{"title":"Pablo Casals","description":"Pau Casals i Defilló (December 29, 1876 – October 22, 1973), known as Pablo Casals, was a cellist, composer, and conductor from Spain. He is generally regarded as the pre-eminent cellist of the first half of the 20th century, and one of the greatest cellists of all time. He made many recordings throughout his career, of solo, chamber, and orchestral music, also as conductor, but he is perhaps best remembered for the recordings of the Bach Cello Suites he made from 1936 to 1939.","products":[{"product_id":"pacm074","title":"CASALS Bach: Suites for Solo Cello (1936-39) - PACM074","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBACH \u003c\/b\u003eSuites for Solo Cello, BWV 1007-1012\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded 1936-39\u003cbr\u003eTotal duration: 2hr 9:56\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePablo Casals\u003c\/b\u003e, cello\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fGramophone Historic Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIn these really splendid recordings, we have, if at one remove, the finest fruits of his great art.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003eThe \nsixth and seventh volumes of the Bach Society, which was formed by \nH.M.V. in 1934, contained the first, second, third and sixth Suites for \nvioloncello and this new volume, postponed for issue until now on \naccount of the war, completes the Series with the fourth and fifth \nSuites. \u003cbr\u003e \u003cbr\u003e Fred Gaisberg tells us in his book, \" Music on \nRecord,\" that Casals, at the age of thirteen, picked up a volume of the \nBach Suites in a music shop while looking round for some pieces to \nenlarge his repertoire. He was then playing in a restaurant and had \npersuaded the proprietor to devote one evening to chamber music. In \nlater years Casals was, Mr. Gaisberg says, \"the first of all \ninstrumentalists to play an entire Bach Suite at a public concert \"—a \nquite common occurrence to-day—and it was the Suite in B flat major, No.\n 4, that he once played to an audience of many thousands at the Albert \nHall. It is to Mr. Gaisberg that we owe, amongst so much else, these \nmagnificent records of a performance that perhaps has never been and now\n certainly could not be equalled anywhere in the world. \u003cbr\u003e \u003cbr\u003e One \ncan only guess at the immense labour and self-discipline that lay \nbetween the day when Casals first saw this music and his eventual \nmastery of it. I should be sorry to think that these records might only \ncome into the hands of 'cellists, for whom their acquisition is a \nforegone conclusion, and be avoided as a kind of caviare by the ordinary\n music lover. I would beg him, or her, to try, as samples, the Courante \nof the fourth Suite or the Prelude of the fifth. \u003cbr\u003e \u003cbr\u003e This music, \nrelying, except very occasionally, on the single melodic line (for \nharmony is rare) is a grand antidote if one has been soaking in \nluxuriant harmony or become conditioned to short-breathed melody. It is a\n discipline to listen—and it means genuine and concentrated listening—to\n this music : but the feeling of it being a discipline soon gives way to\n a sense of exhilaration and musical well-being. The Prelude of the \nfourth Suite, for example, begins like a technical exercise but this is \narrested by a pause after which, as Professor Westrup says in his \nexcellent notes, \"the music acquires an unexpected eloquence.\" The \nSarabandes in both Suites are of great beauty, the first being dominated\n by a dotted rhythm which Casals makes amazingly expressive. Above the \nSarabandes of the other Suite, a simple melodic line with a falling \ncadence very characteristic of Bach, there seems to hover another tune \nwhich we hear only in our mind's ear. \u003cbr\u003e \u003cbr\u003e But each movement has \nits special beauties and one can no more describe these than the superb \nplaying which brings the music to life. The light and shade, the use of \nrubato, technical things such as these are applied with magical skill \nbut it is the end to which they are applied that so deeply affects one, \nthe noble expression of this highly wrought and noble music. \u003cbr\u003e \u003cbr\u003e \nListening to these records, and especially to the fifth Suite, which is \nperhaps the finest of all, one realises afresh what our musical life has\n lost by Casals' refusal to play in this country but at least, in these \nreally splendid recordings, we have, if at one remove, the finest fruits\n of his great art.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003eThe Gramophone, August 1948, on Suites 4 \u0026amp; 5\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM074.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWhen one considers all of the recordings made in the \npost-1925 electrical recording era, but before the development of full \nfrequency range recordings in the 1940s, there can be few instruments \nmore suited to the restrictions of the technology at the time than the \ncello. The range of frequencies required to capture it well, thanks to \nits low register, generally falls within the capabilities of 1930 disc \nrecording, and this makes it a prime candidate for XR remastering. I've \nalready had considerable success with Casals - his 1938 recording of the\n Dvořák Cello Concerto (PASC 246) beat all others, old and new, to \nbecome Gramophone's recommended recording of the work in February 2011.