cp\u003e5          2nd Mvt.:  Bataan   \u003c\/p\u003e\u003cp\u003e6          3rd Mvt.:  Elegy \u003c\/p\u003e\u003cp\u003e7          4th Mvt.:  Hymn of the People \u003c\/p\u003e\u003cp\u003e            Recorded 20 December 1944 in the Academy of Music, Philadelphia\u003c\/p\u003e\u003cp\u003e            Matrix nos.:  XCO 34020-1, 34021-1, 34022-1, 34023-1, 34024-1 \u0026amp; 34025-1 \u003c\/p\u003e\u003cp\u003e            First issued on Columbia 12241-D through 12243-D in album M-592\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eThe Philadelphia Orchestra ∙ Eugene Ormandy\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSongs of Conquest (1937; rev 1939) \u003c\/b\u003e\u003cem\u003e(Text: Phelps Putnam)\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e8          The breadth and extent of man’s empire  \u003c\/p\u003e\u003cp\u003e9          A complaint against the bitterness of solitude \u003c\/p\u003e\u003cp\u003e10        A declaration for increase of understanding among the peoples of the world \u003c\/p\u003e\u003cp\u003e11        The exaltation of man in his migrations and in surmounting of natural barriers\u003c\/p\u003e\u003cp\u003e        Recorded 20 October 1940 \u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003eFirst issued as Victor 18164\/5 in album M-823\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cb\u003eUniversity of Pennsylvania Choral Society ∙ Harl McDonald\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eJohn Christopher Smith \u003c\/b\u003e(freely transcribed by Harl McDonald): \u003cb\u003e Miniature Suite\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e12        1st Mvt.:  Prelude \u003c\/p\u003e\u003cp\u003e13        2nd Mvt.:  Air  \u003c\/p\u003e\u003cp\u003e14        3rd Mvt.:  Allemande  \u003c\/p\u003e\u003cp\u003e            Recorded 12 April 1939 in Symphony Hall, Boston\u003c\/p\u003e\u003cp\u003e            First issued on Victor 4443\/4 in album M-609\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eArthur Fiedler’s Sinfonietta ∙ Arthur Fiedler\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            \u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eChildren’s Symphony (On Familiar Tunes)\u003c\/b\u003e          \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e15        1st Mvt.:  Allegro moderato   \u003c\/p\u003e\u003cp\u003e16        2nd Mvt.:  Andante patetico  \u003c\/p\u003e\u003cp\u003e17        3rd Mvt.:  Allegro scherzando \u003c\/p\u003e\u003cp\u003e18        4th Mvt.:  Allegro marziale  \u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e  Recorded 19 March 1950 in the Academy of Music, Philadelphia\u003c\/p\u003e\u003cp\u003e         First issued on Columbia ML-2141 (LP)\u003c\/p\u003e\u003cp\u003e         \u003cb\u003eThe Philadelphia Orchestra · Harl McDonald\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\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\/PASC430.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC430.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":31976017805,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31976017869,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC430.jpg?v=1487682659"},{"product_id":"pasc444","title":"The Music of LUCIEN CAILLIET (1936-46) - PASC444","description":"overviewfb55cd020f0643f08418183279e63a5f\n\u003cb\u003eMUSSORGSKY \u003c\/b\u003ePictures at an Exhibition \u003cbr\u003e\u003cb\u003ePURCELL\u003c\/b\u003e Suite from Dido and Aeneas\u003cb\u003e\u003cbr\u003eCAILLIET \u003c\/b\u003eVariations on “Pop! Goes the Weasel”\u003cbr\u003eWorks by \u003cb\u003eJ. S. Bach\u003c\/b\u003e and \u003cb\u003eTurina\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003c\/p\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\"\u003eStudio recordings, 1936-46\u003cbr\u003eTotal duration: 71:13\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cb\u003eEugene Ormandy ∙ Leopold Stokowski\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eFritz Reiner ∙ Pittsburgh Symphony Orchestra\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eArthur Fiedler ∙ Boston “Pops” Orchestra \u003c\/b\u003e\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThere is no question of the visceral excitement that is imparted to Bach’s majestic Prelude and Fugue in F Minor...578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eLong-lived French-American Lucien \nCailliet (1891–1985) is undoubtedly best known and remembered in the \nband world, since his transcriptions of Wagner’s “Elsa’s Procession” \nfrom \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLohengrin\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFinlandia \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eof\n Sibelius have long been staples in that realm. In 1919, Leopold \nStokowski brought him into the Philadelphia Orchestra as clarinetist, \nand soon became aware of his skills at orchestration. There is some \ndebate, in fact, as to how much of Stokowski’s own arrangements are \nactually the work of Cailliet. About a year after Eugene Ormandy came \ninto Philadelphia in 1936 as co-conductor of the orchestra, he hired \nCailliet (who was then leaving to assume another position) to make an \narrangement of Mussorgsky’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePictures at an Exhibition, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eas\n he had by then become Ormandy’s arranger of choice as well. Ormandy \ncould not have failed to notice the success of the \nKoussevitzky-commissioned Ravel orchestration of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePictures, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eand\n thus desired to have his own version of the piece. This was not because\n of contractual reasons between Koussevitzky and Ravel, for the Russian \nconductor was given only, if memory serves, five years of exclusivity in\n his 1922 commission from the French master. I would therefore guess \nthat professional jealousy played a big part in Ormandy’s commission, \nwhich was premiered on February 5, 1937. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs one might imagine, the intricate \ndance that Stokowski and Ormandy were engaged in during the transitional\n years of 1936 to 1941 (at which time, Ormandy took over as exclusive \nmusic director of the Philadelphia Orchestra) may well have contributed \nto Stokowski’s desire to make his own version of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePictures. \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOstensibly,\n he was competing with Ravel, claiming that Ravel’s version was too \n“French,” but I strongly suspect that he thought that he could also do a\n superior job in orchestrating the work from what Cailliet had done and \nperhaps gain bragging rights over Ormandy. Regardless of his motive, \nStokowski’s 1939 version has run a very distant second to Ravel’s in \nterms of performances and recordings, but it is nevertheless ahead of \nevery other orchestration in that regard. Caillet’s effort, on the other\n hand, is somewhere near the back of the pack. I’ve never found evidence\n that any other conductor than Ormandy ever even performed the version \n(a very partial exception is the “Ballet of Unhatched Chicks” movement \nthat Leonard Slatkin has used in one of his compilations), and although \nthe score and parts are reputed to reside in the library of the \nPhiladelphia Orchestra, they are said to be in questionable performing \ncondition. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHas history adjudged Cailliet’s version\n fairly? Generally, I think yes: Just listen to the wimpy woodwind \nopening of the work, the rather unimaginative accompaniment to the solo \nEnglish horn in “Il vecchio Castello,” or the too cumbersome version of \n“Tuilleries.” Still, there are some worthwhile moments in this version, \nincluding the snarling brass in “Gnomus,” the melancholy solo cello at \nthe end of “Samuel Goldenberg,” the orchestration of the Fifth Promenade\n (omitted by Ravel), or the use of unison horns and trombones at the \nbeginning of “Bydło” in place of Ravel’s overly tame tenor tuba, which \ncannot adequately portray straining oxen (I do find Ormandy’s tempo in \nthis movement inexcusably fast, however). In any case, this \ntranscription is worth hearing, if nothing else, as a historical \nartifact (and why can we not also have a recording of the early [1924] \nversion by Leonidus Leonardi?) \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWhat of Cailliet’s other \norchestrations? The Bach selections are rich and opulent, in keeping \nwith the era of sonorous orchestration that existed in the 1930s (I \nwould guess that the famous—notorious to some—Beecham orchestration of \nHandel’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMessiah \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ealso\n comes from around the same time). There is no question, in any case, of\n the visceral excitement that is imparted to Bach’s majestic Prelude and\n Fugue in F Minor. Only orchestrators of this era, of course, would have\n added a prominent harp part to “Jesu, Joy of Man’s Desiring,” and \nCailliet had to fill in implied harmonies in the Preludium from the \nE-Major Partita, originally for solo violin. Purcell also gets the lush \ntreatment (slightly less than that encountered in the Bach selections), \nbut these movements from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDido and Aeneas \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eare still fun to listen to. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWith the Turina’s “Sacro-monte,” we \ncome to a much less anachronistic orchestration. Turina was Cailliet’s \nnear contemporary, although he lived only about half as long. This brief\n selection, one of his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCinco Danzas Gitanos, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewas\n originally for solo piano, and the light-hearted and jolly character \npiece sounds quite convincing as an orchestration that Turina himself \nmight have done. The CD concludes with Cailliet’s original work, \nVariations on the Theme\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Pop Goes the Weasel, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ea brief bit of jollity that has gained quite a few performances in both the orchestral and band worlds. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eProducer Mark Obert-Thorn has done his\n usual exemplary work in the transfers, which provide life-like presence\n and clarity of texture, producing sound that is about as good as one \ncan hear in recordings from this era. The Mussorgsky portion of this CD \nwas previously issued on a Biddulph CD (also with transfers by \nObert-Thorn), and I cannot hear any difference between the sound of that\n CD and the present one. I also A-B’d the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePictures \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewith\n my original Victor 78 set, and found that his transfers were true to \nthe original, while virtually eliminating the surface noise. This \nrelease constitutes an important historical document, and is worth \nacquiring on that basis alone. The musical enjoyment it also affords is \nicing on the cake. I do wish, though, that he’d utilized both sides of \nthe leaflet so as not to require a virtually illegible (six point?) type\n size to get the notes onto a single page. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDavid DeBoor Canfield\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:2 (Nov\/Dec 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC444.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eOrmandy, Stokowski, Reiner \u0026amp; Fiedler conduct Cailliet\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eArrangements and original music by Lucien Cailliet, French-American composer, conductor, arranger and clarinetist\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eTranscriber,\n arranger and composer Lucien Cailliet was born in Dijon in 1891.  He \nstudied composition and orchestration in Dijon and Paris.  During World \nWar I, he was a bandmaster in the French Army Band, with which he toured\n the United States in 1915.  Four years later, Leopold Stokowski hired \nhim as a clarinetist for the Philadelphia Orchestra.  Not long after his\n arrival, an orchestration of the Marseillaise was needed for a\n guest singer, and Cailliet volunteered to provide one.  Pleased with \nthe results, Stokowski continued to work with him over the next several \nyears in his transcriptions of the works of Bach and others.\u003c\/p\u003e\u003cp\u003eCailliet’s\n exact role in the orchestrations credited to Stokowski has long been a \nmatter of controversy.  Writing to Stokowski biographer Oliver Daniel in\n 1978, Cailliet said that the Marseillaise project “started me in doing all his orchestrations.”\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003eIn\n fact, the next one he asked me [to do] was the [Bach] C Minor \nPassacaglia. Of course, we had some discussions before as, after all, he\n was an organist and a famous musician. [. . .] I must confide in you \nthat as the situation developed, Stokowski asked me from the beginning \nnot to mention or speak about it and keep the situation “entre nous” and\n adding: “The people would not understand.”  That is how the name of \nStokowski appeared on the programs as orchestrator.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eEarlier,\n however, in an interview with broadcaster Steve Cohen, Cailliet \ncredited Stokowski with a greater role in the Passacaglia \ntranscription:  “It was his idea completely, and of course he was \nhimself a very good orchestrator.  He made a very good choice of \ninstruments.” \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBased\n on the experiences of others who worked with Stokowski in producing \ntranscriptions, it is believed that the conductor indicated his choices \nfor instrumentation on the score for the transcriber to carry out.  \nStokowski would then edit and make further alterations to the score.  \nStill, the collaborations with Stokowski provided Cailliet with valuable\n training.\u003c\/p\u003e\u003cp\u003eCailliet\n was not credited for his transcriptions, at least on record, until \nEugene Ormandy’s arrival in Philadelphia as co-conductor in 1936.  \n(Indeed, the Bach Prelude and Fugue in F minor which opens our program \nwas Ormandy’s very first recording with the Philadelphians.)  Stokowski \ndid record one transcription specifically credited to Cailliet (Turina’s\n Sacro-Monte), but it was never issued on 78s. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eIn \n1937, Cailliet left the orchestra to teach at the University of Southern\n California.  Before his departure, Ormandy commissioned him to make his\n most significant transcription yet, that of Mussorgsky’s Pictures at an Exhibition. \n Working in the shadow of Ravel’s already famous version must have been \ndaunting, but Cailliet, writing for the ensemble he knew so intimately, \nacquitted himself well with his imaginative instrumentation.  He also \nreinstated the Promenade before “Limoges”, cut by Ravel.  This remains \nthe only recording of Cailliet’s version, except for the “Ballet of the \nChicks” movement, which Leonard Slatkin included in his composite \nedition using different orchestrations of the work.\u003c\/p\u003e\u003cp\u003eIn \nthe mid-1940s, Cailliet left teaching to work as an (often uncredited) \norchestrator for Hollywood films, including such classics as She Wore a Yellow Ribbon, Red River and The Ten Commandments.  He died in Los Angeles in 1985.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eMark Obert-Thorn\u003c\/p\u003e\u003cp\u003e\u003cbr\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\u003e1          \u003cspan style=\"font-size: small;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eJ. S. BACH-CAILLIET:  \u003cspan\u003e Prelude and Fugue in F minor, BWV 535\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003eRecorded 13 December 1936 in the Academy of Music, Philadelphia\u003cbr\u003eMatrix nos.:  CS 03128-1\/29-2 (Victor 14382)\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e2          \u003cspan style=\"font-size: small;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eJ. S. BACH-CAILLIET:  Jesu, Joy of Man’s Desiring\u003c\/span\u003e (from Cantata No. 147,\u003c\/b\u003e \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: small;\"\u003e BWV 147)\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003eRecorded 13 December 1936 in the Academy of Music, Philadelphia\u003cbr\u003eMatrix no.:  CS 03130-2 (Victor 14973)\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e3          \u003cspan style=\"font-size: small;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eJ. S. BACH-CAILLIET:  Preludio\u003c\/span\u003e from Partita No 3 for Violin Unaccompanied, \u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eBWV 1006\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003eRecorded 5 April 1937 in the Academy of Music, Philadelphia\u003cbr\u003eMatrix no.:  CS 03191-2 (Victor 14973)\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e4          \u003cspan style=\"font-size: small;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eJ. S. BACH-CAILLIET:  “Little” Fugue in G minor\u003c\/span\u003e, BWV 578\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003eRecorded 4 February 1946 in the Syria Mosque, Pittsburgh\u003cbr\u003eMatrix no.:  XCO 35795-1 (Columbia 12622-D in album M-695)\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            \u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003ePURCELL (arr. Cailliet):  Suite from \u003cem\u003eDido and Aeneas\u003c\/em\u003e\u003c\/b\u003e\u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e5          Overture – Adagio; Allegro moderato\u003cbr\u003e6          Tempo di Menuet\u003cbr\u003e7          Lento: Prelude for the Witches\u003cbr\u003e8          Echo Dance of the Furies\u003cbr\u003e9          Ritornelle\u003cbr\u003e10        Prelude to Act 3\u003cbr\u003e11        Recitative and Aria, “When I am laid in earth”\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003eRecorded 8 January 1939 in the Academy of Music, Philadelphia\u003cbr\u003eMatrix nos.:  CS 030910-1\/11-2\/12-1\/13-1 (Victor 15863\/4 in album M-647)\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e12        \u003cspan style=\"font-size: small;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eTURINA-CAILLIET:  Sacro-Monte\u003c\/span\u003e (from \u003cem\u003eFive Gypsy Dances\u003c\/em\u003e)\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003eRecorded 5 April 1937 in the Academy of Music, Philadelphia\u003cbr\u003eMatrix no.:  BS 07552 (Unissued on 78 rpm)\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e           \u003cspan style=\"font-size: medium;\"\u003e \u003cb\u003eMUSSORGSKY-CAILLIET:  Pictures at an Exhibition\u003c\/b\u003e\u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e13        Promenade I\u003cbr\u003e14        Gnomus\u003cbr\u003e15        Promenade II\u003cbr\u003e16        The Old Castle\u003cbr\u003e17        Promenade III\u003cbr\u003e18        Tuileries\u003cbr\u003e19        Bydlo\u003cbr\u003e20        Promenade IV\u003cbr\u003e21        Ballet of the Unhatched Chicks\u003cbr\u003e22        Samuel Goldenberg and Schmuyle\u003cbr\u003e23        Promenade V \u003cbr\u003e24        The Market Place at Limoges\u003cbr\u003e25        Catacombs (Sepulchrum Romanum)\u003cbr\u003e26        Cum mortuis in lingua mortua\u003cbr\u003e27        The Hut on Fowl’s Legs (Baba Yaga)\u003cbr\u003e28        The Great Gate of Kiev\u003c\/p\u003e\u003cp\u003eRecorded 17 October 1937 in the Academy of Music, Philadelphia\u003cbr\u003eMatrix nos.:  CS 013057-1\/58-1\/59-1\/60-1\/61-1\/62-1A\/63-1\/64-1\u003cbr\u003e(Victor 14851\/4 in album M-442)\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e29        \u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eCAILLIET:  Variations on the Theme “Pop! Goes the Weasel”\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003eRecorded 27 June 1938 in Symphony Hall, Boston\u003cbr\u003eMatrix nos.:  BS 023909-1\/10-1 (Victor 4397)\u003c\/p\u003e  \u003cbr\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eEugene Ormandy ∙ \u003c\/b\u003eThe Philadelphia Orchestra \u003c\/span\u003e\u003cem\u003e(Tracks 1 – 3, 5 – 11, 13 – 28)\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eFritz Reiner ∙ \u003c\/b\u003ePittsburgh Symphony Orchestra \u003c\/span\u003e\u003cem\u003e(Track 4)\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eLeopold Stokowski ∙ \u003c\/b\u003eThe Philadelphia Orchestra \u003c\/span\u003e\u003cem\u003e(Track 12)\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eArthur Fiedler ∙ \u003c\/b\u003eBoston “Pops” Orchestra\u003c\/span\u003e \u003cem\u003e(Track 29)\u003c\/em\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\/PASC444.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC444.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":31976018061,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31976018125,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC444_0c6632dc-2633-4e3a-b5f8-cd041dabd55b.jpg?v=1487682662"},{"product_id":"pasc402-cd","title":"The Music of Harl McDonald, Volume 1 (1935-41) - PASC402 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC402.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":31976334413,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976334477,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC402_c36712ed-fd42-4343-a135-571a7aef183e.jpg?v=1658741890"},{"product_id":"pasc422-cd","title":"ELGAR, KOUSSEVITZKY, STOKOWSKI Accidental Stereo Recordings (1929-33) - PASC422 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":31976392653,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976392781,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC422_78a63681-4688-42fd-b776-850610de0b24.jpg?v=1658742324"},{"product_id":"pasc430-cd","title":"The Music of Harl McDonald, Volume 2 (1937-50) - PASC430 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":31976415117,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD o (+MP3)ly in plastic sleeve","offer_id":31976415181,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC430_63831be9-f82d-461d-8d21-993fe1a2bd0a.jpg?v=1658742496"},{"product_id":"pasc441-cd","title":"STOKOWSKI Acoustic, Volume 2 (1919-24) - PASC441 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":31976432653,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976432717,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC441_71c2c9b1-3dda-4088-9baf-bedc895b4578.jpg?v=1658742730"},{"product_id":"pasc442-cd","title":"STOKOWSKI CD Premières: Purcell, Tchaikovsky, Wagner (1941-50) - PASC442 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":31976432781,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976432845,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC442_4628b38b-4764-48e5-b7b0-79cd24c65e89.jpg?v=1658742747"},{"product_id":"pasc444-cd","title":"The Music of LUCIEN CAILLIET (1936-46) - PASC444 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":31976433997,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976434061,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC444_5a21cca2-3238-4ecf-acb0-1618eff4657e.jpg?v=1658742806"},{"product_id":"pasc471-cd","title":"STOKOWSKI Acoustic, Volume 3 (1917-24) - PASC471 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":31976497613,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976497677,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC471_c36e23b8-e451-416e-8944-3a9c419242d3.jpg?v=1658743519"},{"product_id":"pasc476-cd","title":"STOKOWSKI Acoustic, Volume 4 (1919-24) - PASC476 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":31976503181,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976503245,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC476_ee890add-5234-41db-b515-ee45160f8b3d.jpg?v=1658743615"},{"product_id":"pasc483-cd","title":"STOKOWSKI Beethoven: Symphony No. 7; Schubert: Symphony No. 8 (1927) - PASC483 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":31976521229,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976521293,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC483_93f32257-8f4e-4b67-8af0-9aad75ab89a3.jpg?v=1658743784"},{"product_id":"paco071-cd","title":"STOKOWSKI Puccini: Turandot (1961) - PACO071 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD with case \u0026 artwork (+MP3)","offer_id":40478078093,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2CD only in plastic sleeve (+MP3)","offer_id":40478078157,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO071_810a801d-96db-4f23-91b0-42524ccce8df.jpg?v=1658483666"},{"product_id":"pasc496","title":"STRAVINSKY Rarities (1916-1938) - PASC496","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eSTRAVINSKY  \u003c\/b\u003eThe Firebird\u003cbr\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003ePetrushka\u003cbr\u003e\u003cb\u003eSTRAVINSKY  \u003c\/b\u003eThe Rite of Spring\u003cbr\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003ePiano Music\u003cbr\u003e\u003cb\u003eMOZART  \u003c\/b\u003eFugue in C minor\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eStudio recordings, 1916-1938\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 77:57\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eBeecham Symphony Orchestra ∙ Sir Thomas Beecham\u003cbr\u003eRoyal Albert Hall Orchestra ∙ Sir Eugene Goossens\u003cbr\u003eBerlin State Opera Orchestra ∙ Oskar Fried\u003cbr\u003eThe Philadelphia Orchestra ∙ Leopold Stokowski\u003cbr\u003eIgor Stravinsky, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eSoulima Stravinsky, \u003c\/b\u003epiano\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC496.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv align=\"center\"\u003e\u003ci\u003e\u003cspan style=\"font-size: 24px;\"\u003eRare and Previously Unissued recordings of and by Stravinsky\u003c\/span\u003e\u003c\/i\u003e\u003c\/div\u003e\u003cdiv align=\"center\"\u003e\u003ci\u003e\u003cspan style=\"font-size: 18px;\"\u003eA remarkable archive of recordings in fabulous new transfers\u003c\/span\u003e\u003c\/i\u003e\u003c\/div\u003e\u003cdiv align=\"center\"\u003e\u003cbr\u003e\u003c\/div\u003e\u003cp\u003e\n    The present program brings together several première recordings of works by\n    Stravinsky as well as some first releases, including the composer’s\nearliest extant discs and the first attempt to record    \u003cem\u003eThe Rite of Spring\u003c\/em\u003e. Along with other recordings which have already\n    appeared on Pristine, this release also completes the reissue of all\n    acoustically-recorded Stravinsky orchestral works.\n\u003c\/p\u003e\u003cp\u003e\n    Early in his career, Sir Thomas Beecham was noted for his championing of\n    such cutting-edge music as Strauss’ \u003cem\u003eSalome\u003c\/em\u003e. It is not surprising\nin this context that he recorded excerpts from Stravinsky’s    \u003cem\u003eFirebird\u003c\/em\u003e a mere six years after its première. As in all of the\n    acoustic recordings presented here, the reduced forces and balance dictated\n    by distance from the recording horn allow us to hear, intentionally or not,\n    inner voices that are not generally noticeable. The sound on the original\n    disc has a remarkable amount of detail for a recording that is now over a\n    century old.\n\u003c\/p\u003e\u003cp\u003e\n    At a time when even major symphonies were still being recorded in heavily\ncut versions, it is remarkable that Eugene Goossens was allowed to record    \u003cem\u003ePetrushka\u003c\/em\u003e complete. The sequence of matrix numbers suggests that\n    originally, only four sides comprising Tableaux 1 and 4, concluding with\n    the concert ending, were contemplated, but that another four were added to\n    complete the set a month after the initial session.\n\u003c\/p\u003e\u003cp\u003e\n    Further acoustic versions of the \u003cem\u003eFirebird\u003c\/em\u003e Suite followed Beecham’s\n    – first, from Albert Coates (of the 1911 arrangement, on PASC 303), then\n    from Leopold Stokowski (the familiar 1919 version, on PASC 192). Oskar\n    Fried’s late acoustic version from 1925 differs from his electrical remake\n    of three years later (PASC 392) by a much faster tempo taken in the\n    Introduction – a choice not dictated by 78 rpm side timing limitations, as\n    the final side, running over four and a half minutes, proves.\n\u003c\/p\u003e\u003cp\u003e\n    Philip Stuart’s Stravinsky discography mentions that the composer’s first\n    recording was of his Octet, made privately in 1923; it was never released,\n    an all test pressings are lost. His next attempt was made for the Brunswick\n    company two years later during an American tour. Four sides were recorded\n    of Stravinsky playing his solo piano works; but, coming at the very end of\n    the acoustic era, they were never released.\n\u003c\/p\u003e\u003cp\u003e\n    Stravinsky kept his test pressings, and a tape copy of them has circulated\n    which was the basis of this restoration. Some of the originals are in\n    fairly good condition, but others are dire, indeed (particularly Side 3).\n    The fourth side must have had a chip broken off affecting half of the disc;\n    it fades up on the second of three selections. They are presented for the\n    sake of archival completeness. Brunswick allotted a separate matrix number\n    for each take; and since we do not know the take used for each transfer,\n    all of them have been listed here.\n\u003c\/p\u003e\u003cp\u003e\n    Stokowski made the first attempt at recording \u003cem\u003eThe Rite of Spring\u003c\/em\u003e\n    in April, 1927. Three sides were taken down, and the recording ledgers\n    indicate these were done for test purposes only and not intended to be\n    released. The differences with his 1929\/30 issued recording are striking,\n    with much faster tempos being favored here.\n\u003c\/p\u003e\u003cp\u003e\n    The final selection shows Stravinsky in a rare role as interpreter of\n    another composer’s music. This Mozart duet with his son, Soulima, the\n    filler side to their set of Stravinsky’s Concerto for Two Solo Pianos, was\n    recorded in 1938 but not released until 1951 and never “officially”\n    reissued on CD.\n\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\n    Mark Obert-Thorn\u003c\/i\u003e\n\u003c\/p\u003e\u003cdiv align=\"left\"\u003e\n\u003cbr\u003e\n\u003c\/div\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    \u003cstrong\u003e The Firebird – Suite (1911 version – excerpts)\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    1 Dance of the Firebird (1:07)\n\u003c\/p\u003e\u003cp\u003e\n    2 Game of the Princesses with the Golden Apples (2:28)\n\u003c\/p\u003e\u003cp\u003e\n    3 Infernal Dance of all Kaschei’s Subjects (3:47)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eBeecham Symphony Orchestra ∙ Sir Thomas Beecham\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded April or May, 1916 in the Columbia Petty France Studios, London\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    Matrix nos.: 6797-1 \u0026amp; 6799-1 (Columbia L 1040)\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003ePetrushka\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    4 First Tableau: The Shrovetide Fair (8:18)\n\u003c\/p\u003e\u003cp\u003e\n    5 Second Tableau: Petrushka’s Room (3:30)\n\u003c\/p\u003e\u003cp\u003e\n    6 Third Tableau: The Moor’s Room (6:19)\n\u003c\/p\u003e\u003cp\u003e\n    7 Fourth Tableau: The Shrovetide Fair (Toward Evening) (12:10)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eRoyal Albert Hall Orchestra ∙ Sir Eugene Goossens\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 21 December 1923 \u0026amp; 15 January 1924 in Rooms 1 \u0026amp; 2, HMV\n    Studios, Hayes\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    Matrix nos.: Cc 4013-1, 4014-4, 4077-2, 4078-1, 4079-3, 4015-2, 4016-2\n    \u0026amp; 4080-2\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    (HMV D 853\/6)\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eThe Firebird – Suite (1919 version)\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    8 Introduction (2:07)\n\u003c\/p\u003e\u003cp\u003e\n    9 Dance of the Firebird (1:06)\n\u003c\/p\u003e\u003cp\u003e\n    10 Round Dance of the Princesses (4:09)\n\u003c\/p\u003e\u003cp\u003e\n    11 Infernal Dance of all Kaschei’s Subjects (3:45)\n\u003c\/p\u003e\u003cp\u003e\n    12 Lullaby of the Firebird (Berceuse) (2:34)\n\u003c\/p\u003e\u003cp\u003e\n    13 Finale (2:12)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eBerlin State Opera Orchestra ∙ Oskar Fried\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 1925 in Berlin\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    Matrix nos.: 1917 ½ as, 1930 ½ as, 1931 as \u0026amp; 1938 ½ as\n    (Grammophon\/Polydor 6977\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e6\/7)\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    14 \u003cstrong\u003eAndantino (No. 1 from Les cinq doigts)\u003c\/strong\u003e (0:52)\n\u003c\/p\u003e\u003cp\u003e\n    15 \u003cstrong\u003eModerato (No. 5 from Les cinq doigts)\u003c\/strong\u003e (0:44)\n\u003c\/p\u003e\u003cp\u003e\n    16 \u003cstrong\u003eAllegro (No. 2 from Les cinq doigts)\u003c\/strong\u003e (1:14)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 11 March 1925 in Brunswick Studio No. 2, New York City\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    Matrix no.: 15131 or 15132 or 15133 (Previously unpublished)\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    17 \u003cstrong\u003eLarghetto (No. 4 from Les cinq doigts)\u003c\/strong\u003e (1:25)\n\u003c\/p\u003e\u003cp\u003e\n    18 \u003cstrong\u003eLento (No. 6 from Les cinq doigts)\u003c\/strong\u003e (0:52)\n\u003c\/p\u003e\u003cp\u003e\n    19 \u003cstrong\u003eVivo (No. 7 from Les cinq doigts)\u003c\/strong\u003e (0:53)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 11 March 1925 in Brunswick Studio No. 2, New York City\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    Matrix no.: 15134 or 15135 or 15136 (Previously unpublished)\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    20 \u003cstrong\u003ePesante (No. 8 from Les cinq doigts)\u003c\/strong\u003e (1:13)\n\u003c\/p\u003e\u003cp\u003e\n    21 \u003cstrong\u003eValse (No. 2 from Three Easy Pieces)\u003c\/strong\u003e (1:44)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 March 1925 in Brunswick Studio No. 2, New York City\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    Matrix no.: 15137 or 15138 or 15139 (Previously unpublished)\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    22 \u003cstrong\u003eValse pour les enfants (fragment)\u003c\/strong\u003e (0:26)\n\u003c\/p\u003e\u003cp\u003e\n    23 \u003cstrong\u003ePolka (No. 3 from Three Easy Pieces)\u003c\/strong\u003e (1:01)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 March 1925 in Brunswick Studio No. 2, New York City\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    Matrix no.: 15140 or 15141 or 15142 or 15143 (Previously unpublished)\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eIgor Stravinsky (piano)\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eThe Rite of Spring\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    24 Part I: The Adoration of the Earth (beginning) (9:22)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eThe Philadelphia Orchestra ∙ Leopold Stokowski\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 7 April 1927 in the Academy of Music, Philadelphia\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    Matrix nos.: CVE 37471-1, 37472-1 \u0026amp; 37473-1 (Previously unpublished)\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    25 \u003cstrong\u003eMOZART: Fugue in C minor, K426\u003c\/strong\u003e (4:39)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e Igor Stravinsky and Soulima Stravinsky (pianos)\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 16 February 1938 in the Pathé-Marconi Studios, Paris\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    Matrix no.: CLX 2043-1 (Columbia LFX 953)\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    Producer and Audio Restoration Engineer: Mark Obert-Thorn\n\u003c\/p\u003e\u003cp\u003e\n    Special thanks to Peter Bay, Michael Gartz, Edward Johnson, Richard Kaplan\n    and David Schmutz for providing source material\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    Total Timing: 77:57\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\/PASC496.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC496.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":542563696666,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":542563729434,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC496_480c3bdb-460e-499e-aefb-a644db7fa7c0.jpg?v=1504091343"},{"product_id":"pasc496-cd","title":"STRAVINSKY Rarities (1916-1938) - PASC496 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478171149,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478171213,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC496.jpg?v=1658744282"},{"product_id":"pasc372-cd","title":"STOKOWSKI in Philadelphia, 16 March 1962 - PASC372 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478172045,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478172109,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC372_6ce252be-d402-45b0-8dc8-8839b78e3f70.jpg?v=1658309032"},{"product_id":"pasc372","title":"STOKOWSKI in Philadelphia, 16 March 1962 - PASC372","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eWEBERN \u003c\/b\u003ePassacaglia\u003cbr\u003e\u003cb\u003eSIBELIUS \u003c\/b\u003eSymphony No. 4\u003cbr\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003eLa Soirée dans Grenade\u003cbr\u003e\u003cb\u003eMUSSORGSKY \u003c\/b\u003ePictures at an Exhibition\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded in stereo in 1962\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 79:25\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eThe Philadelphia Orchestra\u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fClassical CD Review review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe major work is the unique transcription of Pictures578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eOriginally written for piano, Mussorgsky's Pictures at an Exhibition has fascinated other composers and there are many arrangements of it for varied performers. Check the ArkivMusic listings to see the many arrangements for ORCHESTRA On that site you will also see the countless other performances including those on piano, organ and other instruments. The score does cry out for rich orchestral textures; Ravel's famous one commissioned by Serge Koussevitzky is the best known and has received countless recordings. Stokowski's version already is available in three fine recordings: Oliver Knussen and the Cleveland Orchestra, José Serebrier and the Bournemouth Symphony , and Mathias Bamert with the BBC Philharmonic. There also is a superb DVD with Serebrier and the National Youth Orchestra of Spain. \u003c\/p\u003e\u003cp\u003eNow we can hear this remarkable transcription with Stokowski conducting the Philadelphia Orchestra, which he led for three decades. He first conducted it in 1939 and made his RCA recording at that time. This new performance is part of a concert given in the Academy of Music March 16, 1962. This is an important issue for many reasons. It contains the conductor's only recording of music of Webern (Passacaglia), as well as Symphony No. 4 of Sibelius, a work he premiered in America with the same orchestra three decades earlier, recording it for RCA at the same time. La Soirée dans Grenade was recorded twice by Stokowski, in Philadelphia in 1940, and in 1976 with the National Philharmonic. \u003c\/p\u003e\u003cp\u003eThe major work is the unique transcription of Pictures which he recorded in Philadelphia in 1939, with the All American Orchestra in 1942, and in stereo with the New Philharmonia in 1965. Pristine's new remastered version of the 1962 performance is made from Stokowski's private broadcast master tape courtesy of Edward Johnson (who led the Leopold Stokowski Society for many years—thank you, Mr. Johnson!). We can be certain we now have the best possible audio from these tapes, and the sound surely is very detailed. However, the fact remains that the Academy of Music had dreadfully dry acoustics, and even with XR reprocessing bass is often undefined, and the lack of resonance detracts from Stokowski's usual rich string sonorities. Still, this is a major issue in so many ways that collectors surely will wish to investigate it.\u003c\/p\u003e\u003cp\u003eR.E.B. (February 2013)\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC372.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eStokowski in Philadelphia, 1962 - a fabulous concert in stunning sound quality\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eOur first ever 24-96 ultra high-resolution transfer and download, from Stokowski's own master tapes\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eStokowski's long association with The Philadelphia \nOrchestra began in 1912 when, at the age of 30, he gave his first \nconcert in the city with the orchestra. He stayed in Philadelphia for \nalmost thiry years, handing over to Eugene Ormandy at the end of the \n1940-41 season. However, Stokowski returned in 1960 as a guest conductor\n and continued a series of occasional concerts with the orchestra in the\n years which followed.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe present concert, which took place on 16 March 1962, \nis taken from full stereo broadcast master tapes originally held in the \nconductor's own archives, and supplied for transfer for this release by \nEdward Johnson, who for many years put great efforts into the running of\n the Stokowski Society, and who obtained a number of recordings from \nStokowski's assistant, Jack Baumgarten. This is its first public issue. \n(A second Philadelphia concert from the same year and source, performed \non 17 December, is available here as PASC379\u003cstrong\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/strong\u003e.)\u003c\/p\u003e\u003cp class=\"body\"\u003eWe took the unusual step in preparing this release of \nmaking all transfers and restoration at a very high sampling rate of \n96kHz in order to preserve the highest frequencies captured on tape. \nAlthough these exceptionally high frequencies cannot be reproduced on \nCD, they are available in a 24\/96 FLAC download from our website.\u003c\/p\u003e\u003cp class=\"body\"\u003eRemastering took heed of Stokowski's frequent instruction to producers \nof his recordings. He liked a full and reverberant sound, as Edward \nJohnson explains: \"The thing to remember with Stokowski is that he \nstarted life as a church organist and in his recitals usually played \norchestral works transcribed for the organ. So when he became a \nconductor he recalled the days when he had his feet on the deep 32' \npedals and heard the final chord of the piece dying away down the nave \nfor a couple of seconds. Consequently, his correction notes to record \nproducers always asked for \"more lows\" and \"more reverberation,\". I have been careful in my application of this, using a convolution \nreverb of one of the world's great symphony halls to give the recording \nthe space and texture lacking in the original radio tapes.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eStokowski never recorded any Webern commercially - this \nrelease adds a new composer to the Stokowski discography. He was always a\n great champion of Sibelius in his early Philadelphia years. He made the\n first American recordings of Finlandia and The Swan of Tuonela on 78s, \nand also the World Premiere Recording of the 4th Symphony in 1932, as \nwell as giving the US concert premieres of Sibelius's 5th, 6th and 7th \nSymphonies in the 1920s.\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eBoth the Debussy and Mussorgsky here are Stokowski's own\n orchestrations. His efforts in the latter, more commonly heard in \nRavel's version, were designed to make the music sound less French and \nmore Russian, which may explain the omission of the two France-related \nmovements in this version.\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\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eWEBERN \u003c\/strong\u003ePassacaglia, Op. 1\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSIBELIUS\u003c\/strong\u003e Symphony No. 4 in A minor, Op. 63\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cstrong\u003eDEBUSSY\u003c\/strong\u003e \u003c\/strong\u003e(\u003cem\u003earr. Stokowski\u003c\/em\u003e) La Soirée dans Grenade \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cstrong\u003eMUSSORGSKY \u003c\/strong\u003e\u003c\/strong\u003e(\u003cem\u003earr. Stokowski\u003c\/em\u003e) Pictures at an Exhibition\u003cspan class=\"bodymidarial\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eTransfers from tapes compiled for Leopold Stokowski from the collection of Edward Johnson \u003cbr\u003eRecorded at the Academy of Music, Philadelphia, 16 March 1962, for broadcast by WFLN-FM\u003cbr\u003eBroadcast producer and announcer: Wiliam Smith\u003cbr\u003eBroadcast sound engineer: Fred Chassey \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eThe Philadelphia Orchestra\u003cbr\u003eLeopold Stokowski\u003c\/strong\u003e conductor\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, December 2012-January 2013\u003cbr\u003eCover artwork based on a photograph of Stokowski in Philadelphia, 1960\u003cbr\u003e\u003cbr\u003eTotal duration: 79:25\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\/PASC372.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC372.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":34187429901,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34187429965,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34187430029,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC372_180f60ea-466e-4ea6-83ee-a95d339a93c6.jpg?v=1489678224"},{"product_id":"pasc379-cd","title":"STOKOWSKI in Philadelphia, 17 December 1962 - PASC379 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478174093,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478174157,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC379_c78fd5de-3259-4e90-87bc-bdb373d4302f.jpg?v=1658309177"},{"product_id":"pasc379","title":"STOKOWSKI in Philadelphia, 17 December 1962 - PASC379","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003ePrelude to Act 3 of Lohengrin\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 5\u003cbr\u003e\u003cb\u003eRAVEL \u003c\/b\u003eAlborada del Gracioso\u003cbr\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003ePetrushka Suite\u003cbr\u003e\u003cb\u003eVARIOUS \u003c\/b\u003eEncores\u003c\/span\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded in stereo in 1962\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 79:20 \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eThe Philadelphia Orchestra\u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI wonder if anyone uses Morse Code anymore. When I\n was very young I, at least, knew the signals for the letters S, O, and \nV. The V signal was “dot-dot-dot-dash,” coincidentally the same pattern \nas the opening notes of Beethoven’s Fifth Symphony. Bruno Walter \nrecorded the symphony with the New York Philharmonic a week after the \nU.S. entered World War II and Columbia Records issued the album with a \nbright red cover displaying a large white “V” with the \n“dot-dot-dot-dash” symbols under it. I guess anyone who saw the cover \ngot the message—Beethoven had been enlisted in the fight against fascism\n and the Fifth had become the “Victory Symphony.” That was the recording\n on which I learned the piece. Years ago, many conductors used to \nemphasize the “fate knocking at the door” image of the introduction by \ntaking it \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMolto pesante\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e instead of the straight \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro con brio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n that the score calls for. I’ve never been able to make up my mind which\n way I prefer to hear it performed. I like hearing the opening done \nemphatically but when it’s done at a slower tempo than the exposition, \nit can sound like it starts on a downbeat and distorts the rhythmic \npattern instead of emphasizing it. Stokowski, not surprisingly, was one \nof the conductors who really dramatized the opening, both on his 1931 \nrecording with the Philadelphia Orchestra and, nearly a decade later, \nwith the All-American Youth Orchestra. I happen to be very fond of both \nof those recordings so, in this live performance, recorded at \nPhiladelphia’s Academy of Music in 1962, one with the same virtues as \nthe previous ones, he could be said, at least in my case, to be \npreaching to the choir, although I’ve never heard his 1969 recording. It\n has been the recent fashion for conductors to stick closely (or try to)\n to Beethoven’s metronome markings, observe all the repeats in the \nscore, and sometimes, even use instruments based on those of Beethoven’s\n time. Unfortunately, many of these conductors are neither individually,\n nor collectively, Stokowskis.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe opening radio announcement by the orchestra’s associate conductor, William R. Smith, includes Revueltas’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSensemayá\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. Given the CD’s 79-minute length, something had to give, but \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSensemayá\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n can be downloaded free from Pristine’s website. What’s included on the \nCD is interesting enough. I wonder if those in attendance could even \nimagine the circumstances surrounding the symphony’s first performance \nback in 1808. Beginning with the premiere of the Sixth Symphony, the \nprogram continued with “Ah, perfido,” The Gloria from the Mass in C, the\n Piano Concerto No. 4, the Symphony No. 5, the Sanctus and Benedictus \nfrom the Mass in C, and the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eChoral Fantasy\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e! They don’t make audiences like they used to.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis concert begins with a lively performance of the Prelude to act III of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLohengrin\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e with the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNie sollst Du mich befragen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n theme added to the ending. Since so many conductors add this, I assume \nit was Wagner’s decision to use it as a concert ending since, in the \nopera itself, the Prelude fades down directly into the opening music of \nthe act. Next, comes the principal (or certainly, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003elongest\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e)\n work on the program, Beethoven’s Fifth Symphony. Stokowski offers an \nunhurried view of the music but the playing has plenty of rhythmic \nspring and textual clarity in addition to the juicy tone the orchestra \ncould produce 50 years ago. I think this is the first time I could \ndescribe a performance of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante con moto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n as “sensuous.” Fate doesn’t knock at the door quite as deliberately \nthis time around and the performance, unless you are offended by some \nstretched cadences, is hardly eccentric. The string playing has plenty \nof bite to it, too. His tempos, at least in the first three movements \nare quite similar to Otto Klemperer’s though of course, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ehis\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n performance, austere and weighty, inhabits a different sound world. \nTake away Klemperer’s observation of the outer movement repeats (neither\n taken by Stokowski) and you get these timings: I—Klemperer 7:12, \nStokowski 6:53; II—Klemperer 11:08, Stokowski 11:15; III—Klemperer 6:13,\n Stokowski 6:07. I do think that Klemperer’s finale could use more \nanimation because, even \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eomitting\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n the repeat, his performance times out at 10:53 to Stokowski’s 9:00. The\n latter’s has a more triumphant surge than Klemperer’s sober, monumental\n approach. If your tastes lie with even slower tempos, try to find \nFerenc Fricsay’s Berlin Philharmonic recording; I might as well provide \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ehis\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n timings (omitting the first movement repeat, which he observes—like \nmost conductors, he ignores the one in the last movement): 7:29, 13:15 \n(!), 6:23, 9:30. I like the performance quite a bit but it may be a bit \nmuch for most listeners.