\u003cbr\u003e\u003cbr\u003eHowever, nothing prepared me for the possibilities lying\n hidden in the grooves of his Cello Suites recordings of 1936 to 1939, \nwhich have surpassed all expectations. I was already familiar with \nissues on both EMI and Naxos (the latter a considerable improvement on \nthe former), but neither offers the listener the full-bodied tone of \nCasals' cello, the crispness of his sound, the sense of immediacy and \nclarity which lay hidden in these recordings for so many decades.\u003cbr\u003e\u003cbr\u003eMy first task was to take the disparate recordings and \nbring some homogeneity to the sound of the instrument - each suite was \ninitially processed separately, using a common reference in order to \niron out differences in the recording equipment and locations used \nduring the recording sessions. Thereafter I brought them together to \ncontinue what was at times a tricky restoration - revealing so much \nmusical detail also reveals much else that is unwanted. Occasionally \nthis may still be heard, but it should not distract you from one of the \nmost remarkable restorations it has been my pleasure to undertake.\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 class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eCASALS\u003c\/b\u003e \u003cb\u003eBach\u003c\/b\u003e: Suites for Solo Cello (1936-39)\u003c\/p\u003e\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eBACH \u003c\/b\u003eSuites for Solo Cello, BWV 1007-1012\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBACH\u003c\/b\u003e Cello Suite No. 1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e I. Prélude \u003cspan style=\"font-size: 12px;\"\u003e(2:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e II. Allemande \u003cspan style=\"font-size: 12px;\"\u003e(3:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e III. Courante \u003cspan style=\"font-size: 12px;\"\u003e(2:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e IV. Sarabande \u003cspan style=\"font-size: 12px;\"\u003e(2:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e V. Menuets I and II \u003cspan style=\"font-size: 12px;\"\u003e(3:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e VI. Gigue \u003cspan style=\"font-size: 12px;\"\u003e(1:57)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBACH\u003c\/b\u003e Cello Suite No. 2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e I. Prélude \u003cspan style=\"font-size: 12px;\"\u003e(3:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e II. Allemande \u003cspan style=\"font-size: 12px;\"\u003e(3:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e III. Courante \u003cspan style=\"font-size: 12px;\"\u003e(2:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e IV. Sarabande \u003cspan style=\"font-size: 12px;\"\u003e(4:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e V. Menuets I and II \u003cspan style=\"font-size: 12px;\"\u003e(3:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e VI. Gigue \u003cspan style=\"font-size: 12px;\"\u003e(2:45)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBACH\u003c\/b\u003e Cello Suite No. 3\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e I. Prélude \u003cspan style=\"font-size: 12px;\"\u003e(3:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e II. Allemande \u003cspan style=\"font-size: 12px;\"\u003e(3:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e III. Courante \u003cspan style=\"font-size: 12px;\"\u003e(3:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e IV. Sarabande \u003cspan style=\"font-size: 12px;\"\u003e(3:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e V. Bourrées I and II \u003cspan style=\"font-size: 12px;\"\u003e(3:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e VI. Gigue \u003cspan style=\"font-size: 12px;\"\u003e(3:14)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBACH\u003c\/b\u003e Cello Suite No. 4\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e I. Prélude \u003cspan style=\"font-size: 12px;\"\u003e(4:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e II. Allemande \u003cspan style=\"font-size: 12px;\"\u003e(3:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e III. Courante \u003cspan style=\"font-size: 12px;\"\u003e(4:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e IV. Sarabande \u003cspan style=\"font-size: 12px;\"\u003e(4:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e V. Bourrées I and II \u003cspan style=\"font-size: 12px;\"\u003e(3:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e VI. Gigue \u003cspan style=\"font-size: 12px;\"\u003e(2:47)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBACH\u003c\/b\u003e Cello Suite No. 5\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e25.\u003c\/span\u003e I. Prélude \u003cspan style=\"font-size: 12px;\"\u003e(7:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e26.\u003c\/span\u003e II. Allemande \u003cspan style=\"font-size: 12px;\"\u003e(3:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e27.