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eStravinsky eventually made a suite from his complete score for\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Petrouchka\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n consisting of music from the First, Second, and Fourth Tableaux with a \nconcert ending replacing the final few minutes. It runs a bit under 25 \nminutes. I don’t know if that is an “official” edition of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePetrouchka Suite\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n since Stravinsky made two recordings of it, one of which (1940) uses \nless music from the First Tableau and starts about a minute into the \nFourth Tableau. I suspect that, on that occasion, Stravinsky was hemmed \nin by the limited length of 78 RPM sides. Stokowski, using a similarly \nabbreviated edition, starts his excerpt from Tableau No. 1 at a more \nlogical spot and starts the Fourth Tableau at the beginning. Granted, \nwhether in suite or complete form, the colorful, characterful music \nvirtually plays itself and it’s difficult to do a bad performance. \nConductors like Stokowski and Dimitri Mitropoulos relish the score’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003egrotesquerie\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n more than most of their colleagues, to considerable effect. Since the \ncomplete score runs only about 10 minutes longer than the (official?) \nsuite, I wonder why conductors don’t just perform the whole thing. After\n hearing him conduct a performance of the suite, I asked Stravinsky why \nhe didn’t just conduct the entire piece and, for what it’s worth, he \ncomplained about a lack of rehearsal time.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eStokowski and the orchestra polish off the virtuoso theatrics of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAlborada del gracioso\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and the playful, tricky rhythms of Morton Gould’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGuarancha\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, the third movement of his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLatin-American Symphonette.\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e The Jeremiah Clarke \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTrumpet Prelude \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e(formerly known as Purcell’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTrumpet Voluntary\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e)\n is presented with stately dignity and Stokowski somehow turns \nRachmaninoff’s very pianistic Prelude in C♯-Minor into an effective \norchestral piece. The concert comes to a decisive conclusion as the \nplayers gradually stroll off stage during the finale of Haydn’s \n“Farewell” Symphony to occasional chuckles from the audience. Basing his\n decision, in part, on Stokowski’s personal preferences, the producer \nhas enriched the normally dry sound of the Academy of Music with some \ndiscreet resonance. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \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\/PASC379.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eStokowski in Philadelphia, December 1962 - one of his finest Beethoven 5ths and more!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e \u003cspan style=\"font-size: 18px;\"\u003eAnother 24-96 ultra high-resolution transfer and download direct from Stokowski's own master tapes\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eStokowski's long association with The Philadelphia Orchestra began in 1912 when, at the age of 30, he gave his first concert in the city with the orchestra. He stayed in Philadelphia for almost thiry years, handing over to Eugene Ormandy at the end of the 1940-41 season. However, Stokowski returned in 1960 as a guest conductor and continued a series of occasional concerts with the orchestra in the years which followed.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe present concert, which took place on 17 December 1962, is taken from broadcast master tapes originally held in the conductor's own archives, and supplied for transfer for this release by Edward Johnson, who for many years put great efforts into the running of the Stokowski Society, and who obtained a number of recordings from Stokowski's assistant, Jack Baumgarten. This is its first public issue.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAs with the earlier concert from the same year (16 March 1962, issued as PASC372), we took the unusual step in preparing this release of making all transfers and restoration at a very high sampling rate of 96kHz in order to preserve the highest frequencies captured on tape. Although these exceptionally high frequencies cannot be reproduced on CD, they are available in a 24\/96 FLAC download from our website.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eRemastering took heed of Stokowski's frequent instruction to producers of his recordings. He liked a full and reverberant sound, as Edward Johnson explains: \"The thing to remember with Stokowski is that he started life as a church organist and in his recitals usually played orchestral works transcribed for the organ. So when he became a conductor he recalled the days when he had his feet on the deep 32' pedals and heard the final chord of the piece dying away down the nave for a couple of seconds. Consequently, his correction notes to record producers always asked for \"more lows\" and \"more reverberation,\" as in the example attached to the producer of his LP of the \"The Planets.\"\" [Letter reproduced \u003ca href=\"http:\/\/www.pristineclassical.com\/pasc372.html\"\u003ehere\u003c\/a\u003e] I have been careful in my application of this, using a convolution reverb of one of the world's great symphony halls to give the recording the space and texture lacking in the original radio tapes.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe December concert has at its heart a stirring performance of Beethoven's Symphony No. 5, but elsewhere Stokowski conducted a considerable chunk of 20th Century music. One piece, Revueltas's Sensemaya, which was played between the Ravel and Stravinsky, proved too long to fit onto this CD. It is, however, available to download for free here on our website and is featured as a bonus track in our FLAC downloads.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe concert featured a number of encores, including a couple of arrangements by Stokowski himself. The finale to the concert brings a light-hearted close to a concert which was put on as a fundraiser for the orchestra's pension fund, and conveys a sense of real warmth between the musicians and their audience.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\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\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eWAGNER\u003c\/strong\u003e Prelude to Act 3 of Lohengrin\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Symphony No. 5 in C minor, Op. 67\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cstrong\u003eRAVEL\u003c\/strong\u003e \u003c\/strong\u003e (\u003cem\u003earr. Ravel\u003c\/em\u003e) Alborada del Gracioso (from \u003cem\u003eMiroirs\u003c\/em\u003e) \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cstrong\u003eSTRAVINSKY \u003c\/strong\u003e\u003c\/strong\u003ePetrushka Suite\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cbr\u003eENCORES\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eCLARKE\u003c\/strong\u003e (\u003cem\u003earr. Stokowski\u003c\/em\u003e) Trumpet Prelude (\u003cem\u003ePrince of Denmark's March\u003c\/em\u003e) \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGOULD\u003c\/strong\u003e Guaracha \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cstrong\u003eRACHMANINOV\u003c\/strong\u003e\u003c\/strong\u003e (\u003cem\u003earr. Stokowski\u003c\/em\u003e) Prelude in C sharp minor \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cstrong\u003eHAYDN \u003c\/strong\u003e\u003c\/strong\u003eSymphony No. 45 in F sharp minor, \"Farewell\": Finale from 4th mvt \u003cspan class=\"bodymidarial\"\u003e \u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cbr\u003e BONUS TRACK\u003c\/strong\u003e Included in all FLAC downloads\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eREVUELTAS\u003c\/strong\u003e Sensemaya\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Transfers from tapes compiled for Leopold Stokowski from the collection of Edward Johnson \u003cbr\u003e Recorded at the Academy of Music, Philadelphia, 17 December 1962, for broadcast by WFLN-FM\u003cbr\u003e Broadcast producer and announcer: William Smith\u003cbr\u003e Broadcast sound engineer: Fred Chassey \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eThe Philadelphia Orchestra\u003cbr\u003e Leopold Stokowski\u003c\/strong\u003e conductor\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose at Pristine Audio, January-February 2013\u003cbr\u003e Cover artwork based on a photograph of Stokowski in Philadelphia, 1960\u003cbr\u003e \u003cbr\u003e Total duration: 79:20 \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\/PASC379.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC379.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":34192980685,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34192980877,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34192980941,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC379.jpg?v=1489682848"},{"product_id":"pasc391","title":"STOKOWSKI A Renaissance and Baroque Concert (1950\/52) - PASC391","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eMusic by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eBACH, VIVALDI, CESTI, LULLY, FRESCOBALDI, PALESTRINA, GABRIELI\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eStudio recordings, 1950\/52\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 75:40 \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLeopold Stokowski \u003c\/b\u003eand\u003cb\u003e\u003cbr\u003eHis Symphony Orchestra\u003cbr\u003eBrass Choir\u003cbr\u003eA Capella Chorus\u003cbr\u003eCharles Courboin,\u003c\/b\u003e organ\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIf you like Stokowski, you won’t want to miss it578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis release presents the contents of RCA Victor \nRed Seal LP LM-1721 (recorded in 1952), with the exception of the three \nBach transcriptions, which come from LM-1133 (recorded in 1950). \nPristine’s annotations claim that these recordings have not been \nreleased on CD until now, and if that is the case—I have no reason to \nbelieve that it is not—then many will need to read no further, as this \ndisc will be self-recommending. Were I not writing this review but \nreading it, I’d probably feel the same way.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe comfortingly familiar and the unusual rub \nshoulders here. Stokowski’s Bach and Vivaldi are known quantities, and \nthey are excellently presented. Indeed, if I wanted to demonstrate to a \nStokowski virgin what the conductor was all about, I couldn’t do better \nthan play his transcription of the Bach Passacaglia and Fugue in C \nMinor, a towering, emotionally rich realization which, to repeat a \ncliché, turns the orchestra into a giant super-organ. At 13:48, it’s \nslower than his 1936 recording with the Philadelphia Orchestra, but \nfaster than the stereo version he recorded later in the 1950s for \nCapitol with “his” symphony orchestra. Of course, everything is \nromanticized and swooned over in a way that is the very antithesis of \nhistorically informed practice, but to complain about that is missing \nthe point. You don’t go to Niagara Falls and complain that it is not the\n Louvre.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe shorter works by Cesti and Frescobaldi also \nreappeared in Stokowski’s discography a few years later in sessions for \nUnited Artists with the Symphony of the Air. No big surprises here, \nalthough in this earlier recording, the conductor takes the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGagliarda\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e more slowly. The United Artists sessions also included Palestrina’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdoramus Te\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, and here we have a curiosity. In 1952, Stokowski recorded it \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eau naturel\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, with a mixed choir. (He does the same with \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eO Bone Jesu\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.)\n In the United Artists remake, however, he conducted the work in his own\n orchestral transcription. Are the Palestrina and Gabrieli recordings \npresented here the only examples of Stokowski not leading an orchestra? I\n invite correction from our knowledgeable readers. The chorus is not \nidentified, but it sounds like a fairly small group, and its singing is \nsensitive and stylish. Similarly, the brass players are not named, but \nthey also acquit themselves well. Presumably, all of these performers \nwere from the New York City area, as these sessions took place in \nManhattan Center. Stokowski treats the works by Palestrina and Gabrieli \nless freely than do his transcriptions, and the results are both \nintensely devout and dramatic.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMark Obert-Thorn produced this disc and did the restorations, working from the actual LPs. He advises that \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIn ecclesiis benedicite Domino\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n was problematic, as this 10-minute recording appeared to be made up of \nmultiple takes, and from take to take, there were variations in tape \nhiss, volume, and even pitch. He has done an excellent job of smoothing \nout the potentially jarring contrasts.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eUnlike some other \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n reviewers, I rarely receive Pristine Audio discs for review, but when I\n find them in used CD stores I usually pick them up, as I am curious \nabout Andrew Rose’s work, particularly when he issues recordings not \notherwise available in any form. As long as I have the floor, then, let \nme give a rabid recommendation for Pristine Audio PASC 372, which is a \nlive Stokowski concert with the Philadelphia Orchestra, dating from \nMarch 16, 1962. The program includes Webern (the op. 1 Passacaglia), \nSibelius’s Fourth Symphony, Stokowski’s arrangement of Debussy’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa Soirée dans Grenade\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, and his arrangement of Mussorgsky’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePictures at an Exhibition\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. It’s even in authentic stereo! If you like Stokowski, you won’t want to miss it. The same goes for the release reviewed here. \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eRaymond Tuttle  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 37:3 (Jan\/Feb 2014) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC391.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eStokowski's unique magic touch with music from the Renaissance and Baroque eras\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eFirst digital outings in fabulous new transfers by Mark Obert-Thorn\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThis collection brings together three “orphaned” Bach transcription recordings and one entire album (LM-1721, \u003cem\u003eEarly Italian Music\u003c\/em\u003e) which have so far eluded commercial CD reissue. They show Stokowski at a stylistic crossroads between the big-orchestra arrangements through which he brought Baroque works to the masses in the 1920s and ‘30s and the burgeoning postwar interest in early music in its original (if not yet “HIP”) form, a direction the conductor would increasingly take in the 1960s.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe final Gabrielli track posed particular transfer difficulties. On the original LP, it appears to have been pieced together from several takes, perhaps from more than just the one session listed, with differing levels of tape hiss, volume levels and even pitch. I have tried to straighten out all of the disparate elements in the present restoration. The sources for the transfers were “plain dog” first edition copies of the Bach and mid-‘50s plum “shaded dog” label copies of the Italian music album.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\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\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eJ. S. BACH (1685 – 1750) \u003c\/strong\u003e\u003cem\u003e(transcribed by Stokowski)\u003c\/em\u003e\u003c\/span\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"body\"\u003e1 \u003cstrong\u003eSiciliano\u003c\/strong\u003e (from Sonata No. 4 for Violin and Clavier in C minor, BWV 1017) (4:01)\u003cbr\u003e 2 \u003cstrong\u003eMein Jesu\u003c\/strong\u003e, BWV 487 (5:06)\u003cbr\u003e 3 \u003cstrong\u003ePassacaglia and Fugue in C minor\u003c\/strong\u003e, BWV 582 (13:50)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eVIVALDI (1678 – 1741) \u003c\/strong\u003e\u003cem\u003e(orchestrated by Stokowski)\u003c\/em\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003eConcerto Grosso in D minor, Op. 3, No. 11\u003c\/strong\u003e (“L’Estro Armonico”)\u003c\/span\u003e\u003cbr\u003e4 1st Mvt.: \u003cem\u003eAllegro\u003c\/em\u003e (5:18)\u003cbr\u003e5 2nd Mvt.: \u003cem\u003eLargo\u003c\/em\u003e (4:24)\u003cbr\u003e6 3rd Mvt.: \u003cem\u003eAllegro\u003c\/em\u003e (3:27)\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eCESTI (1623 – 1669)\u003c\/strong\u003e \u003cem\u003e(transcribed by Stokowski)\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e7 \u003cstrong\u003eTu mancavi a tormentarmi, crudelissima speranza\u003c\/strong\u003e (6:21)\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\n\u003cul\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eLULLY (1632 – 1687)\u003c\/strong\u003e\u003cbr\u003e8 \u003cstrong\u003eNocturne\u003c\/strong\u003e (from \u003cem\u003eLe Triomphe de l’Amour\u003c\/em\u003e) (5:32)\u003cbr\u003e9 \u003cstrong\u003eMarch\u003c\/strong\u003e (from \u003cem\u003eThésèe\u003c\/em\u003e) (1:03)\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cul\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eFRESCOBALDI (1583 – 1643)\u003c\/strong\u003e \u003cem\u003e(transcribed by Stokowski)\u003c\/em\u003e\u003cbr\u003e10 \u003cstrong\u003eGagliarda\u003c\/strong\u003e (3:32)\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cul\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003ePALESTRINA (1525 – 1594)\u003c\/strong\u003e\u003cbr\u003e11\u003cstrong\u003e Adoramus Te\u003c\/strong\u003e (2:58)\u003cbr\u003e12\u003cstrong\u003e O Bone Jesu\u003c\/strong\u003e (2:14)\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cul\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eGABRIELI (1554 – 1612)\u003c\/strong\u003e\u003cbr\u003e13\u003cstrong\u003e Canzon Quarti Toni a 15\u003c\/strong\u003e (7:15)\u003cbr\u003e14 \u003cstrong\u003eIn Ecclesiis Benedicite Domino\u003c\/strong\u003e (10:28)\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cstrong class=\"bodymid\"\u003eLeopold Stokowski \u003c\/strong\u003e\u003cstrong class=\"bodybigblue\"\u003eand\u003c\/strong\u003e\u003cbr\u003e \u003cstrong\u003e His Symphony Orchestra \u003c\/strong\u003e(Tracks 1 – 10)\u003cbr\u003e \u003cstrong\u003eBrass Choir \u003c\/strong\u003e(Tracks 13 – 14)\u003cbr\u003e \u003cstrong\u003eA Capella Chorus\u003c\/strong\u003e (Tracks 11, 12 and 14)\u003cbr\u003e \u003cstrong\u003eCharles Courboin (organ) \u003c\/strong\u003e(Track 14)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodymidarial\"\u003eRecorded in Manhattan Center, New York on:\u003cbr\u003e 15 March 1950 (Tracks 1 – 2)\u003cbr\u003e 24 March 1950 (Track 3)\u003cbr\u003e 28 – 29 February 1952 (Tracks 4 – 6)\u003cbr\u003e 28 February 1952 (Track 7)\u003cbr\u003e 4 April 1952 (Tracks 8 – 10)\u003cbr\u003e 26 March 1952 (Tracks 11 – 12)\u003cbr\u003e 6 March 1952 (Tracks 13 – 14)\u003c\/p\u003e\u003cp class=\"bodymidarial\"\u003eFirst issued on RCA Victor LM-1133 (Tracks 1 – 3) and LM-1721 (remainder)\u003c\/p\u003e\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003e Cover artwork based on a photograph of Leopold Stokowski\u003cbr\u003e \u003cbr\u003e Special thanks to Don Tait for providing source material\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 75:40 \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\/PASC391.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC391.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":34275759693,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34275759757,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34275759821,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC391_0fdf1a8f-2353-4b5e-a9b6-3a8e659dc99c.jpg?v=1489763518"},{"product_id":"pasc391-cd","title":"STOKOWSKI A Renaissance and Baroque Concert (1950\/52) - PASC391 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478181901,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478181965,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC391_ae038bb9-44d7-4af4-a2e0-d2998ee47626.jpg?v=1658309497"},{"product_id":"pasc214-cd","title":"The Magic Key of RCA, April 18, 1937 - PASC214 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478194957,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478195021,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC214_00dafe76-8631-43ed-85fd-a6829d2121a8.jpg?v=1658244038"},{"product_id":"pasc214","title":"The Magic Key of RCA, April 18, 1937 - PASC214","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan class=\"body\"\u003eTHE MAGIC KEY OF RCA\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eMarian Anderson \u003c\/b\u003e- contralto \u003cbr\u003e\u003cb\u003e José Iturbi \u003c\/b\u003e- conductor, solo piano \u003cb\u003e\u003cbr\u003e The Philadelphia Orchestra\u003cbr\u003e Charles O'Connell\u003c\/b\u003e - conductor, arranger \u003cb\u003e\u003cbr\u003e Eugene Ormandy \u003c\/b\u003e- conductor \u003cb\u003e\u003cbr\u003e Leopold Stokowski\u003c\/b\u003e - conductor, arranger \u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded 1937\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 59:36 \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC214.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eA stellar line-up for a truly \"Magic\" hour of radio\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eLaunching the Pristine Audio \"SI\" - Special Interest - historic series\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThe Magic Key of RCA ran as an hour-long musical variety\n programme on an almost-weekly basis for 204 episodes over four years, \nbetween 29th September 1935 and 18th September 1939. The broadcasts went\n out on Sunday afternoons between 2pm and 3pm on NBC's Blue network, and\n featured a very wide range of artists and guests - the very first \nbroadcast, for example, included contributions not only from conductor \nWalter Damrosch and singer Paul Whiteman, but also Walt Disney and radio\n comedians Amos 'n' Andy.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe 79th broadcast of 18th April 1937 came live from the\n Philadelphia Academy of Music, on the eve of the Philadelphia \nOrchestra's five-week \"coast-to-coast tour of 11,000 miles with stops at\n twenty-four cities\" under Ormandy and Iturbi, travelling on a \"special \nde-luxe 9-car Pullman train\". The broadcast carefully promotes not only \nthe tour, but also RCA Victor's long association with the orchestra, and\n of course RCA's own electrical products.\u003c\/p\u003e\u003cp class=\"body\"\u003eIn fact the \"Magic Key\" series came about as a means of \npromoting an electronic tuning aid developed by RCA for its radios in \n1935, and was one of a number of 'magic' references dreamed up by RCA's \nPR department, as this excerpt from a technical website makes clear:\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\" style=\"margin-left: 25px;\"\u003eRCA registered their first electron-ray tube, the 6E5, \non June 27, 1935. This tube initially appeared in RCA’s console-model \nproduct line that same year. RCA was fearing a loss of market share to \ncompetitors’ new lines of very small and midget radios, many of which \nwere designed and produced in Los Angeles. RCA’s promotion touted the \n\"Magic Eye\" as an elegant feature of their upper product line - where \nprofit margins were greatest. Not surprisingly, the 6E5 wouldn’t fit \ninside the competitors’ smallest sets. The name \"Magic Eye\" quickly \ngained acceptance with the public as the standard identity for the \nelectron ray tube and tuning eye feature in consumer radio sets, \nregardless of manufacturer.\u003c\/p\u003e\n\u003cp class=\"body\" style=\"margin-left: 25px;\"\u003eRCA’s marketing department went on a bit of a binge with\n the \"Magic\" theme as it popped up in a variety of other radio features.\n This included the \"Magic Brain\" tuning unit, the \"Magic Voice\" sound \nsystem, the \"Magic Wave\" antenna, and the \"Magic Key\" station \nprogramming system. Two of RCA’s 1936 model year console sets introduced\n in late 1935, Models 9K and 13K, were really \"Magic\". Along with the \n\"Magic Eye\", they were equipped with a combination of the other \"Magic\" \nfeatures. The public however was not as impressed with these other \n\"Magic\" promotions as none of them gained the lasting familiarity of the\n \"Magic Eye.\"\u003cbr\u003e \u003c\/p\u003e\u003ca href=\"http:\/\/home.pacbell.net\/philbert\/tuning_eye\/eyeintro.htm\"\u003e\u003cem\u003e \u003c\/em\u003e\u003c\/a\u003e\u003cp\u003e\u003ca href=\"http:\/\/home.pacbell.net\/philbert\/tuning_eye\/eyeintro.htm\"\u003e\u003cem\u003e\n\u003cbr\u003e\u003c\/em\u003e\u003c\/a\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eA Pristine Audio SI Release:\u003ci\u003e Technical Note\u003c\/i\u003e\u003c\/p\u003eThe\n source recording for this release, supplied to me by Edward Johnson of \nthe Stokowski Society, appeared to have originated from an AM broadcast \nrecording captured on acetate discs.However, it had already received some quite strong noise\n processing which I was unable to undo, hence the release's designation \nas an \"SI\" release, meaning of \"Special Interest\" - but of reduced \nfidelity.\u003cbr\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eIt has been fully restored and XR-remastered, greatly \nimproving the sound quality over the original as supplied, but several \naspects of the audio had already been compromised beyond restoration. We\n believe that, for many collectors, this will prove secondary to simply \nhaving this remarkable recording available to listen to.\u003c\/p\u003e\u003cp class=\"body\"\u003ePristine Audio SI releases, although processed at 32-bit\n or higher resolution, are not available as 24-bit downloads as there is\n no sonic improvement possible over the standard 16-bit versions of \nthese issues.\u003c\/p\u003e\u003cem\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/em\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\u003eIntroduction (Milton Cross)\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eBACH\u003c\/strong\u003e (arr. Cailliet) \u003cstrong\u003ePrelude \u0026amp; Fugue in F minor\u003c\/strong\u003e (cond. \u003cstrong\u003eOrmandy\u003c\/strong\u003e)\u003c\/li\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eDEBUSSY\u003c\/strong\u003e \u003cstrong\u003eNocturnes\u003c\/strong\u003e - \u003cem\u003eFêtes\u003c\/em\u003e (cond. \u003cstrong\u003eIturbi\u003c\/strong\u003e)\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003eBen Grauer speaks for RCA Victor\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eBIZET\u003c\/strong\u003e \u003cstrong\u003eCarmen\u003c\/strong\u003e - \u003cem\u003ePrelude\u003c\/em\u003e (cond. \u003cstrong\u003eO'Connell\u003c\/strong\u003e)\u003c\/li\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eFRANCK\u003c\/strong\u003e (arr. O'Connell) \u003cstrong\u003eGrand Pièce Symphonique\u003c\/strong\u003e - \u003cem\u003eAndante\u003c\/em\u003e (cond. \u003cstrong\u003eO'Connell\u003c\/strong\u003e)\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cli class=\"bodybigblue\"\u003eBen Grauer on the Orchestra's tour\u003c\/li\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eStokowski\u003c\/strong\u003e on sound reproduction and Bach and Debussy\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eBACH\u003c\/strong\u003e (arr. Stokowski) \u003cstrong\u003eMy Jesus in Gethsemane\u003c\/strong\u003e (cond. \u003cstrong\u003eStokowski\u003c\/strong\u003e)\u003c\/li\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eDEBUSSY\u003c\/strong\u003e (arr. Stokowski) \u003cstrong\u003eClair de Lune\u003c\/strong\u003e (cond. \u003cstrong\u003eStokowski\u003c\/strong\u003e)\u003c\/li\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eVERDI\u003c\/strong\u003e \u003cstrong\u003eDon Carlos\u003c\/strong\u003e - \u003cem\u003eO don fatale\u003c\/em\u003e (\u003cstrong\u003eMarian Anderson\u003c\/strong\u003e, cond. \u003cstrong\u003eOrmandy\u003c\/strong\u003e)\u003c\/li\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eCHOPIN\u003c\/strong\u003e \u003cstrong\u003eWaltz No. 2 in A flat\u003c\/strong\u003e, Op. 34, No. 1 (\u003cstrong\u003eIturbi\u003c\/strong\u003e)\u003c\/li\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eWAGNER\u003c\/strong\u003e \u003cstrong\u003eDie Walküre\u003c\/strong\u003e - \u003cem\u003eRide of the Valkyries \u003c\/em\u003e(cond. \u003cstrong\u003eOrmandy\u003c\/strong\u003e)\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cli class=\"bodybigblue\"\u003eBen Grauer on the tour and Victor\u003c\/li\u003e\u003cli class=\"bodybigblue\"\u003eClosing - Cross and Grauer over \u003cstrong\u003eBACH\u003c\/strong\u003e \u003cstrong\u003eSuite No 3\u003c\/strong\u003e - \u003cem\u003eAria\u003c\/em\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eThe Philadelphia Orchestra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMarian Anderson\u003c\/strong\u003e - contralto\u003cbr\u003e \u003cstrong\u003eJosé Iturbi\u003c\/strong\u003e - conductor, solo piano\u003cbr\u003e \u003cstrong\u003eCharles O'Connell\u003c\/strong\u003e - conductor, arranger\u003cbr\u003e \u003cstrong\u003eEugene Ormandy\u003c\/strong\u003e - conductor\u003cbr\u003e \u003cstrong\u003eLeopold Stokowski\u003c\/strong\u003e - conductor, arranger\u003c\/p\u003e\n\u003cp\u003eProgramme introduced by Milton Cross and Ben Grauer\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bodymidarial\"\u003eBroadcast from The Philadelphia Academy of Music, 2-3pm EST, Sunday 18th April, 1937, on NBC Blue Network\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003eXR remastering by Andrew Rose at Pristine Audio, February 2010\u003cbr\u003e Cover artwork based on photographs of Ormandy, Stokowski, Iturbi \u0026amp; Andersom\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 59:36 \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\/PASC214.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC214.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":34452302861,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34452302925,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34452303053,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC214.jpg?v=1490032473"},{"product_id":"pasc215","title":"STOKOWKSI conducts Brahms, Thomson, Chabrier (1950) - PASC215","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eTHOMSON\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e The Mother of Us All Suite\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBRAHMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e \u003c\/b\u003eSymphony No. 2\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eCHABRIER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e \u003c\/b\u003eJoyeuse marche - marche française\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"bodymidarial\" style=\"font-size: 10px;\"\u003eRecorded 1950\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 57:29 \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e \u003cb\u003eNew York Philharmonic Orchestra\u003cbr\u003eLeopold Stokowski \u003c\/b\u003e- conductor\u003cb\u003e\u003cbr\u003eDimitri Mitropoulos\u003c\/b\u003e - conductor \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC215.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eRare repertoire and an exhilarating Brahms Second Symphony\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 20px;\"\u003ePreviously unissued 1950 radio broadcast in moderate sound quality\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThe recordings offered here are of particular interest to the Stokowski collector. The Brahms is a considerably more lively rendition than either of the conductor's studio recordings, and as such had particularly caught the ear of Edward Johnson of the Stokowski Society. Also present in the Thomson and Chabrier* are the only two recordings of these works under Stokowski's baton - the former indicating his frequent role as a champion of then-living American composers.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAs described below, there are some technical issues with the sound quality at times in this recording which have led to its designation as a Pristine SI release - in this case the recording is perhaps something of a borderline case, but at the time of writing we have been unable to find a better-quality original source and believe that, from a musical perspective it is more than worth the time and effort spent restoring it and remastering it for issue.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAs with all our SI issues, we recommend you sample the recording prior to purchase.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e \u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003e*Important notice regarding Chabrier: \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003eFollowing the release of this recording, which we believed to be a live broadcast, some doubt was raised concerning the performance of the Chabrier. The piece did not appear in the programme for the performance itself, nor is it mentioned in the orchestral archives as having been conducted by Stokowski.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eHowever, two weeks later a performance of this short piece \u003cem\u003ewas\u003c\/em\u003e given, under the baton of Mitropoulos. As a result of extensive investigations undertaken by Edward Johnson, and with the assistance of the conductor and music writer John Canarina (who first raised the question), Nathan Brown and Frederick Fellers, we have managed, we think, to solve the mystery.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eNathan Brown told us:\u003c\/p\u003e\n\n\u003cp class=\"body\"\u003eThis was evidently a 1 hour program issued by the Armed Forces Radio Service. They used the original announcers mainly, but when they had to fill out the 1 hour with a short work, they would often just borrow it from any other concert without bothering to say just who the conductor was, or in some cases citing the wrong conductor, as the AFRS announcers were not informed in classical artists. They just thought no one would care or know the difference. Now, with hindsight, and references, we can determine the actual conductor. This happened fairly often.\u003c\/p\u003e\n\n\u003cp class=\"body\"\u003eFrederick Fellers adds more background:\u003c\/p\u003e\n\n\u003cp class=\"body\"\u003eIt was common for many of the radio broadcasts of all types from all the radio networks to be recorded, and later slightly edited versions were transferred to 16 inch discs that played at 33 1\/3 rpm, and these were sent all over the world to be played by local AFRS stations for U.S. military personnel serving in those foreign parts.  In the editing process any commercial messages were removed and spoken commentary may have been edited.  It also happened from time to time that a musical selection from a different broadcast was sometimes added to a broadcast that happened at a different time.  This may have been done for timing reasons.\u003cbr\u003e \u003cbr\u003e Here are some examples that I can speak with some authority because I have the recordings.  There was a concert for radio on NBC on 6 January 1945 of the Indianapolis Symphony Orchestra directed by Fabien Sevitzky. The AFRS version of the same radio concert has exactly the same music, but the spoken commentary has been edited and slightly abbreviated.  I have another \"broadcast\" I acquired from the Library of Congress that was broadcast by the Voice of America on 25 May 1943.  It purports to be a live concert from Indianapolis with the applause of the audience and it has a Spanish announcer speaking.  However, there was NO concert performance that day.  The source of the musical selections was from different ISO-Sevitzky CBS radio broadcasts from 19 November 1942, 11 and 19 February 1943 and 19 March 1943.  These were part of the regular weekly ISO-Sevitzky broadcasts on CBS and were done without audience solely for the radio audience.  So the 25 May 1943 \"concert\" was a complete fabrication with audience applause added.\u003cbr\u003e \u003cbr\u003e  I also have the AFRS version of the NBC Symphony-Toscanini broadcast of 2 September 1945.  The AFRS version omits the National Anthem that began the programme and probably also omits some of the spoken announcements.  The music, except for National Anthem, is complete as broadcast, but before the final item on the programme, the Dance of Terror and the Ritual Fire Dance from El Amor Brujo are added.  These two works came from the broadcast of 3 September 1944, but at least the conductor was the same.\u003cbr\u003e \u003cbr\u003e I speculate that your concert of 16 April 1950 may have come from something like the AFRS broadcast recordings mentioned above.  James Fassett was the regular announcer of the Philharmonic broadcasts on CBS.  At least he certainly was in the later 1950s when I began listening regularly... Sometimes, in the repackaging of the concerts for the AFRS a new announcer did the speaking. \u003c\/p\u003e\n\u003cp class=\"body\"\u003eI wouldn't suspect that Mitropoulos would have a problem with this, because these broadcasts were all done for the morale of the military serving overseas, and I doubt any money was involved.  Most likely, since this was all done in foreign places, Mitropoulos probably never heard a word -- pro or con -- about it.\u003c\/p\u003e\n\n\u003cp class=\"body\"\u003e \u003c\/p\u003e\n\u003cp class=\"body\"\u003e \u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003eA \u003cstrong\u003ePristine Audio SI\u003c\/strong\u003e Release: Additional Technical Note\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cimg style=\"float: right; margin: 10px;\" src=\"http:\/\/www.pristineclassical.com\/media\/Pictures\/Pristine-SI150shadow.jpg\" alt=\"Pristine SI\" height=\"121\" width=\"150\"\u003eThe source recording for this release was a reel to reel copy of an acetate disc recording. The location of the original is currently unknown, if indeed it has survived. Alas the tape copy, believed to have come from Stokowski's assistant Jack Baumgarten and the only one we've been able to find, has suffered its own damage due to \"sticky shed\" syndrome, resulting in some at-times inconsistent treble response. Fortunately the condition was diagnosed and the tape treated prior to the present transfer in order to prevent further magnetic oxide loss, however some damage had already been done.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe recording is also subject to occasional peak level blasting. It is unclear whether this was caused by the tape or the original discs. Much of this has been tamed, and overall the recording is certainly very listenable. As such, post-restoration it is very much a \"borderline\" case for the \"SI\" categorisation - an older recording of the same audio quality would not have been graded in this way. However, there are inconsistencies in it, and the overall quality is perhaps slightly lower than one expect from a 1950 recording.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\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\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eTHOMSON\u003c\/strong\u003e The Mother of Us All Suite*\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eBRAHMS\u003c\/strong\u003e Symphony No. 2 in D major, Op. 73\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eCHABRIER\u003c\/strong\u003e Joyeuse marche - marche française**\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe New York Philharmonic Orchestra\u003c\/strong\u003e\u003cbr\u003e \u003cstrong\u003eLeopold Stokowski\u003c\/strong\u003e - conductor\u003cbr\u003e \u003cstrong\u003e**Dimitri Mitropoulos\u003c\/strong\u003e - conductor\u003c\/p\u003e\n\u003cp\u003e*This is the only extant performances of this work by Stokowski\u003c\/p\u003e\n\u003cp\u003eRadio broadcast links by John Baird\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bodymidarial\"\u003eBroadcast from Carnegie Hall, Sunday, 2nd April 1950 \u0026amp; **16th April 1950 by CBS Radio\u003cbr\u003e Believed to be sourced from a programme prepared for the American Forces Radio Service\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eSource material provided by Edward Johnson from his private collection\u003cbr\u003eTransfer \u0026amp; XR remastering by Andrew Rose at Pristine Audio, February 2010\u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski\u003cbr\u003e\u003cbr\u003eTotal duration: 57:29 \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_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC215.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC215.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":37144576845,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37144576909,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":37144576973,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC215_bf6e36fb-1869-4b2e-a8d1-ff239806b441.jpg?v=1494338199"},{"product_id":"pasc215-cd","title":"STOKOWKSI conducts Brahms, Thomson, Chabrier (1950) - PASC215 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD wth case \u0026 artwork (+MP3)","offer_id":40478195469,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478195533,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC215_9b500b6d-72ff-4e55-9013-7ed0a1c95125.jpg?v=1658244061"},{"product_id":"pasc242","title":"STOKOWSKI Chicago Debut Concerts (1958) - PASC242","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBACH \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eChorale Preludes\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSZABELSKI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eToccata\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSHOSTAKOVICH \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ePrelude in E flat minor\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePROKOFIEV \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eRomeo and Juliet Suite\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSwan Lake Suite\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 2 \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGLIERE \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 3 \u003c\/span\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded 1958\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 2hr 37:58\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eChicago Symphony Orchestra\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eUnfortunately, I was on Christmas vacation from \ncollege when Leopold Stokowski, at age 75, made his first appearance \nwith the Chicago Symphony Orchestra (he remarked that they must have \nbeen waiting for him to reach maturity). By the following week, I was \nback in town and did hear the Friday matinee concert on January 10. The \nconcerts must have been considered a success because Stokowski kept \nreturning in subsequent seasons and even made some studio recordings \nwith the orchestra. Sadly, only one season of the Fritz Reiner era was \ntaped, that of 1957–58, and it was done by a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNew York \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eradio\n station (WBAI) that was operating on a very limited budget. WBAI’s \nengineer\/producer would fly to Chicago, tape the Thursday evening \nconcert, and then head back to New York the next day. I would guess that\n the concerts were broadcast on Saturday night in New York, but it’s \nbeen a long time. One night, Reiner, who must have been pleased that \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003esomeone \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewas\n broadcasting his concerts, offered WBAI’s man a lift back to his hotel.\n Not wanting to reveal what a low-budget enterprise he was involved in, \nthe WBAI producer asked Reiner to drop him at the posh Palmer House. He \nentered the lobby, waited about five minutes, and when the coast was \nclear, exited and headed for the local YMCA where he was actually \nstaying! Fortunately, the orchestra and now Pristine Audio have been \nable to use copies of the WBAI tapes to, at least, preserve one Reiner \nseason in respectable sound (the CSO also did regular TV appearances, \nbut those kinescope recordings are sonically compromised).  \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 Stokowski. No one’s Bach \ntranscriptions throb quite like Stokowski’s, especially if he was \nconducting them. These four are Stokowski standards and he and the \norchestra deliver the goods. They are effective even though they are a \nhalf-tone flat and, while I’m on the subject, the Shostakovich Prelude \nin E♭-Minor, orchestrated in a very Shostakovich-like way, plays back in\n D Minor. As far as I can tell, nothing else on either CD is below \npitch.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Polish composer Boleslaw Szabelski lived from \n1896 to 1979. After late-Romantic beginnings, he began to compose atonal\n music during the 1950s. He was a student of Karol Szymanowski and was a\n teacher of the late Henryk Górecki. The Toccata, a busy 1938 showpiece \nfor orchestra, predates his switch to atonality. Did Stokowski ever \nconduct it again?  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe sheer warmth of the Prokofiev excerpts inspire\n wishes that he had recorded the complete score (but please, no cuts!). \nHe recorded some selections with the NBC Symphony Orchestra in 1954. \nUnfortunately, all he did was “Romeo and Juliet,” “Romeo at the Tomb of \nJuliet,” which are included here, and three others. He recorded excerpts\n from acts II and III of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSwan Lake \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewith\n “his” symphony orchestra, brilliantly played but somewhat streamlined \nprobably to squeeze as much music onto the LP as possible. As for the \nChicago performance, I wish I could hear the entire ballet performed \nwith such suppleness and warmth, and the playing is as good as you might\n imagine. For some reason, the Hungarian Dance is labeled “Danse Russe.”\n  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe two symphonies take up the second CD. With \nrespect to the Brahms, I haven’t heard Stokowski’s late-career recording\n with the National Philharmonic but I do have the early Philadelphia \nOrchestra version on hand. Aside from Chicago’s being a shade faster and\n little more “punctuated” for emphasis, the Chicago and Philadelphia \nperformances are similar. They are pretty much mainstream readings. As \nexpected, the Chicago taping is more detailed and has louder brass \nplaying. Compared with the Philadelphia recording, there’s little use of\n \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eportamento\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. The CSO really digs into the last movement.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eSometime during the first season of Philadelphia’s\n Kimmel Center, I decided to test the acoustics of Verizon Hall, the \nPhiladelphia Orchestra’s new home. I thought that Glière’s “Ilya \nMurometz” Symphony would be a decent test piece and Neeme Järvi was \nscheduled to conduct it. I had already heard Stokowski conduct it twice,\n once in Chicago and once in New York, but for some people, including \nme, the “Ilya Murometz” is one of life’s guilty pleasures so I decided \nto take in a Friday matinee so I could return home after the concert. \nThe concert was to open with Thomas Zehetmeier playing Mozart’s Violin \nConcerto No. 4. As two o’clock approached, there was a lot if milling \naround on stage, with players coming and going and the audience getting \nrestless. Finally, after about 15 minutes, someone came out on stage and\n gave one of those “due to circumstances beyond our control” \nannouncements to the effect that the Mozart would not be performed and, \nsince the Glière symphony required a much larger orchestra, some of the \nplayers had not arrived yet. I assured a woman sitting next to me that, \nsince the uncut Glière Third is longer than some Bruckner and Mahler \nsymphonies, we would still come close to getting our money’s worth. \nFinally, all the players showed up and Neeme Järvi came on stage and led\n what I thought was a restrained performance of the symphony (he was \nrecovering from a heart attack), and I thought the sound of the hall too\n dry for my taste, if not as dry as that of the Academy of Music. At the\n time, the place was still a work in progress and I don’t know what it \nsounds like nowadays. As for Zehetmeier, he later explained that he \ndidn’t realize that the Friday concert was a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ematinee\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e until it was too late!  