\u003c\/span\u003e III. Courante \u003cspan style=\"font-size: 12px;\"\u003e(2:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e28.\u003c\/span\u003e IV. Sarabande \u003cspan style=\"font-size: 12px;\"\u003e(2:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e29.\u003c\/span\u003e V. Gavottes I and II \u003cspan style=\"font-size: 12px;\"\u003e(4:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e30.\u003c\/span\u003e VI. Gigue \u003cspan style=\"font-size: 12px;\"\u003e(2:31)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBACH\u003c\/b\u003e Cello Suite No. 6\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e31.\u003c\/span\u003e I. Prélude \u003cspan style=\"font-size: 12px;\"\u003e(5:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e32.\u003c\/span\u003e II. Allemande \u003cspan style=\"font-size: 12px;\"\u003e(7:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e33.\u003c\/span\u003e III. Courante \u003cspan style=\"font-size: 12px;\"\u003e(3:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e34.\u003c\/span\u003e IV. Sarabande \u003cspan style=\"font-size: 12px;\"\u003e(4:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e35.\u003c\/span\u003e V. Gavottes I and II \u003cspan style=\"font-size: 12px;\"\u003e(3:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e36.\u003c\/span\u003e VI. Gigue \u003cspan style=\"font-size: 12px;\"\u003e(3:58)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 12px;\"\u003eSuite 1: Paris, 2 June 1938, Eng. M. Cailly, issued in Bach Society Volume 7, DB.3671-3673\u003cbr\u003eSuites 2 \u0026amp; 3: Abbey Road, London, 25 November 1936, issued in Bach Society Volume 6, DB.3399-3404\u003cbr\u003eSuites 4 \u0026amp; 5: Paris, 13 June 1939, Eng. M. Cailly, issued in Bach Society Volume 8, DB.6538-6540\u003cbr\u003eSuite 6: Paris, 3 June 1938, Eng. M. Cailly, issued in Bach Society Volume 7, DB.3674-3677\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, February 2011\u003cbr\u003eCover artwork based on a photograph of Pablo Casals\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 9:56\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePablo Casals\u003c\/b\u003e, cello\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\/PACM074.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM074.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":31975446349,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975446413,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975446477,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975446541,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM074_93a6aaa1-d6ab-4990-bcd8-b8369063bef0.jpg?v=1487681988"},{"product_id":"pasc401","title":"CASALS Schumann, Dvorak: Cello Concertos (1953\/60) - PASC401","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eCello Concerto\u003cbr\u003e\u003cb\u003eDVORAK \u003c\/b\u003eCello Concerto (stereo recording)\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio and Live Recordings · 1953 and 1960\u003cbr\u003eTotal duration: 64:30\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePablo Casals\u003c\/b\u003e, cello\u003cbr\u003e\u003cb\u003ePrades Festival Orchestra, Eugene Ormandy\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eFestival Casals Orchestra of Puerto Rico, Alexander Schneider\u003c\/b\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAnyone who has looked attentively at \nthe headnote will already have observed that this is not the classic \naccount of Dvořák’s B-Minor Concerto that Casals recorded with George \nSzell and the Czech Philharmonic in 1937. Instead, this is a pirate \nrecording that has (or at least did have) a legendary status among \ncollectors of historic recordings, albeit for an idiosyncratic reason. \nThe live performance from Puerto Rico was originally taped for intended \ncommercial release by the Everest label. However, the label changed \nhands while the tape was still waiting approval by Casals for release. \nThe tape was subsequently found in a box; the new owners assumed that \npermission to release it had already been obtained and issued it on LP. \nCasals promptly sued, charging damage to his reputation, and Everest \nrecalled the LPs. The few copies that had been sold promptly became \ncollectors’ items, commanding hundreds or even thousands of dollars \nwhenever one turned up on a used record dealer’s list. Eventually, a CD \ntransfer appeared on the AS disc label from Italy in the late 1980s, \nwhich was how I finally made its acquaintance (spending a mere six \ndollars for a used copy and congratulating myself on obtaining the \nbargain of the century). More recently, a Memories CD appeared with the \nidentical coupling as on this Pristine Audio disc, and I duly replaced \nthe AS Disc with that copy. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFor anyone considering acquisition of this disc, then, the questions that arise are: \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003e1) How does this performance of the Dvořák Concerto compare with the 1937 studio version? \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003e2) How does the sound quality of this issue compare with that of previous versions? \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe answer to the first question is \nrather complex. Casals was 84 years old (or young) at the time of this \nperformance, and it is universally conceded that his technique was no \nlonger what it once was in his prime. There are some rough bow strokes \nand attacks, and in particular quite a number of lapses in intonation, \nsome minor but a few major. When compared to the immaculate precision of\n his 1937 studio account, one can readily see why Casals might sue to \nblock issuance of this release on ground of damage to his reputation. \nAnd yet....And yet....From the moment I first heard this performance it \nbecame, despite these evident flaws, not only my preferred version over \nthe 1937 account, but one of my favorite recordings of this \nconcerto—which, given that the work belongs to my short list of all-time\n favorites, is saying quite a lot. For all its fame, the 1937 account \nhas never really won my heart rather than my respect, for reasons \ndetailed by Bernard Jacobson in his review of an EMI rerelease back in \n29:2. (For more conventionally laudatory reviews, see those by John \nBauman in 13:1 and Jerry Dubins in 34:6. By contrast, Szell’s stereo \naccount with Pierre Fournier is one of my preferred versions.) But in \nthis live performance, Casals seems to be pouring out his life’s blood; \nthere is not a single other recording by him I have heard, live or \nstudio, that has such gripping ardor. When faced with artistry of this \nintensity from a deservedly legendary figure, cavils about technical \nlapses become for me irrelevant niggling quibbles. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eTo this one must add the absolutely \nmasterful conducting of Alexander Schneider, second violinist of the \ncelebrated Budapest Quartet from 1932 to 1943 and again from 1955 to \n1967, who was instrumental in persuading Casals to renounce his \nwithdrawal from public performance in protest against the Franco regime \nin Spain return to concertizing at Perpignan, Marlboro, and Prades. One \nwonders if the multi-faceted Schneider missed his true musical calling \n(he also turned down a offer to conduct at the Metropolitan Opera), so \ncompletely does he command every expressive nuance of this score. I do \nnot know if the orchestra was an\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e ad hoc \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eensemble\n assembled for the festival or a local orchestra playing under an \nassumed name, but it too plays its collective heart out with a \ndedication that could put many far starrier ensembles to shame. \nAdmittedly, all of this is a highly subjective response; I wouldn’t \ncriticize anyone who found the faults in Casals’s playing here to be \nreason enough to prefer the 1937 studio version instead. But I would \nurge you to give this a hearing, and see if it doesn’t win your \naffections as it did mine. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe second question is much more easily\n addressed. In the Schumann, the sound quality of the Memories CD and \nthis one is very close; I slightly prefer the Memories issue, but only \nby a hair’s breadth. The Dvořák Concerto, however, is another matter \nentirely; with access to two genuine stereo Everest LP releases for \nmaking its transfer, Mark Obert-Thorn has produced a vastly superior \nversion with sound quality that renders every previous issue obsolete. \nIf you have one of those previous versions, replace it with this one \nimmediately and prepare to be amazed at the difference. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eBy contrast, the Schumann is a much \nbetter-known recording with a far more ordinary history, having first \nappeared on a Columbia LP, albeit with the conductor curiously \nuncredited, presumably for contractual reasons. (Contrary to a note on \nthe front cover of this release, it too is a live and not a studio \naccount, as the loud opening groan from Casals as he plays his first \nphrase reveals.) The piece itself is highly problematic, of course, and I\n don’t ever recall seeing a review that ranks this as one of the \npremiere versions that overcomes the score’s deficiencies. That said, it\n is still a Casals performance—and this, the two of the Dvořák, and the \nElgar, are his only recordings of major concertos—played with his unique\n interpretive authority, and Ormandy is certainly no podium slouch. The \nmonaural sound quality is clear and solid, albeit with some underlying \ntape hiss. The cover art of Casals playing his cello is quite \nattractive, a great advance upon Pristine’s previous graphics. While for\n the reasons stated above this is too subjective a choice to put on my \n2014 Want List, I’ll still go out on a limb and give this my strongest \nrecommendation; I simply couldn’t imagine being without it. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames A. Altena\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\/PASC401.