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eStokowski said that, early in his Philadelphia \ncareer, he had the opportunity to discuss the symphony with Glière and \nthe composer (supposedly) agreed that his symphony could be performed \nwith certain cuts. He also met Glière when he visited the Soviet Union \nin 1931. In 1940 he recorded the symphony with the Philadelphia \nOrchestra. A complete, uncut “Ilya Murometz” runs between, say, 75 and \n78 minutes. Stokowski’s 1940 recording runs 46 minutes. It’s hard to \nbelieve that the cuts were all Glière’s idea. In later years, Stokowski \nfavored a more heavily cut edition that runs 38 minutes on his recording\n with the Houston Symphony Orchestra and about a minute longer on this \nChicago broadcast. One addition to the shorter edition is that, whereas \nthe Philadelphia recording fades out quietly, on the Houston and Chicago\n recordings, he uses Glière’s solemn, louder ending, which applies a \nmore decisive period to the piece. Each conductor who has cut the piece \nfor a recording has done his own cuts. In ascending order of \ncompleteness, the ones I’ve heard are the two later Stokowskis, the \nRachmilovich, Stokowski\/Philadelphia, Fricsay, the two Ormandys, Talmi, \nRakhlin, and the uncut ones of Botstein, Downes, Johanos, Scherchen, and\n Farberman—that last one, thanks to some sight-reading tempos, \nstretching out beyond 90 minutes; he conducts as if he relishes every \nnote in the score. Now there’s a spread: 38 minutes to 92 minutes! What \nyou won’t get on Stokowski’s Chicago performance are the high \nfrequencies; what you won’t get on the Houston performance is the sheer \nmassive power of the Chicago brasses and some interesting wind details. \nOn the Houston recording, you can hear Stokowski’s eccentric placement \nof the orchestra, with all the winds and brass on stage left and the \nviolins, violas, and cellos taking up most of what space remains, with \nthe basses lining the back of the stage. You won’t hear that on the CSO \nperformance, which is a mono recording. Both, like his 1940 effort in \nPhiladelphia, are animated, intense performances. I suppose an uncut \nStokowski “Ilya Murometz” was too much to hope for.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eObviously, this pair of CDs preserves two \nimportant concerts in the CSO’s history—the first guest appearances by \none of the 20th century’s most import maestros. Stokowski recorded most \nof this music earlier and\/or later, but there seems to have been good \nchemistry between him and the CSO—several of the players were alumni of \nhis All-American Orchestra. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:4 (Mar\/Apr 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC242.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eStoki's Chicago debut - just 53 years into his professional career!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eFirst release of two packed CDs-worth of quintissential Stokowski\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eLeopold Stokowski had for several decades been one of the world's most well-known and respected conductors when, on 2nd January 1958, he stepped onto the podium at Chicago's Orchestra Hall to conduct the Chicago Symphony Orchestra for the first time as its guest conductor. Between 1958 and 1968 he was to appear with the orchestra in six seasons of concerts; this release brings out for the first time what has been preserved from his debut concerts at the beginning of 1958.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe recordings presented here are not, it would appear, actual live broadcasts from Chicago, but were taken from rebroadcasts shortly later from a New York radio station - despite the announcer's assertions that they are live in Orchestra Hall, these were probably voice-overs from the New York radio studio. The rebroadcasts omitted music by Wagner which had formed the bulk of the second part of the first concert, following the \u003cem\u003eToccata\u003c\/em\u003e of the little-known Polish composer, Boleslaw Szabelski.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe first half of that opening concert (which was repeated on 3rd January) consisted of traditional fare - Stokowski's orchestrations of Bach's \u003cem\u003eChorale Preludes\u003c\/em\u003e and the Brahms symphony. The second programme, again repeated over two concerts, was an all-Russian affair, beginning with the Shostakovich and Glière and continuing after the interval with the Prokofiev and Tchaikovsky suites.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAs usual, the orchestra and audience got full value for money from Stokowski. In addition to his own orchestrations of the Bach, he was also responsible for the orchestration of Shostakovich's \u003cem\u003ePrelude in E flat minor\u003c\/em\u003e very shortly after its composition. The composer himself later orchestrated the piece for a 1944 film entitled \u003cem\u003eZoya\u003c\/em\u003e, a name which has stuck to a degree to the prelude - however it is, of course, the conductor's orchestration we hear in this concert.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe selections from Prokofiev's \u003cem\u003eRomeo and Juliet\u003c\/em\u003e are somewhat skirted over by the announcer, as in fact they derive not from a single suite but from both the first and second suites. Meanwhile Stokowski has again gone his own way with his \u003cem\u003eSwan Lake Suite\u003c\/em\u003e, which does not correspond to the published suite. Indeed it took a certain amount of musical detective work to identify precisely which parts of Tchaikovsky's music had been used for some of the sections presented here.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eFinally, it has been suggested that without Stokowski's efforts, Glière's mighty \u003cem\u003e3rd Symphony\u003c\/em\u003e may well have been entirely forgotten. The full work runs to a sprawling 75 minutes or longer - by skilful editing, Stokowski reduced it to something more manageable and digestible and was thus able to programme it on several occasions and thus keep it alive.\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003eTechnically the sound quality of the recordings here is generally quite good to excellent, although there are some uneven areas. I have had to play with the running orders in order to fit all of the surviving material onto two discs, and have corrected an error by the announcer, who mistakenly introduced Prokofiev's \u003cem\u003eRomeo and Juliet \u003c\/em\u003eas Tchaikovsky's \u003cem\u003eSwan Lake\u003c\/em\u003e - he himself had corrected this in the back-announcement to the piece. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e \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\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBACH\u003c\/strong\u003e Chorale Preludes\u003cbr\u003e Nun komm, der Heiden Heiland, BWV 599 \u003cbr\u003e Komm, susser Tod, BWV 478 \u003cbr\u003e Mein Jesu! was vor Seelenweh, BWV 487 \u003cbr\u003e Wir glauben all' an einen Gott, BWV 437 \u003cstrong\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e Boleslaw SZABELSKI \u003c\/strong\u003eToccata (1938)\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e SHOSTAKOVICH \u003c\/strong\u003ePrelude in E flat minor, 'Zoya', Op. 34, No. 14 (orch. Stokowski) \u003cstrong\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e PROKOFIEV \u003c\/strong\u003eRomeo and Juliet Suite\u003cbr\u003e Suite No. 1, Op. 64bis: VI. Romeo and Juliet \u003cbr\u003e Suite No. 2, Op. 64ter: VI. Dance of the Antilles Girls \u003cbr\u003e Suite No. 2, Op. 64ter: VII. Romeo at the Grave of Juliet \u003cstrong\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e TCHAIKOVSKY \u003c\/strong\u003eSwan Lake Suite \u003cbr\u003e 1. Act 1 Introduction - Moderato assai \u003cbr\u003e 2. Act 1 No. 5 - Pas de deux \u003cbr\u003e 3. Act 2, No. 10 - Scène \u003cbr\u003e 4. Act 2, No. 13 - Danse des Cynges \u003cbr\u003e 5. Act 3, No 20a - Danse Russe \u003cbr\u003e 6. Act 3 No. 21 - Danse Espagnole \u003cbr\u003e 7. Act 4, No. 27 - Danse des petits cygnes \u003cbr\u003e 8. Act 4, No. 29 - Finale \u003cstrong\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBRAHMS \u003c\/strong\u003eSymphony No. 2 in D major, Op. 73 \u003cstrong\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGLIERE \u003c\/strong\u003eSymphony No. 3 In B minor, Op. 42, “Il'ya Muromets” \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Live concert recordings from Orchestra Hall, Chicago: \u003cbr\u003e \u003cstrong\u003e2nd January 1958\u003c\/strong\u003e - Bach,Brahms, Szabelski \u003cbr\u003e \u003cstrong\u003e9th January 1958\u003c\/strong\u003e - Shostakovich, Glière, Prokofiev, Tchaikovsky\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eChicago Symphony Orchestra\u003c\/strong\u003e\u003cbr\u003e conductor \u003cstrong\u003eLeopold Stokowski\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTransfers from the collections of Edward Johnson and John Kelly \u003cbr\u003e XR remastering by Andrew Rose at Pristine Audio, August-September 2010 \u003cbr\u003e Cover artwork based on a photograph of Leopold Stokowski\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 2hr 37:58\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\/PASC242.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC242.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":34501595469,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34501595533,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34501595597,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34501595661,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC242_f068f585-1165-4c6a-9c87-a6b244a64c69.jpg?v=1490096441"},{"product_id":"pasc242-cd","title":"STOKOWSKI Chicago Debut Concerts (1958) - PASC242 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs (+MP3)","offer_id":54910721065294,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2CD only in plastic sleeve (+MP3)","offer_id":40478219341,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC242.jpg?v=1759331769"},{"product_id":"pasc264","title":"STOKOWSKI'S Return to Philadelphia (1960) - PASC264","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eMarriage of Figaro - Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eFALLA \u003c\/b\u003eEl Amor Brujo\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRESPIGHI \u003c\/b\u003eThe Pines of Rome\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eSymphony No. 5 \u003c\/span\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded 1960\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 1hr 50:05 \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eShirley Verrett-Carter, \u003c\/b\u003emezzo-soprano\u003cb\u003e\u003cbr\u003e The Philadelphia Orchestra \u003cbr\u003e \u003c\/b\u003econductor \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fStokowski’s special magic with the massed strings makes for a level of intensity that’s hard to match578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\r\n  \u003cspan class=\"TIMES\"\u003eThere was excitement in Philadelphia in January \r\n1959 when it was announced that Leopold Stokowski would be returning to \r\ntown the following year to appear with the orchestra that he had last \r\nled in 1940. In an interview, he described himself as “very pleased,” \r\nadding, “but it took a long time, didn’t it?” Eager patrons had to wait \r\nuntil February 12, 1960, for the big night. Needless to say, the Academy\r\n of Music was packed and enthusiastic. Those who were unlucky enough not\r\n to have tickets had to content themselves with the radio broadcast. I \r\nhave read that some subscribers were offered $50 for their tickets \r\n(that’s more than $360 in 2011 dollars). Many in attendance remembered \r\nhim from his long tenure with the orchestra. Not taking any chances, the\r\n maestro had chosen a program of virtually conductor-proof pieces. The \r\nresults were predictable and the recording serves as evidence. Except \r\nfor the Mozart overture, he had already made excellent recordings of \r\nthese works. The only thing on this concert that he went on to record \r\nagain was the Falla, with a young mezzo who was then billed as “Shirley \r\nVerrett-Carter.” He had hoped to record in the scene of his former \r\ntriumphs, the venerable Academy of Music, but was disappointed to \r\ndiscover that the sound had dried up quite a bit since his days there. \r\nHis assistant, Jack Baumgarten, told me that Stokowski was inclined to \r\nblame the installation of an organ during the 1940s for what he \r\nconsidered the deterioration of the hall’s sound.  \u003c\/span\u003e\r\n\u003c\/p\u003e\u003cp\u003e\r\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\r\n  \u003cspan class=\"TIMES\"\u003eDuring his radio remarks that preceded the \r\nconcert, the orchestra’s assistant conductor, William R. Smith, \r\nmentioned that Stokowski was using his radical reseating of the players,\r\n with most of the strings on stage right and center, basses lining the \r\nback wall, and winds, brass, and percussion at stage left. I find this \r\nknowledge quite vexing because, even with headphones, I cannot perceive a\r\n clear, obvious placement of the instruments. There is some but, really,\r\n very little directionality—yes, the violins seem to be to my left and a\r\n few brass instruments and some percussion seem to be emerging from my \r\nright speaker, but the winds seem to wander; I can easily imagine most \r\nof them seated in their customary spots in the center. If this is a \r\nstereo recording, as Pristine claims, it has about the narrowest spread \r\nof any stereo recording I’ve ever heard; it sounds almost like some sort\r\n of “enhanced” mono to me. That is not to say that it sounds bad; it’s \r\nquite powerful and vivid, and the combination of this conductor and this\r\n music, not surprisingly, turns out to be a surefire winner. It has been\r\n said that the orchestra played as if he had never left, easily shifting\r\n into its Stokowskian mode despite the passing of 19 years and the \r\npresence of new players (there were 36 Stokowski alumni remaining plus a\r\n few former members of his All-American Orchestra). I should point out \r\nthat Ormandy had his own sound, as Stokowski had his; they were not peas\r\n from the same pod. Interestingly, when Stokowski and Verrett made their\r\n studio recording of the Falla shortly thereafter, probably in the \r\nballroom of the Broadwood Hotel, the orchestra, perhaps at the \r\nproducer’s urging, was seated more conventionally, with violins on the \r\nlistener’s left and violas and cellos on the right.  \u003c\/span\u003e\r\n\u003c\/p\u003e\u003cp\u003e\r\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\r\n  \u003cspan class=\"TIMES\"\u003eHow can I possibly describe these performances? How can a conductor possibly ruin \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Marriage of Figaro \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture?\r\n Stokowski certainly doesn’t, but Mozart doesn’t give him the \r\nopportunities that later composers did. The Falla, though intensely \r\nimpassioned and ravishingly played, is, I think, even narrowly surpassed\r\n by the studio recording, which is my absolute favorite \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEl amor brujo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\r\n Verrett is nearly perfect: The voice is appropriately dark without \r\nbeing inappropriately heavy and she doesn’t knock herself out trying to \r\nsound gutsy. And listen to that juicy string playing! The performance of\r\n Respighi’s\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Pines of Rome\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\r\n is one very good one among many, not unlike his Symphony of the Air \r\nrecording. Stokowski’s association with Shostakovich’s music goes back \r\nto the 1920s and he made outstanding recordings of the First Symphony \r\n(twice), the Fifth (twice), Sixth (twice), and 11th, not all of them \r\nwith the Philadelphia Orchestra (I regret that he never got around to \r\nNos. 8 and 9). There was also a privately issued one of the 10th by the \r\nChicago Symphony Orchestra, also outstanding. This particular \r\nperformance uses conventional tempos but Stokowski’s special magic with \r\nthe massed strings makes for a level of intensity that’s hard to match, \r\nalthough I will concede that this symphony, like \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Pines\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\r\n has done well on recordings. Many highly anticipated “special \r\noccasions” don’t turn out to be particularly special, but this one \r\napparently did and may have even caused some Philadelphians to subscribe\r\n to a whole series just so they could be there. There were probably few \r\nregrets about that. \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 Miller  \u003c\/span\u003e\u003c\/b\u003e\r\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:6 (July\/Aug 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC264.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eStokowski's triumphant return to Philadelphia, 1960\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eFirst ever release, in transfers from the conductor's own tapes\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eWe are very privileged to have access to the two tapes \nprepared for Stokowski by the original station that broadcast the \nconcert, WFLN-FM in Philadelphia, which passed on the conductor's death \nfirst to his assistant Jack Baumgarten, and then on to Edward Johnson at\n the Stokowski Society.\u003c\/p\u003e\u003cp class=\"body\"\u003eIt would appear both that these are direct copies of the\n actual broadcast tapes (which would have been played out a few days \nafter the concert itself, with commentary added after the concert), and \nthat the stereo broadcast has never been heard properly. The commentary \nhere was recorded in standard stereo, but the entire concert was encoded\n in Mid-Side (MS) stereo, a format used mainly for broadcast purposes \nand not designed to be replayed without considerable technical \nintervention to recreate a proper stereo image. Prior to this \ncorrection, one would hear the M (or mono) signal from the left speaker \nand the difference (the S or side component which contains the stereo \nspacial information) from the right speaker, creating a very bizarre and\n confusing soundstage. I have corrected this and inserted small fades \nbetween radio commentary and music to cover the abrupt cut edits of the \noriginal.\u003c\/p\u003e\u003cp class=\"body\"\u003eSoncially the recording is otherwise very similar to the\n original tapes, with very minor adjustments to equalisation and a \ndegree of convolution reverb added (reverb was required for previous \nPhiladelphia issues by Baumgarten) to ameliorate a very dry acoustic \ncaused by close miking, probably in order to get a good stereo spread \nwith the Academy's narrow proscenium and cut down on audience noise. A \nvery small amount of pitch flutter is occasionally apparent towards the \nend of the first half, but otherwise sound quality is excellent.\u003c\/p\u003e\u003cp class=\"body\"\u003eIn the process of researching this release, I learned \nthe following from Mark Obert-Thorn, who is based close to the city of \nPhiladelphia:\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\n\u003cbr\u003e  \u003ci\u003e  The original station that broadcast the concert was WFLN-FM in Philadelphia (now changed to a rock station with different call letters).  The engineering was supervised by Albert L. Borkow, Jr., whose company, Magnetic Recorder and Reproducer, produced the broadcasts. \u003cbr\u003e     \u003cbr\u003e    The PO only started broadcasting in stereo beginning with the concerts of January, 1960, so Stokowski chose a good time to come back.  This was only the seventh concert to be recorded by this team.  Prior to this, CBS had broadcast concerts sporadically through the 1950s.  The WFLN series lasted with few interruptions weekly into the 1980s.\u003cbr\u003e     \u003cbr\u003e    There are oddities to these early stereo concerts.  Magnetic's mixing boards were primitive, so when the outros had to be recorded over the applause at the end of a work, the applause was re-recorded and mono-ed out on one track (often at a much lower volume level) and the announcements added to the other track.  Also, pauses between movements were often not shortened for broadcast.  (I have a WFLN tape of Silvestri conducting Tchaikovsky's Manfred Symphony where there is about a two-minute long stretch of audience noise after the first movement!)\u003cbr\u003e     \u003cbr\u003e\u003c\/i\u003e\u003cbr\u003eAs Mark points out, there were some very long sections \nof applause in the original broadcast. These have been edited down to \nsomething more appropriate. I have retained all the announcements, which\n are mainly provided by the Philadelphia Orchestra's then assistant \nconductor, William Smith. The broadcast concluded with a short speech by\n Stokowski, made facing his audience at the end of the concert, and this\n too has been retained.\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\u003cb\u003eMOZART\u003c\/b\u003e Marriage of Figaro - Overture\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eDE FALLA\u003c\/b\u003e El Amor Brujo\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRESPIGHI\u003c\/b\u003e The Pines of Rome\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSHOSTAKOVICH\u003c\/b\u003e Symphony No. 5 in C minor, Op. 47 \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\n\u003cb\u003e\u003cbr\u003e Shirley Verrett-Carter\u003c\/b\u003e, mezzo-soprano \u003cb\u003e\u003cbr\u003e The Philadelphia Orchestra \u003cbr\u003e conductor Leopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eXR remastering by Andrew Rose at Pristine Audio, December 2010 \u003cbr\u003e Cover artwork based on a photograph of Leopold Stokowski\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 1 hr 50:05 \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\/PASC264.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC264.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":37272148429,"sku":null,"price":30.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":37272148493,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":59447267950926,"sku":null,"price":14.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC264_be5dae1b-8dce-4d6e-82a3-20215063fc23.jpg?v=1776342231"},{"product_id":"pasc264-cd","title":"STOKOWSKI'S Return to Philadelphia (1960) - PASC264 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD with case \u0026 artwork (+MP3)","offer_id":40478233677,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2CD only in plastic sleeve (+MP3)","offer_id":40478233741,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC264_bf9dd79d-4c7b-46e9-930d-28522d8a2c82.jpg?v=1658245734"},{"product_id":"pasc274","title":"STOKOWSKI conducts 20th Century Music (1952\/53) - PASC274","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eSCHOENBERG \u003c\/b\u003eVerklärte Nacht\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBARTÓK \u003c\/b\u003eSonata for Two Pianos and Percussion\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eGOULD \u003c\/b\u003eDance Variations\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e \u003cspan class=\"bodysmallarial\" style=\"font-size: 10px;\"\u003eRecorded 1952 and 1953\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 73:59 \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eSan Francisco Symphony Orchestra\u003cbr\u003eStokowski Symphony Orchestra\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis CD should be welcomed by Stokowski collectors578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eLeopold Stokowski was known for the silky-smooth \nsound he could produce from any orchestra; his emphasis on sound quality\n led his critics to complain that he often neglected the structural or \ndramatic elements of music. This release brings those thoughts to mind, \nas none of these pieces would seem to mesh well with the Stokowski \nstyle. His \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eVerklärte Nacht\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is sinuous, almost greasy, a performance that might have won converts \nto Schoenberg in 1952 but is at odds with today’s view of it as a \ndramatic blockbuster with an edgy story to tell. The cold, crisp night, \nthe walk along the river, the woman’s revelation that she is pregnant by\n another man, and her lover’s eventual acceptance are all missing; could\n a mid 20th-century audience even have considered such a tale? Certainly\n not in America! So Stokowski’s performance as a lush tone poem at least\n fits his era.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe scoring of Bartók’s unusual sonata is as far \nfrom smooth and silky as one can get, leaving no possibility of \nStokowskian tricks such as free bowing and odd seating arrangements. \nNevertheless, he knew how to deal with every type of music. That this \nrecording is well played can be credited to the four performers, and yet\n there is a Stokowski feel to it, seemingly more consonant and less \nangular than most performances. The ringing percussion gets more \nattention than the banging instruments—which is fine; as is the case \nwith most Bartók music, this sonata works in any interpretation.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMorton Gould’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDance Variations\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n comes across as weak tea in this company. It is bright ballet music, \nfilled with two-piano excursions and bouncing percussion. As pure music,\n it leaves me cold; when I envision dancers flitting across a stage, it \nbecomes almost charming. Mark Obert-Thorn and Pristine’s Andrew Rose \nhave made the most of these monaural recordings, so this CD and\/or its \nInternet streams (pristineclassical.com) should be welcomed by Stokowski\n collectors. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames H. North  \u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003eThis article originally appeared in Issue 35:1 (Sept\/Oct 2011) of Fanfare Magazine.\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC274.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eBrilliant - Fascinating - Challenging: Stokowski's C20 music\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;\"\u003eFirst digital issues of classic 1950s recordings transferred by Mark Obert-Thorn\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eLeopold Stokowski was a staunch champion of contemporary music and Schoenberg was one of the many 20th century composers whose works found in Stokowski a firm advocate. Indeed, Stokowski was the only conductor to perform all of Schoenberg's orchestral music during the composer's own lifetime. His performances included the World Premieres of the \u003cem\u003eViolin Concerto\u003c\/em\u003e in 1940 (with Louis Krasner as soloist and the Philadelphia Orchestra) and the \u003cem\u003ePiano Concerto\u003c\/em\u003e in 1944 (with Eduard Steuermann, piano, and the NBC Symphony, of which Stokowski was then co-conductor with Toscanini).\u003c\/p\u003e\n\u003cp class=\"body\"\u003eStokowski gave the American Premieres in Philadelphia of Schoenberg's \u003cem\u003eFirst Kammersymphonie\u003c\/em\u003e (1915), the \u003cem\u003eVariations for Orchestra\u003c\/em\u003e (1929) and \u003cem\u003eDie Gluckliche Hand\u003c\/em\u003e (1930). The US Premiere of \u003cem\u003eGurrelieder\u003c\/em\u003e in 1932, together with its immediate subsequent performances, were recorded by RCA and the resulting 78rpm album remained the only recording of the work in the catalogue until the advent of LP. When Schoenberg died in 1951, Stokowski marked the event the following year by recording \u003cem\u003eVerklärte Nacht\u003c\/em\u003e in the performance heard here. His championship of the composer was marked by further performances of \u003cem\u003eGurrelieder\u003c\/em\u003e in 1961, firstly in Philadelphia and again a few months later in Scotland, when he opened that year's Edinburgh International Festival with the work.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eBartók featured less on Stokowski's concert programmes and in his discography, though he did record the\u003cem\u003e Music for Strings, Percussion and Celesta\u003c\/em\u003e in 1957 for Capitol so as to exploit their new \"Full Dimensional Stereo Sound.\" Three years later he recorded Bartók's \u003cem\u003eConcerto for Orchestra\u003c\/em\u003e with the Houston Symphony for Everest. The performance heard here of the \u003cem\u003eSonata for Two Pianos and Percussion\u003c\/em\u003e was one of many works he recorded for RCA in the 1950s that he never played in public.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eMorton Gould was one of the great many young American composers whose music Stokowski presented to the public for the first time. In 1936, he conducted the World Premiere of Gould's \u003cem\u003eChorale and Fugue in Jazz\u003c\/em\u003e and in 1941 he recorded the \u003cem\u003eGuaracha\u003c\/em\u003e from the \u003cem\u003eLatin-American Symphonette No. 4 \u003c\/em\u003ewith his new All-American Youth Orchestra. Two years later he played Gould's \u003cem\u003eTwo Marches for Orchestra\u003c\/em\u003e with the NBC Symphony, the broadcast of which was released on Cala Records by the Leopold Stokowski Society in 1999 (CACD0526). The recording of Gould's \u003cem\u003eDance Variations\u003c\/em\u003e heard here was one of the many 'World Premiere Recordings' made by Stokowski during his long and illustrious career.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003e\u003cem\u003eNotes by Edward Johnson\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e \u003c\/p\u003e\n\u003cp class=\"body\"\u003eAdditional points regarding these recordings:\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\u003col\u003e\u003c\/ol\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003e1. None of these recordings has previously been reissued on CD. (The New York recording of the Schoenberg is not to be confused with Stokowski’s stereo remake, taped five years later with a Hollywood pickup orchestra.)\u003c\/p\u003e\u003cp\u003e2. The Bartok and Gould are Stokowski’s only recordings of the works.\n\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003e\u003c\/p\u003e\u003cp\u003e3. The Schoenberg, although written in 1899, was premièred in 1903 in its string sextet form and arranged for string orchestra in 1917, which is why it is included here in a 20th Century collection.\u003c\/p\u003e\u003col\u003e\n\u003c\/ol\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003col\u003e\u003c\/ol\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003e4. The Gould work is one of only two recordings Stokowski made with the San Francisco Symphony Orchestra.\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\u003eSCHOENBERG\u003c\/strong\u003e: Verklärte Nacht (Transfigured Night), Op. 4\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e \u003c\/span\u003e\u003cstrong class=\"body\"\u003eLeopold Stokowski \u003c\/strong\u003eand\u003cstrong class=\"body\"\u003e His Symphony Orchestra\u003c\/strong\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 3rd September, 1952 in Manhattan Center, New York City\u003cbr\u003e First issued on RCA Victor LM-1739\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBARTÓK\u003c\/strong\u003e Sonata for Two Pianos and Percussion\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eGerson Yessin \u003c\/strong\u003eand\u003cstrong\u003e Raymond Viola\u003c\/strong\u003e, pianists\u003cbr\u003e \u003cstrong\u003eElayne Jones \u003c\/strong\u003eand\u003cstrong\u003e Alfred Howard\u003c\/strong\u003e, percussion\u003cbr\u003e \u003cstrong\u003eLeopold Stokowski\u003c\/strong\u003e, conductor\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 27th March and 3rd April, 1952 in Manhattan Center, New York City\u003cbr\u003e First issued on RCA Victor LM-1727\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMORTON GOULD\u003c\/strong\u003e Dance Variations\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eArthur Whittemore\u003c\/strong\u003e and \u003cstrong\u003eJack Lowe\u003c\/strong\u003e, duo-pianists\u003cbr\u003e \u003cstrong\u003eLeopold Stokowski\u003c\/strong\u003e and the \u003cstrong\u003eSan Francisco Symphony Orchestra\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 22nd November, 1953 in the War Memorial Opera House, San Francisco\u003cbr\u003e First issued on RCA Victor LM-1858\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003e Cover artwork based on a photograph of Leopold Stokowski\u003c\/span\u003e\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTotal duration: 73:59 \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\/PASC274.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC274.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":34578120141,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34578120205,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34578120269,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC274_e152c18c-69c4-45e3-88a5-9360f061a93b.jpg?v=1490171731"},{"product_id":"pasc274-cd","title":"STOKOWSKI conducts 20th Century Music (1952\/53) - PASC274 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478242637,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478242701,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC274_8d9b1161-18c0-4852-9863-e97cb01f30d5.jpg?v=1658246646"},{"product_id":"pasc133","title":"STOKOWSKI Schumann: Symphony No. 2, plus Vaughan Williams, Enescu, Walton (1949) - PASC133","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eVAUGHAN WILLIAMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Fantasia on 'Greensleeves'\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSCHUMANN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e \u003c\/b\u003eSymphony No. 2 \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eENESCU\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e \u003c\/b\u003eRomanian Rhapsody No. 1\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWALTON\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e \u003c\/b\u003eSpitfire Prelude and Fugue\u003c\/span\u003e\u003cbr\u003e  \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 11px;\"\u003eRecorded 1949\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 11px;\"\u003eTotal duration: 55:26\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eNew York Philharmonic Orchestra\u003cbr\u003e \u003c\/b\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC133.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cspan class=\"bodybig\" style=\"font-size: 24px;\"\u003e\u003cem\u003eFour fabulous and previously unissued studio \u0026amp; live recordings\u003c\/em\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eIncludes the only known recording of Stokowski conducting music by Walton\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003eThese recordings were sent to Pristine by Edward Johnson, one of the guiding lights of the Stokowski Society, musicologist and author of \"\u003cem\u003eStokowski\u003c\/em\u003e - Essays in Analysis of His Art\", taken from recordings held in his private collection, none of which have previously been issued.\n\u003cp class=\"body\"\u003eIn his letter to me, Johnson stated: \"\u003cem\u003e...the Walton is on this CD purely because it's Stokowski's only extant performance of any of Walton's music. But sonically it is dreadful and not release material. I only put it there for your interest...\u003c\/em\u003e\". Whether or not he intended this to be a subtle challenge I don't know, but I don't really think so. However, given the historic importance of the recording (Stokowski is known to have conducted very occasionally other works by Walton in the concert hall, but no recordings of these are thought to exist), I decided to take it on and see what could be achieved.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAfter making initial inroads on the sound, I sent a work-in-progress sample to Edward for his comments: \"\u003cem\u003eWow ... That's pretty amazing ! ... Like I said, it was recorded onto a primitive glass acetate disc, off the air, by someone called Charles (\"Jack\") Baumgarten who was later to become Stokowski's assistant during the Maestro's last years. This came from a tape copy he gave me. I guess he started the recording after the announcements had finished and and stopped it as soon as the applause began ... it's great that you can work on it as I'd never have thought it would be issuable material! ... The violin solo was most probably John Corigliano, who was I think concert-master at the time...\u003c\/em\u003e\"\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAfter much further work I reached the point where I felt I'd done as much for it as possible - numerous bumps, holes, thumps and other extraneous noises were fixed, the sound further refined and evened out, and I was happy to add the recording to this collection. There remains a small degree of distortion towards the end of the piece, and some low-level surface crackle proved impervious to processing, but otherwise it's a fine example of a very spirited performance.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eOf the other recordings, the Vaughan Williams was a fine studio effort - its US debut recording no less. The piece was too long for 78rpm playback and so three further takes were attempted of a version shortened by the conductor by excising sections of the music, the final take running to 4'04\" and given the matrix number XCO41010-1 for release. This first-take full-length recording was left in the vaults and only recently rediscovered.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe Schumann that forms the heart of this set is, according to Edward Johnson \"\u003cem\u003ea much better performance than the one he recorded for RCA the following year with \"his Symphony Orchestra\" and the sound, while very good, could be made even better...\u003c\/em\u003e\". The sound quality of the Enescu was pretty much the same - both came from later rebroadcasts - and I'm glad to report Edward's response to my remastering efforts just prior to our release: \"\u003cem\u003eI downloaded the MP3 file and it sounds wonderful!\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\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eVAUGHAN WILLIAMS\u003c\/strong\u003e: Fantasia on 'Greensleeves'\u003c\/span\u003e\u003cbr\u003e\n Unissued full-length studio recording, Columbia Studios 21st February, \n1949 - a shortened version was prepared and issued on 78rpm disc from \nthis recording session, the complete piece being too long for a single \ndisc side.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSCHUMANN\u003c\/strong\u003e: Symphony No 2 in C, Op 61\u003c\/span\u003e\u003cbr\u003e Live at Carnegie Hall, 6th February 1949, taken from a later radio rebroadcast of the original masters\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eENESCU\u003c\/strong\u003e: Romanian Rhapsody No 1 in A, Op. 11\u003c\/span\u003e\u003cbr\u003e Live at Carnegie Hall, 21st February 1949, taken from a later radio rebroadcast of the original masters\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eWALTON\u003c\/strong\u003e: Spitfire Prelude and Fugue\u003c\/span\u003e\u003cbr\u003e Live at Carnegie Hall, 6th February 1949, \"\u003cem\u003eRecorded\n by Charles \"Jack\" Baumgarten on a primitive glass acetate recording \nmachine direct off the radio at the time of the original transmission\u003c\/em\u003e\"\u003cbr\u003e -\u003cstrong\u003e the only extant recording of Stokowski conducting Walton\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cstrong\u003eNew York Philharmonic Orchestra\u003cbr\u003e conducted by Leopold Stokowski\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eRecorded in New York in 1949\u003cbr\u003e All previously unissued recordings from the collection of Edward Johnson\u003cbr\u003e\u003cbr\u003e Restoration and XR remastering by Andrew Rose, October-November 2008\u003cbr\u003e Cover artwork based on a photograph of Leopold Stokowski\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003eTotal duration: 55:26\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\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\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\/PASC133.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC133.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":34671441741,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34671441805,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34671441869,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34671441933,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC133.jpg?v=1490285605"},{"product_id":"pasc133-cd","title":"STOKOWSKI Schumann: Symphony No. 2, plus Vaughan Williams, Enescu, Walton (1949) - PASC133 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478284685,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478284749,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC133_c791cdd1-4aea-477b-ae62-9fb0c31878c4.jpg?v=1658241862"},{"product_id":"pasc161","title":"STOKOWSKI Prokofiev: Symphonies 5 and 6 (1949\/58) - PASC161","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cstrong\u003e\u003cspan class=\"body\" style=\"font-size: 16px;\"\u003ePROKOFIEV \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\" style=\"font-size: 16px;\"\u003eSymphony No. \u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e5\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan class=\"body\" style=\"font-size: 16px;\"\u003ePROKOFIEV \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\" style=\"font-size: 16px;\"\u003eSymphony No. \u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e6\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded 1958 \u0026amp; 1949\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodysmallarial\" style=\"font-size: 10px;\"\u003eTotal duration: 78:51 \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eUSSR Radio Symphony Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003eNew York Philharmonic Symphony Orchestra\u003cbr\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003econducted by \u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eLeopold Stokowski\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fStokowski’s performance captures that anguish better than any modern recording I know578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHere are two fascinating Stokowski rarities, two \ngreat 20th-century symphonies that were exactly his kind of music, and \nof which he made no other recordings. His 1958 Prokofiev Fifth with the \nUSSR Radio Symphony sounds so like Rodzinski’s 1946 Columbia recording \nwith the New York Philharmonic that for almost two minutes I could not \nbelieve it was anything else. Finally a few clipped phrases and some \nRussian brass convinced me otherwise. I say this as a compliment; \nRodzinski’s was the finest early recording, a performance superior to \nKoussevitzky’s better-known version and to many that followed it. This \nRussian recording better captures the low brass, in particular a \nsuperbly played tuba, and has a stronger top end than the Columbia. I \nnever heard the original Melodiya LP from which it was transferred; \nlocally available LPs on the Bruno and MK labels were too dreadful to \ncontemplate, the former murky, the latter as grainy and noisy as poor 78\n shellac. This transfer is entirely successful, making what was \nobviously a so-so monaural recording eminently listenable. The digital \nera finally delivered two stunning Prokofiev Fifths: the Decca recording\n by Ashkenazy and the Concertgebouw, and—even better—DG’s Chicago \nSymphony under Levine.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe 20th century saw a number of cases where a \npremiere performance nailed a work to an extent that might never be \nmatched; the 1939 Székely\/Mengelberg Bartók Violin Concerto comes to \nmind. Who wouldn’t like to hear Monteux’s 1913 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe sacre\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n or any of Mahler’s own premieres of his symphonies? The enormous effort\n required to learn, prepare, and play a new work often leads to sincere,\n devoted, intense performances. Stokowski’s Prokofiev Sixth was such an \noccasion; he gave the first U.S. performance of the Sixth two weeks \nprior to this, its radio premiere. The 1945 symphony was expected to \ncelebrate Russia’s victory in World War II, but its dissonance and \nemotional anguish led to its banishment from the Soviet Union for the \ncomposer’s lifetime, and for Stalin’s—they died on the same day. \nProkofiev is reported to have said of his symphony, “Now we are \nrejoicing in our great victory, but each of us has wounds that cannot be\n healed” (from Philip Ramey’s notes to a 1982 New York Philharmonic \nissue of this performance). Stokowski’s performance captures that \nanguish better than any modern recording I know.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe qualifier is because another premiere, the \nfirst commercial recording, made by Eugene Ormandy and the Philadelphia \nOrchestra just six weeks later, nearly equals Stokowski in potency and \nsurpasses it in execution—this live performance suffers from a couple of\n exposed horn clams. Although I do not have it on hand, I remember \nOrmandy’s stereo remake to have had a lesser impact. The differences \nbetween the pair of early performances are those one would expect from \nthe two orchestras in that era: The Philadelphia strings are smooth, \nlush, and deep, at the expense of its fine winds; New York’s thinner, \nharsher strings not only let its distinctive winds come through but seem\n more suitable for this austere music. Ormandy’s slow Largo lacks the \nbite Stokowski achieves at quicker pace. Any preference between these \ntwo superb performances must be a personal one, but the Omandy has never\n appeared on CD, to my knowledge. The Stokowski has been available only \non a rare two-LP set, a 1982 promotional issue by the New York \nPhilharmonic. Pristine’s transfer was made directly from privately held \nacetates; as fine as Steven Smolian’s transfers for the LPs were, \nadvances in technology and Andrew Rose’s skill have opened up the top \nend without increasing the noise, producing a more vital sound that \nenlivens the whole symphony. Its apparently greater harshness is merely \ncapturing the essence of the performance and of the music. Neeme Järvi \non Chandos and Theodore Kuchar on Naxos—both gloriously recorded—are my \npreferred modern recordings of the Sixth.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis is another necessary historical issue for which we must thank Andrew Rose’s taste and judgment as well as his skill. \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 H. North  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\u003ci\u003eThis article originally appeared in Issue 33:6 (July\/Aug 2010) of Fanfare Magazine\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC161.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eTwo rare and electrifying performances from Stokowski\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003ci\u003e\u003cspan style=\"font-size: 18px;\"\u003eAmong the finest Prokofiev performances ever recorded\u003c\/span\u003e\u003c\/i\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eThese rare recordings came up for review as part of a look at the world of \"Private CDs\" by Robert Stumpf II at \u003ca href=\"http:\/\/www.classical.net\/music\/recs\/reviews\/maestrno\/privatecds.php\" target=\"_blank\"\u003eClassical Net Review\u003c\/a\u003e a few years ago, and in reading them one is immediately struck by his enthusiasm for both recordings:\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003e\u003cem\u003e...but the whole thing is worth it just\n for the Prokofieff. This was recorded whilst the Maestro was on tour in\n the USSR and is one of the most intense recordings ever. It is my \nfavorite and I am glad to have it on CD...\u003c\/em\u003e\u003cbr\u003e (On the 5th Symphony)\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003e\u003cem\u003e...Again, the Prokofieff makes this a \nmust have disc. Taken from the LP issued several years ago by the NYPO \nthis is the finest performance there is. The orchestra is inspired and \nthe sound is excellent...\u003c\/em\u003e\u003cbr\u003e (On the 6th Symphony)\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eWhilst I would dispute the sound quality of\n the 6th Symphony, at least in its original incarnation (we were sent \n1\/4\" tape transcriptions of the acetates from the archives of the \nStokowski Society which are surely as good as anyone else is likely to \nget), it's certainly hard to argue against the general thrust of \nStumpf's enthusiasm for both of these, and it's a mystery as to why \nStokowski did not programme them more often.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eAs the Society's Edward Johnson pointed out to me in his letter accompanying the masters, \"\u003cem\u003eStokowski\n gave the US Première of the Prokofiev 6th in 1949, and conducted it \nfour time altogether - on 24, 25 and 26 November and again of 4 \nDecember. This last performance was broadcast \u003c\/em\u003e[the recording now issued]\u003cem\u003e.\u003c\/em\u003e \u003cem\u003eIt\n was also the last time he conducted it! He only conducted No. 5 again \none more time - in 1967 with the American Symphony Orchestra.\u003c\/em\u003e\"\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eMr. Johnson also enclosed notes by Stokowski on the 6th Symphony, written for the Philharmonic program:\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"bodybigblue\" style=\"margin-left: 25px;\" align=\"left\"\u003eProkofiev's SIXTH SYMPHONY is a \nnatural development of his immense musical gifts. It is in three parts -\n the first moderately quick, the second slow, the third very animated. \nThe first part has two themes - the first in a rather fast dance rhythm,\n the second a slower song-like melody, a little modal in character, \nrecalling the old Russian and Byzantine scales. Later this music becomes\n gradually more animated as the themes are developed, and after the \nclimax of this development there is a slower transition to the second \npart. I think this second part will need several hearings to be fully \nunderstood. The harmonies and texture of the music are extremely \ncomplex. Later there is a theme for horns which is simpler and sounds \nlike voices singing. This leads to a warm \u003cem\u003ecantilena\u003c\/em\u003e of the \nviolins and a slower transition to the third part, which is rhythmic and\n full of humor, verging on the satyrical. The rhythms are clear-cut, and\n while the thematic lines are simple, they are accompanied by most \noriginal harmonic sequences, alert and rapid. Near the end a remembrance\n sounds like an echo of the pensive melancholy of the first part of the \nsymphony, followed by a rushing tumultuous end.\u003c\/p\u003e\n\u003cp class=\"bodybigblue\" style=\"margin-left: 25px;\" align=\"left\"\u003eI knew Prokofiev well in Paris and \nin Russia, and feel that this symphony is an eloquent expression of the \nfull range of his personality. It is a creation of a master-artist \nserene in the use and control of his medium.\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003e From a technical perspective both \nrecordings have responded very well to XR remastering and restoration. \nThe 1958 Russian 'studio' recording is clearly more advanced than the \nearlier radio broadcast, captured original on disc rather than tape and \ntaken from the radio feed (we've retained a very brief introduction and \npay-off from the announcer). Saying that, the older recording has \ncleaned up remarkably well, and one quickly adapts to the slightly \nreduced sonic resolution presented here. There were a couple of very \nshort drop-outs during the second movement of the 6th which have been \npatched using surrounding material, and I've been able to tackle a good \nbit of the typical higher-frequency surface noise found on acetate disc \nrecordings of this era to the extent that it's rarely apparent to any \nnoticeable degree.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eWhat was most unusual was the clear use of \nsome kind of primitive artificial reverberation at the end of the 5th \nSymphony recording, heard during the decay of the final chord, which was\n itself 'chopped' off early. I've removed this and attempted to \nsynthesize something a little more credible with what was left - it's \ncertainly a lot less of a jolt than the original!\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eOverall this recording presents two rare \nrecordings by Stokowski that have the added benefits of being both in \nexcellent sonic order, and of the very highest performance standards!\u003c\/p\u003e\u003cp\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\u003cstrong\u003e\u003cspan class=\"body\" style=\"font-size: 16px;\"\u003ePROKOFIEV \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\" style=\"font-size: 16px;\"\u003eSymphony No. \u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e5 in B flat, Op. 100\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003eUSSR Radio Symphony Orchestra\u003cbr\u003e conducted by Leopold Stokowski \u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003eTchaikovsky Hall, Moscow, 15th June 1958, issused as Melodya MK 1551\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\" style=\"font-size: 12px;\"\u003eRecorded\n by Melodya during Stokowski's 1958 Russian tour, early summer, 1958, \nthis was his only recording for the label and his only studio recording \nof any symphony by Prokofiev. Following this tour he was to conduct this\n symphony one more time only, in a 1967 concert with the American \nSymphony Orchestra.\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e Transfer of original LP disc from the collection of Edward Johnson.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan class=\"body\" style=\"font-size: 16px;\"\u003ePROKOFIEV \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\" style=\"font-size: 16px;\"\u003eSymphony No. \u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e6 in E flat minor, Op. 111\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003eNew York Philharmonic Symphony Orchestra\u003cbr\u003e conducted by Leopold Stokowski \u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003eCarnegie Hall, New York, 4th December, 1949\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\" style=\"font-size: 12px;\"\u003eFirst\n US broadcast of this work, its fourth performance in the US - Stokowski\n had conducted its US première on 24th November 1949, and programmed it \nagain on 25th and 26th November. There are no other recordings of \nStokowski conducting this piece - this was his final performance of it.\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e Reel-to-reel tape copy of original acetates from the collection of Edward Johnson, transfer by Andrew Rose\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003eXR remastering by Andrew Rose at Pristine Audio, May 2009\u003cbr\u003e Cover artwork based on a photograph of Leopold Stokowski\u003cbr\u003e \u003cbr\u003e Total duration: 78:51 \u003cbr\u003e ©2009 Pristine Audio.\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\/PASC161.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC161.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":29474034319421,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":29474034352189,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":29474034384957,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":29474034417725,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC161_ea64cdd7-477c-45e6-9c5e-1d6b14455336.jpg?v=1565166170"},{"product_id":"pasc161-cd","title":"STOKOWSKI Prokofiev: Symphonies 5 and 6 (1949\/58) - PASC161 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":29474034516029,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":29474034548797,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC161_d2454b33-938d-4752-a0d4-e3503d25923b.jpg?v=1658242617"},{"product_id":"pasc167","title":"STOKOWSKI conducts Music from the Theatre: Tchaikovsky \u0026 Wagner (1950\/53)  - PASC167","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e \u003c\/b\u003eAurora's Wedding - Ballet Suite\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(arr. Diaghilev from \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003eSleeping Beauty\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e)\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWAGNER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e \u003c\/b\u003eTristan und Isolde - Symphonic Synthesis\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(arr. Stokowski)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded 1950 \u0026amp; 1953\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 75:49 \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cb\u003eLeopold Stokowski \u003c\/b\u003eand his \u003cb\u003eSymphony Orchestra\u003c\/b\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIt’s an addiction, and Stokowski was the chief pusher578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn November 1921, the impresario Serge Diaghilev and his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBallets Russes \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003epresented a nearly full-length production of the Tchaikovsky-Petipa \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSleeping Beauty\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (retitled \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Sleeping Princess\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n by Diaghilev) at the Alhambra Theater in London. As Richard Shead wrote\n in his history of the company, “He was taking an enormous risk, as he \nmust have known. Neither London nor Paris had taken greatly to\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Giselle\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e or \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe Lac des Cygnes\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e [“Swan Lake”]. He had accustomed audiences to barbarously sophisticated (or sophisticatedly barbarous) spectacles such as\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Igor\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, S\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003echéhérazade\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThamar\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, and to witty character ballets such as \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa Boutique fantasque\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe Tricorne \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e[“The\n Three-Cornered Hat”]. Would they accept the pure, unadulterated \nclassicism of Petipa? Nowadays, of course, the great 19th-century \nballets provide the safest way to fill a house . . . but this was by no \nmeans the case in the early 1920s.” He also suggests that, because they \nhad become accustomed to dancing to Leonid Massine’s choreography, some \nof the dancers may have even lost touch with their classical roots. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Sleeping Princess\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e was not \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Sleeping Beauty\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e as we know it. Some numbers were cut. A few excerpts from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Nutcracker\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n were interpolated. Some numbers were choreographed by Bronislava \nNijinska. Some were reorchestrated by Stravinsky. The sets and costumes \nof Leon Bakst, if one may judge by illustrations, were spectacular (and \nexpensive). Much of the audience, accustomed to clever novelties, got \nbored seeing the same characters on stage all evening. “Sophisticated” \nlisteners found Tchaikovsky’s music cloying and passé. Some found the \nballet to be an empty spectacle. In any event, despite the fact that the\n production produced a group of impassioned enthusiasts who returned \nnight after night (and sat in the cheap seats), it got lousy reviews and\n bombed at the box office, by far the biggest failure of Diaghilev’s \ncareer. The presenter who had put up the money to hire the company kept \nthe lavish sets and wouldn’t part with them unless Diaghilev came up \nwith the money to meet his losses. Trying to salvage something from the \ndisaster, Diaghilev (with help from someone like Stravinsky?) took about\n 45 minutes worth of music from the full score, juggled the sequence a \nbit, and arranged a one-act ballet called \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAurora’s Wedding\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Although it deals with the events of the last act, it uses some music \nfrom earlier ones. It was first presented in Monte Carlo, using sets \nfrom another ballet. Since it is a brilliant divertissement, it \neventually took on a life of its own outside of the complete work.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eLeopold Stokowski recorded extensive excerpts from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Sleeping Beauty\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e on 78s in 1947, which found their way onto an early RCA Victor LP and, much later, to a Cala CD. He then recorded \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAurora’s Wedding\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n or most of it, in 1953. He re-recorded it in stereo for Sony in 1976, \nincluding two numbers that were not on the 1953 recording. This, of \ncourse, doesn’t prove that the 1976 recording is complete, either, but I\n am sure both recordings include, at least, almost all the music. I also\n cannot say if the various cuts are by Diaghilev or Stokowski, and there\n are quite a few of them throughout. Musically, the performance, if \nrather fast for balletic purposes, is brilliant, featuring the superb \nplaying and detail one is accustomed to from “his” symphony orchestra \nand \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ehis\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e \npost-production manipulations. The CD transfer is, likewise, \nsuperb—except for the single channel, it sounds like it might have been \ndone last year.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMy first acquaintance with music from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTristan and Isolde\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e came from Franz Waxman’s short fantasia for violin, piano, and orchestra, played in the movie \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHumoresque\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n by Isaac Stern (John Garfield) and Oscar Levant with Waxman leading the\n orchestra. It subsequently appeared on a 10-inch LP (if you remember \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethem\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, you’re \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eold\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e)\n featuring Stern playing various pieces that were heard in the movie. \nLater, it must have turned up in one of those multi-CD tributes to Stern\n that Sony issued. I have it now on a Pearl CD. It left me with a taste \nfor orchestrated Wagner, whether authentic or not. In this corrupt \nstate, my discovery of RCA Victor LM-1174 was a major step down the road\n to decadence. It was innocently titled “Music from Tristan and Isolde” \nand had a deceptively plain lavender and white cover. How many hours \nwere wasted as I lounged on a couch, smoking something, and letting the \nerotic music wash over me? It turned out to be Stokowski’s second \nrecording of what was called a “Symphonic Synthesis” (a term invented by\n Charles O’Connell, Victor’s A\u0026amp; R man in the 78 days) of the opera. \nHe used themes from scenes 4 and 5 of act I, the “Liebesnacht” from act \nII and Tristan’s delirium from act III, framing them with the Prelude \nand “Love Death.” He had recorded the same arrangement in 1932, but \nthose 78s were long gone by 1950 when the LP was recorded. Not content \nwith inflicting this narcotic on the musical world, he did another \n“synthesis” with the Philadelphia Orchestra in 1935, this time including\n music from act II only, framing the love duet with the Prelude to act \nII and its abrupt conclusion, when Melot wounds Tristan. Later, he \nrecorded the same arrangement with the All-American Orchestra, but left \nout the Prelude to act II and, instead of using the end of act II, he \nsegued into the “Liebestod.” This arrangement was simply called “Love \nMusic from acts II and III.” He retained that title when he recorded \nthis same arrangement (restoring the act II Prelude) with the \nPhiladelphia Orchestra in luscious stereo in 1960. If I had to use one \nrecording to convince someone of Stokowski’s unique powers, the ones \nthat caused Mitch Miller to refer to him as a “magic” conductor, I would\n choose that 1960 recording. Returning to earlier times, I was so taken \nwith Stokowski’s 1950 “synthesis” that I actually own \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethree\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n copies of it (in case of LP damage). I suppose that I can now dispose \nof them, since this Pristine Audio CD sounds far better than any of my \nLPs. It’s amazingly quiet and vivid. Stokowski ravishes the music and \ncertainly stretches the “Liebesnacht” to its limit.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eToo bad he never recorded a stereo version, but \nhappily, two of his ex-assistants, Matthias Bamert (Chandos) and José \nSerebrier (Naxos) have done so. Serebrier stretches the music to almost \nStokowskian breadth, but brings it off successfully and, in the vein of \nthe master, actually makes a few changes in the orchestration. Bamert is\n more tight-fisted in his approach (many may prefer it this way—it’s \n“tighter” and less sprawling), but I think that he, too, emerges with \nhonor and both he and Serebrier use full string sections; Stokowski’s \nseems to be the usual cut-down one that he used with “his” symphony \norchestra. You would not go wrong with any of them. Check out the \ncouplings and decide. The Bamert and Serebrier CDs include other \nStokowski Wagner transcriptions. I don’t know if they are still \navailable, but Gerard Schwarz and Edo de Waart recorded their own \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTristan\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n takes. Schwarz’s is not a transcription, since he orchestrated nothing,\n and simply arranged a sequence featuring the Prelude to act I, \nBrangaene’s Warning, the act III Prelude, and the “Liebestod” with \nAlessandra Marc providing the vocals. If Stokowski’s 38 minutes isn’t \nenough for you, de Waart recorded a 64-minute chunk of music from the \nopera, using an arrangement by Henk de Vlieger. Don’t be frightened by \nthe awful cover art—if you really want to wallow in decadent, sensuous \nWagner, go for it. I own them all, plus Ormandy’s 27-minute go at the \nPrelude-“Liebesnacht”-“Liebestod” from 1953. What can I say? It’s an \naddiction, and Stokowski was the chief pusher. \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 Miller  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 33:2 (Nov\/Dec 2009) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC167.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eTwo rarely-heard arrangements of famous works\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;\"\u003eSuperb sound quality and fabulous playing - with Stokowski at his best\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e \u003c\/p\u003eThis remastering was drawn from two excellent transfers of early 1950s RCA Victor LPs. Of the two, the Wagner shows its age slightly more than the Tchaikovsky, though both have come up remarkably well.\n\u003cp class=\"body\"\u003eIn order to construct an accurate tonal reference for \u003cem\u003eAurora's Wedding\u003c\/em\u003e it was necessary to attempt to 'do a Diaghilev' on a complete recording of \u003cem\u003eSleeping Beauty\u003c\/em\u003e, and in doing so it became clear how little he actually changed the music. \u003cem\u003eAurora's Wedding\u003c\/em\u003e is almost entirely a cut-and-paste collection of highlights from the full ballet, engineered by Diaghilev into something he could stage with his existing resources and sets - the degree to which it has been 'arranged' in the traditional musical sense is perhaps debatable: the music and scoring appears to be 99.9% Tchaikovsky, with the intervention being almost entirely confined to cutting and re-ordering.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThis is not in any way to denigrate \u003cem\u003eAurora's Wedding\u003c\/em\u003e - it is delightful and at a very digestible 40 minutes a great listen - and this XR remastering has brought out an amazing palette of orchestral colour and depth, something barely hinted at in the original LP incarnation, but always waiting to be released from the confines of those early fifties grooves.\u003c\/p\u003e\n\u003cp class=\"body\"\u003ePut together this is something like an orchestral highlights release of both of these otherwise very lengthy works. Stokowski draws on the finest musicians in New York at the time, with excellent results - the LP covers note the following:\u003c\/p\u003e\n\n\u003cp class=\"bodybigblue\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\" style=\"margin-left: 25px;\"\u003eTchaikovsky:\u003c\/p\u003e\n\u003cp class=\"body\" style=\"margin-left: 25px;\"\u003eFirst players for this recording:\u003c\/p\u003e\n\u003ctable style=\"width: 91%;\" cellspacing=\"4\" cellpadding=\"0\" border=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\" style=\"margin-left: 25px;\"\u003e\u003cem\u003eViolin\u003c\/em\u003e: Louis Gabowitz\u003cbr\u003e \u003cem\u003eViola\u003c\/em\u003e: William Lincer\u003cbr\u003e \u003cem\u003eCello\u003c\/em\u003e: Frank Miller\u003cbr\u003e \u003cem\u003eBass\u003c\/em\u003e: Joseph de Angelis\u003cbr\u003e \u003cem\u003eFlute\u003c\/em\u003e: Arthur Lora\u003cbr\u003e \u003cem\u003eOboe\u003c\/em\u003e: Robert Bloom\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd class=\"body\"\u003e\n\u003cem\u003eEnglish Horn\u003c\/em\u003e: Richard Nass\u003cbr\u003e \u003cem\u003eClarinet\u003c\/em\u003e: Robert McGinnis\u003cbr\u003e \u003cem\u003eBasson\u003c\/em\u003e: Wlliam Polisi\u003cbr\u003e \u003cem\u003eHorn\u003c\/em\u003e: James Chambers\u003cbr\u003e \u003cem\u003eTrumpet\u003c\/em\u003e: William Vacchiano\u003cbr\u003e \u003cem\u003eHarp\u003c\/em\u003e: Lucille Lawrence\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp class=\"body\" style=\"margin-left: 25px;\"\u003e \u003c\/p\u003e\n\u003cp class=\"bodybigblue\" style=\"margin-left: 25px;\"\u003eWagner:\u003c\/p\u003e\n\u003cp class=\"body\" style=\"margin-left: 25px;\"\u003e\"This performance was recorded in New York City with an orchestra that included the following instrumentalists:\u003c\/p\u003e\n\u003cp class=\"body\" style=\"margin-left: 25px;\"\u003eW. Lincer, viola; Leonard Rose, Frank Miller, cello; Robert Bloom, oboe; Julius Baker, flute; J. De Angelius, bass; E. Brenner, W. Criss, English Horn; R. McGinnis, Clarinet; William Polisi, bassoon; J. Chambers, W. Namen, M. Fischer, J. Singer, J. Barrows, Horns; William Vacchiano, Trumpet; G. Pulis, Trombone; W. Bell, Tuba; S. Goodman, Timpani; L. Lawrence, harp.\"\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\u003cstrong\u003eTCHAIKOVSKY\u003c\/strong\u003e Aurora's Wedding - Ballet Suite (arr. Diaghilev from \u003cem\u003eSleeping Beauty\u003c\/em\u003e)\u003cbr\u003e\u003cstrong\u003eWAGNER\u003c\/strong\u003e Tristan und Isolde - Symphonic Synthesis (arr. Stokowski)\u003c\/p\u003e\u003cp\u003eRecorded 1950 \u0026amp; 1953\u003cbr\u003eTotal duration: 75:49 \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eLeopold Stokowski and his Symphony Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003cspan class=\"bodysmallarial\"\u003eRecorded 8\/9 April 1953 and 17 October, 9 November 1950\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"bodysmallarial\"\u003eIssued as RCA victor LPs LM 1774 and LM 1174\u003cbr\u003e LP transfers from the collection of Edward Johnson\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003eXR remastering by Andrew Rose at Pristine Audio, June 2009\u003cbr\u003e Cover artwork based on a photograph of Leopold Stokowski\u003cbr\u003e \u003cbr\u003e Total duration: 75:49 \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\/PASC167.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC167.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Music\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003ebased on notes by Edward Johnson\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cstrong\u003eAurora's Wedding\u003c\/strong\u003e was devised by Diaghilev when a lavish 1921 London production of Tchaikovsky's complete \u003cem\u003eSleeping Beauty\u003c\/em\u003e\n was a costly failure. He salvaged what he could from the production by \nputting together a single one-act sequence of dances taken from the \nballet and called it \u003cem\u003eAurora's Wedding\u003c\/em\u003e. It has often been performed that way in the theatre, and Stokowski first recorded it in 1953.\u003c\/p\u003e\u003cp class=\"body\"\u003eStokowski was the first conductor in the USA to record a substantial selection of music from \u003cem\u003eThe Sleeping Beauty\u003c\/em\u003e\n (over 50 minutes of music taken from all the acts) as opposed to the \nusual Suite, and he did that on RCA 78s in 1947. These were later issued\n on an early RCA LP and also an HMV LP in the UK.\u003cbr\u003e \u003cbr\u003e Then in April 1953 he recorded the Diaghilev one-act selection under it's \u003cem\u003eAurora's Wedding\u003c\/em\u003e\n title - though that didn't appear on HMV or indeed anywhere else \noutside the USA. Some of the numbers are inevitably common to each \nrecording. The 1947 \u003cem\u003eSleeping Beauty\u003c\/em\u003e set was reissued on Cala Records in 1998. The 1953 \u003cem\u003eAurora's Wedding\u003c\/em\u003e\n LP appeared some years ago on a Rediscovery CD, its only other release \nsince its LP days, and allegedly not a very good-sounding transfer. \nStokowski later re-recorded \u003cem\u003eAurora's Wedding\u003c\/em\u003e in 1976 for Sony \nand that too has come out on Cala. It is slightly more complete than the\n 1953 LP, which omitted one or two short numbers.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eTristan and Isolde\u003c\/strong\u003e was given the \"Symphonic Synthesis\" treatment by Stokowski, so that between the \u003cem\u003ePrelude\u003c\/em\u003e and \u003cem\u003eLiebstod\u003c\/em\u003e he interpolated the \u003cem\u003eLiebesnacht\u003c\/em\u003e in which the voices are transferred to solo instruments or full string sections.\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003eStokowski made three recordings of what is known as the \"long version\" of his Symphonic Synthesis of \u003cem\u003eTristan and Isolde\u003c\/em\u003e\n - two Philadelphia sets in the 1930s and this 1950 LP. The sequence \nstarts with the complete Act 1 Prelude of about 10 minutes. String \ntemolos herald more music from Act 1 and then it moves to Acts 2 and 3 \nfor the so-called Liebesnacht and, for the last 5 minutes or so, the \nLeibestod. (Stokowski also made what he called \"\u003cem\u003eLove Music from Acts 2 and 3\u003c\/em\u003e\" which is a sequence of about 25 minutes that omits the Act 1 Prelude entirely.) \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003eStokowski never recorded the complete \"long \nversion\" in stereo but his two assistant conductors did: Matthias Bamert\n and Jose Serebrier have both recorded it.\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 24-bit FLAC","offer_id":35874580429,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205579489614,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":55205579522382,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205579555150,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC167.jpg?v=1492006706"},{"product_id":"pasc167-cd","title":"STOKOWSKI conducts Music from the Theatre: Tchaikovsky \u0026 Wagner (1950\/53)  - PASC167 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478314061,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205579456846,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC167_a13477ab-772b-45df-a7aa-9d6d51e1b640.jpg?v=1658242724"},{"product_id":"pasc168","title":"FEUERMANN in Philadelphia: Bloch \u0026 Strauss (1940) - PASC168","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBLOCH\u003c\/b\u003e Schelomo\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Don Quixote \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1940\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 58:08 \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eEmanuel Feuermann, \u003c\/b\u003ecello\u003cb\u003e\u003cbr\u003e The Philadelphia Orchestra\u003cbr\u003e \u003c\/b\u003econducted by \u003cb\u003eLeopold Stokowski \u003c\/b\u003eand \u003cb\u003eEugene Ormandy\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe performance has a kind of sweep and continuity that I can easily see seducing modern listeners578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWriting “It’s all over with Germany . . . all over\n with Europe,” Emanuel Feuermann, who had been a professor at the Berlin\n Conservatory, joined hundreds of refugees who were able to depart from \nNazi Germany, eventually ending up in Austria. He happened to be there \nat the time of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAnschluss, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eescaped\n to Palestine and then, in 1937, to the United States, where he soon \nfound himself making recordings with Jascha Heifetz, Eugene Ormandy, \nArtur Rubinstein, and Leopold Stokowski. Two of those recordings can be \nheard on this Pristine Audio CD. These two recordings had previously \nappeared together on a Biddulph CD during the early 1990s. I thought \nthose CD transfers were very good indeed. One barely noticed the soft \nhiss of the stylus on the 78s. It is possible that the Biddulph transfer\n is slightly brighter than this new one on Pristine Audio—here, the \nsurface noise all but vanishes, whether because of different \nequalization or even better 78-rpm originals, I can’t say. In any case, \nthe Biddulph is, at least temporarily, in limbo and there is now only a \n1938 Feuermann\/Toscanini live performance of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Quixote\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e that I have never heard as a possible alternative.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs part of my preparation for this review, I auditioned 11 recordings of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Quixote\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and six \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSchelomo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es. Of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Quixotes\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n the four fastest (this one, Piatigorsky\/Reiner, Uhl\/Strauss, \nWallenstein\/Beecham) were all from the 78 era. Is there some \nconventional wisdom to be inferred from this? Are performances getting \nslower and, if so, does this have anything to do with the space \nrestrictions of 78-rpm discs? Is this why some repeats were skipped back\n then, or was it also the concert-hall custom? The other recordings I \nlistened to were conducted by Munch, Karajan, Kempe (Dresden), Levine, \nReiner (Chicago), Slatkin, and Ormandy (his fourth one). As it happens, I\n find much to admire in all the recordings, but—for what little it may \nbe worth—my favorites turned out to be the three slowest ones: \nFournier\/Karajan, Janigro\/Reiner, and Mayes\/Ormandy. Interestingly, \nFeuermann\/Ormandy and Uhl\/Strauss, the two fastest performances, both \ntimed out at 38:12, although the Feuermann\/Ormandy, perhaps because of \nits higher energy level, seemed faster than the more subdued Uhl\/Strauss\n recording. Not only is the former a tribute to the kind of 78 transfers\n we can hear nowadays (it’s the golden age of 78s!), it also testifies \nto Victor’s mastery of the Academy of Music as a recording venue. It \nisn’t just Stokowski’s recordings that sound good. Compare Ormandy’s \nVictor 78s with the dead sound of his early Columbias. There is hardly a\n significant detail on later recordings of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Quixote\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n that one can’t hear on this one. The fast tempos do not compromise \ndetail and the performance has a kind of sweep and continuity that I can\n easily see seducing modern listeners.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThere is plenty of energy and animation in the performance of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSchelomo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n too, even if it isn’t quite as fast as the Zara Nelsova\/Maurice \nAbravanel recording. Her recording with Ansermet is also pretty fast, \nand I wonder if her tempos were influenced by her first recording of the\n piece, which was with Bloch himself (which I haven’t heard). As it \nhappens, my favorite \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSchelomo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es\n are the fastest ones, and to Nelsova\/Abravanel I would add the two \nFeuermanns (Leon Barzin and Stokowski). Unfortunately, the Barzin is \nplagued by some distortion in loud passages, and it’s no better than the\n impassioned, surging Feuermann\/Stokowski performance. Once again, the \ntransfer is splendid. There is no need for the Biddulph, terrific as it \nis, to be reissued as long as we have this one. By the way, I liked all \nthe other \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSchelomo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es,\n too. They were Neikrug\/Stokowski, Rostropovich\/Bernstein, and \nStarker\/Mehta (but why wasn’t it coupled on CD with its LP companion, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eVoice in the Wilderness\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e? The ways of recording companies are truly mysterious).  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eNot the least of Feuermann’s assets was his \ngorgeous tone, not necessarily big and fat, but still rich and well \nfocused. He was only 39 when he inexplicably died after an operation to \nremove hemorrhoids. Among his pallbearers were Mischa Elman, Bronislaw \nHuberman, Artur Schnabel, Rudolf Serkin, Eugene Ormandy, George Szell, \nand Arturo Toscanini, who, according to the annotations, broke down and \ncried, “This is murder.” \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 Miller  \u003c\/span\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\n      \n    \n  \n  \u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 33:2 (Nov\/Dec 2009) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e Magazine.\u003c\/span\u003e\n\n  \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC168.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eFeuermann - one of the greatest cellists ever to be recorded\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;\"\u003eTwo magnificant Philadephia recordings - superb transfers by Mark Obert-Thorn\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e \u003c\/p\u003eThe sources for the transfers were vinyl 78 rpm test pressings for the Bloch (including an unpublished take of the fourth side), and first-edition pre-war U.S. Victor “Gold” label shellacs for the Strauss. These two recordings, along with Feuermann’s December, 1939 recording of the Brahms Double Concerto with Heifetz (Ormandy again conducting) comprise the cellist’s complete recordings with the Philadelphia Orchestra.\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\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\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBLOCH\u003c\/strong\u003e: Schelomo\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eEmanuel Feuermann, cello\u003c\/strong\u003e\u003cbr\u003e \u003cb\u003eLeopold Stokowski \/ The Philadelphia Orchestra\u003c\/b\u003e\u003cbr\u003e Recorded 27th March, 1940 in the Academy of Music, Philadelphia\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003eMatrix nos.: CS 047816-2, 047817-1, 047818-1, 047819-2 and 047820-1\u003cbr\u003e First issued on Victor 17336 through 17338-S in album M-6\u003c\/span\u003e98\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eR. STRAUSS: \u003c\/strong\u003eDon Quixote (Fantastic Variations on a Theme of Knightly Character), Op. 35\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eEmanuel Feuermann, \u003cem\u003ecello\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e \u003cb\u003eSamuel Lifschey\u003c\/b\u003e,\u003cem\u003e solo viola\u003c\/em\u003e\u003cbr\u003e \u003cb\u003eAlexander Hilsberg\u003c\/b\u003e, \u003cem\u003esolo violin\u003c\/em\u003e\u003cbr\u003e \u003cb\u003eEugene Ormandy \/ The Philadelphia Orchestra\u003c\/b\u003e\u003cbr\u003e Recorded 24th February, 1940 in the Academy of Music, Philadelphia\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003eMatrix\n nos.: CS 048027-1, 048028-1, 048029-1, 048030-1, 048031-1, 048032-1, \n048033-2A, 048034-1, 048035-1 and 048036-1 - First issued on Victor \n17529 through 17533 in album M-720\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cp\u003e \u003cspan class=\"bodysmallarial\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003e Cover artwork based on a photograph of Emanuel Feuermann\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTotal duration: 58:08 \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\/PASC168.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC168.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":35874792845,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205579424078,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC168.jpg?v=1492007071"},{"product_id":"pasc168-cd","title":"FEUERMANN in Philadelphia: Bloch \u0026 Strauss (1940) - PASC168 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478314509,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205579391310,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC168_52dbeb5f-67a6-4240-b8a4-73e19d7ad806.jpg?v=1658242740"},{"product_id":"pasc174","title":"STOKOWSKI Falla: El Amor Brujo, Noches en los jardines de España (1948\/49) - PASC174","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFALLA \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eEl Amor Brujo \u003ci\u003e\u003cspan style=\"font-size: 13px;\"\u003e(\u003c\/span\u003e\u003c\/i\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 13px;\"\u003eLove the Magician\u003c\/span\u003e\u003cspan style=\"font-size: 13px;\"\u003e)\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFALLA \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eNoches \u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003ee\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003en los jardines de España\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 13px;\"\u003e (Nights in the Gar\u003c\/span\u003e\u003cspan style=\"font-size: 13px;\"\u003ed\u003c\/span\u003e\u003cspan style=\"font-size: 13px;\"\u003eens of Spain)\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 10px;\"\u003eR\u003c\/span\u003e\u003cspan style=\"font-size: 10px;\"\u003eecorded 1948 \u0026amp; 19\u003c\/span\u003e\u003cspan style=\"font-size: 10px;\"\u003e49\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 44:44 \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eNan Merriman,\u003c\/b\u003e mezzo-soprano\u003cb\u003e\u003cbr\u003e William Kapell, \u003c\/b\u003epiano \u003cb\u003e\u003cbr\u003e New York Philharmonic Symphony Orchestra\u003cbr\u003e \u003c\/b\u003econducted by\u003cb\u003e Leopold Stokowski\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fStokowski seems charged with energy and has a soloist who can do more than merely keep up with him578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI usually avoid reading annotations until I’ve \nlistened to a recording, just to be sure I’m not influenced by them. The\n result, in this case, was quite a jolt in the form of applause at the \nend of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEl amor brujo. \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eI\n had assumed that I was listening to the Stokowski\/Hollywood Bowl \nrecording that once appeared on an RCA Victor LP. I suppose that’s an \nindirect tribute to Andrew Rose, who handled the resuscitation of this \n1948 broadcast. In fact, I wonder why Pristine Audio didn’t just redo \nthe Hollywood Bowl recording, instead of the intensive labor that must \nhave been required by this broadcast, which was originally preserved on \nsomewhat noisy transcription discs. In any event, here, perhaps goaded \nby the presence of an audience, is Stokowski at his most fiery, with a \nsoloist who can handle whatever is thrown at her without resorting to \nthe crudities that sometimes pass for earthy “passion.” If anything, I \nwould have preferred a bit more poise from the podium, but it’s \ncertainly an intense, driving performance that never loses tension and \nthe orchestra really digs in and plays for him. Well and good, but, if \nyou want what is, at least for me, the ultimate \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEl amor brujo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n Stokowski is still your man, but I would highly recommend his 1960 \nstereo recording with the Philadelphia Orchestra and Shirley Verrett, \nstill available on Sony Essential Classics—for once, “essential” isn’t \nmuch of an exaggeration. Here, while there is no letup in intensity or \nexpression, the performance is less hard-driven and lacks nothing in the\n way of expression; the Philadelphia Orchestra is at the top of its \nform. As a bonus, one gets Ormandy’s excellent \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThree-Cornered Hat\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e dances and a respectable \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNights in the Gardens of Spain\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e with Ormandy and Philippe Entremont (for once, his metallic tone fits the music).  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003e“Respectable” would be a tame description for the Kapell\/Stokowski \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNights\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Once again, Stokowski seems charged with energy and, once again, has a \nsoloist who can do more than merely keep up with him. Anyone who is \nfamiliar with my reviews of recordings of this piece will know that I \nprefer fast-moving, rhythmically charged performances to slower, \n“atmospheric” ones, meaning that my favorites are, say, Del \nPueyo\/Martinon, Webber\/Fricsay, Casadesus\/Ansermet, the three Artur \nRubinsteins (with Golschmann, Jorda, and Ormandy), and this one—at 21: \n48, it moves along smartly. A previous CD issued by the Japan Leopold \nStokowski Society was listenable (especially if you liked this \nperformance), but was marred by some scratchy surfaces that were on the \noriginal transcriptions. This one is a bit brighter and yet minimizes \nthe noise, giving new life to an exciting glimpse of the past. The \nsoloist-to-orchestra balance seems just on both broadcasts. Perhaps to \nestablish its authenticity, Pristine has allowed just a bit of James \nFassett’s closing announcement to end the disc. (The announcement at the\n end of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEl amor brujo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, intriguingly enough, is in Spanish!) \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 Miller\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 33:3 (Jan\/Feb 2010) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC174.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eStokowski sets de Falla on fire!\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;\"\u003eStunning live performances full of Spanish passion\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp class=\"bodybigblue\" align=\"left\"\u003e \u003c\/p\u003e\n\u003cp class=\"bodybigblue\" style=\"margin-left: 25px;\" align=\"left\"\u003e\"Here, perhaps goaded by the presence of an audience, is Stokowski at his most fiery, with a soloist who can handle whatever is thrown at her without resorting to the crudities that sometimes pass for earthy “passion.” If anything, I would have preferred a bit more poise from the podium, but it’s certainly an intense, driving performance that never loses tension and the orchestra really digs in and plays for him...\u003c\/p\u003e\n\u003cp class=\"bodybigblue\" style=\"margin-left: 25px;\" align=\"left\"\u003e“Respectable” would be a tame description for the Kapell\/Stokowski Nights. Once again, Stokowski seems charged with energy and, once again, has a soloist who can do more than merely keep up with him... A previous CD issued by the Japan Leopold Stokowski Society was listenable (especially if you liked this performance), but was marred by some scratchy surfaces that were on the original transcriptions. This one is a bit brighter and yet minimizes the noise, giving new life to an exciting glimpse of the past...\"\u003cspan class=\"bodymidarial\"\u003e - James Miller, Fanfare Jan\/Feb 2010\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eStokowski performed \u003cem\u003eEl Amor Brujo \u003c\/em\u003efour times with the New York Philharmonic Symphony Orchestra - once on 5th January, 1947, and then in three concert in March 1948 (18th, 19th and 21st) - and in each concert the soloist was the mezzo-soprano Nan Merriman. This recording is taken from the last of those concerts; when one hears the intensity and passion that both soloist and musicians bring to this performance, it's tempting to believe they had distilled all the energy of the previous concerts into this one final outing.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eI've listened to a number of recordings of the same work whilst preparing this restoration and none has the power, passion, and dark Spanish gypsy magic that I find here in this sensational and riveting performance - as perfectly demonstrated in our sample excerpt on this page, \u003cem\u003eSong of Love's Sorrow\u003c\/em\u003e. I can only believe that this captivating recording has remained unissued due to the sonic shortcomings of the original recording - shortcomings that only a remastering technique such as Pristine's XR process can really tackle.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThis remastering was sourced from open-reel tapes compiled by Stokowski's assistant, Jack Baumgarten. Both concerts had originally been captured on disc, and both exhibited unusual sonic deficiencies - the tape box has the words \"unfocussed sound\" pencilled in next to the details of El amor brujo, which is no great surprise as my XR remastering revealed a loss of up to 20dB between 3 and 5kHz, as well as a 15dB drop centred around 550Hz, both of which sucked a huge amount of life out of the recording. A similar frequency loss, about 18dB, was noted above about 4.5kHz in Nights in the Gardens of Spain, leaving a very muffled top end.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eRestoring these missing frequencies brought both recordings very much to life - the transformation of the first in particular was truly remarkable - but also then required considerable noise reduction targeted at those same frequency ranges as bringing up the music has inevitably also amplified the tape hiss. Both recordings then required extensive close attention to deal with individual defects now revealed by the severe re-equalisation required. The end results do, I hope, speak for themselves, as do these two absolutely wonderful performances.\u003c\/p\u003e\u003cp class=\"body\"\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\u003cul\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003ede Falla\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 16px;\"\u003e: El Amor Brujo\u003c\/span\u003e (\u003cem\u003eLove the Magician\u003c\/em\u003e) - PREVIOUSLY UNISSUED\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003ewith Nan Merriman\u003c\/strong\u003e, mezzo-soprano, \u003cem\u003erec. 21st March, 1948\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003ede Falla\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 16px;\"\u003e: Nights in the Gardens of Spain\u003c\/span\u003e (\u003cem\u003eNoches en los jardines de España\u003c\/em\u003e)\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003ewith William Kapell\u003c\/strong\u003e, piano, \u003cem\u003erec. 13th November, 1949\u003c\/em\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eNan Merriman, \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003emezzo-soprano\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e William Kapell, \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003epiano \u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e New York Philharmonic Symphony Orchestra\u003cbr\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003econducted by\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e Leopold Stokowski\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded at Carnegie Hall, 21st March 1948 \u0026amp; 13th November, 1949 \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003eSourced from tapes in the Jack Baumgarten archive \u003cbr\u003e Tapes from the collection of Edward Johnson\u003cbr\u003e Transfers and XR remastering by Andrew Rose at Pristine Audio, June-July 2009 \u003cbr\u003e Cover artwork based on a photograph of Manuel de Falla \u003cbr\u003e \u003cbr\u003e Total duration: 44:44 \u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\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\/PASC174.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC174.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":35922838861,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205578604878,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":55205578637646,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205578670414,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC174.jpg?v=1492077741"},{"product_id":"pasc174-cd","title":"STOKOWSKI Falla: El Amor Brujo, Noches en los jardines de España (1948\/49) - PASC174 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478317773,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205578539342,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC174_a35c0c7a-7eed-4ed8-b0f5-60089c8d3ed1.jpg?v=1658242917"},{"product_id":"pasc182","title":"STOKOWSKI Wagner - rare New York Philharmonic recordings (1947\/49) - PASC182","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eGötterdämmerung Synthesis\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eParsifal - Good Friday Spell\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSiegfried - Forest Murmurs\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eDas Rheingold - Entrance of the Gods into Valhalla\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded 1947\/49\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 68:48\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003e \u003c\/b\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC182.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eRare Stokowski broadcast performances of orchestral Wagner\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;\"\u003eNew transfers from Jack Baumgarten's New York Philharmonic tapes\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThese recordings were taken from the tape archive of Stokowski recordings collected and maintained by the conductor's assistant, Jack Baumgarten. Although sound quality varies between the three broadcasts, and is perhaps marginally better for the Götterdämmerung Synthesis than for the other two concerts, all are in reasonably good shape for live broadcasts of this era. The final concert represented here, broadcast live from Birmingham, Alabama, would presumeably have been relayed by wire to the main CBS broadcasting centre, something which in itself would normally be expected to diminish the sound quality of the broadcast.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eIt is also clear that the engineer operating this outside broadcast was inclined once or twice to indulge in 'gain riding', possibly to avoid overloading the system and running into distortion problems. I have attempted to undo these level changes and present, as well as one can assume, something that bears a better relation to the volumes actually played.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eFinally, there is evidence in the first recording of a small degree of pitch instability, or 'wow'. Although remastering has served to make this less apparent, it may still be noticeable in one or two section of the recording.\u003c\/p\u003e\n\u003cp class=\"body\"\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\u003cul\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eWagner\u003c\/strong\u003e: Götterdämmerung Synthesis (arr. Stokowski):\u003cbr\u003e Siegfried's Rhine Journey - Funeral March - Brünnhilde's Immolation (42:20)\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eCarnegie Hall, New York\u003c\/strong\u003e, 3rd April 1949 \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eWagner\u003c\/strong\u003e: Parsifal - Good Friday Spell (10:40)\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eCarnegie Hall, New York\u003c\/strong\u003e, 6th April 1947\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eWagner\u003c\/strong\u003e: Siegfried - Forest Murmurs (8:38)\u003cbr\u003e \u003cstrong\u003eWagner\u003c\/strong\u003e: Das Rheingold - Entrance of the Gods into Valhalla (6:47)\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eMunicipal Auditorium, Birmingham, Alabama\u003c\/strong\u003e, 24th April 1949\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cbr\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003e conducted by Leopold Stokowski\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eSourced from tapes in the Jack Baumgarten archive\u003cbr\u003e Tape transfers and XR remastering by Andrew Rose at Pristine Audio, August 2009\u003cbr\u003e Cover artwork based on a photograph of Leopold Stokowski\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTotal duration: 68:48 \u003cbr\u003e ©2009 Pristine Audio.\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\/PASC182.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC182.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":35934797645,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205577687374,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":55205577720142,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205577752910,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC182.jpg?v=1492099290"},{"product_id":"pasc182-cd","title":"STOKOWSKI Wagner - rare New York Philharmonic recordings (1947\/49) - PASC182  - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478324429,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205577654606,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC182_3c37e50a-175f-4a6f-a6e7-2b691cb8dc7f.jpg?v=1658243112"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/collections\/stokowski.jpg?v=1495806074","url":"https:\/\/www.pristineclassical.com\/collections\/artist-leopold-stokowski.oembed?page=9","provider":"Pristine Classical","version":"1.0","type":"link"}