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAt the end of the Second World War, Pablo Casals \nhoped that the Allied forces which had just ousted Hitler would now turn\n their attention to removing the dictator Franco from Spain. When they \nshowed no inclination to do so, he broke off a London recording session \nof the Haydn D Major Cello Concerto in October, 1945 and withdrew to his\n French home in Prades near the Spanish border, vowing not to perform \npublicly again until democracy was restored to his homeland.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHe was drawn out of his self-imposed silence by \nBudapest Quartet violinist Alexander Schneider, who first approached him\n for coaching help with the Bach violin suites, and who later suggested \nholding a festival in Prades to mark the 200th anniversary of Bach’s \ndeath in 1950. American Columbia was brought in to make recordings, a \nseries which continued as the festival expanded its purview beyond Bach \nand moved to larger quarters in nearby Perpignan in 1951, returning to \nPrades the following year.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWhile Casals had conducted and played in chamber \nmusic performances, the Schumann from the 1953 festival was his first \nconcerto recording as a soloist since the aborted Haydn set. \nInterestingly, master accompanist Eugene Ormandy was not credited on the\n original LP, nor on its first reissue in the budget-priced Odyssey \nseries, probably for contractual reasons. In 1957, a new series of \nCasals festivals was begun in Puerto Rico, where the cellist had \nrecently married and made his home. It was there that his final concerto\n recording was made.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Dvořák has an interesting history. Recorded by \nEverest during the 1960 Puerto Rico festival, it remained unapproved \nwhen the label changed hands shortly thereafter. The new owners found \nthe tape in a box and issued it, believing they owned the rights. Casals\n promptly sued to have the release withdrawn, claiming it damaged his \nreputation. It has never subsequently been reissued in any authorized \nedition from the Everest masters, although a couple European CD \nreleases, apparently transferred from monaural sources, have appeared. \nThe original suppressed LP is now a highly sought-after collector’s \nitem. I was fortunate to have two stereo pressings in good condition to \nwork from for the present transfer. (The first note, incidentally, is \nclipped on the original recording.)\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWhile Casals is admittedly not in top form, his \nperformance brings to mind Dr. Johnson’s famous Eighteenth Century \nwitticism likening a woman preaching to a dog walking on its hind legs \n(“It is not done well; but you are surprised to find it done at all.”) \nConsidering that he was in his 84th year at the time, it is a remarkable\n achievement; and Schneider’s heartfelt, sympathetic accompaniment \nmatches his soloist like the veteran chamber player he was. It’s an \nautumnal reading quite different from Casals’s brisker 1937 recording \nwith Szell (Pristine PASC 246), and one which despite its flaws deserves\n to be heard.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\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 class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eCASALS\u003c\/b\u003e \u003cb\u003eSchumann\u003c\/b\u003e, \u003cb\u003eDvorak\u003c\/b\u003e: Cello Concertos (1953\/60)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Cello Concerto in A Minor, Op. 129\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Nicht zu schnell\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Langsam\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Sehr lebhaft\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 28 May 1953 in L’Église St-Pierre, Prades\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on Columbia ML-4926\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eEugene Ormandy\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePrades Festival Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003eCello Concerto in B Minor, Op. 104 (\u003ci\u003eSTEREO recording\u003c\/i\u003e)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(15:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Adagio ma non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on Everest SDBR 3083\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAlexander Schneider\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eFestival Casals Orchestra of Puerto Rico\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eLive recording, Spring, 1960, in the Theatre of the University of Puerto Rico, San Juan\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePablo Casals\u003c\/b\u003e  cello\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\/PASC401.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC401.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\/Mono 16-bit FLAC","offer_id":90077134874,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo\/MonoMP3","offer_id":90077167642,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC401.jpg?v=1501752100"},{"product_id":"pacm021","title":"THIBAUD, CORTOT, CASALS Schubert: Piano Trio No. 1 (1926) - PACM021","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003ePiano Trio No 1 in B flat, D898\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded 5-6 July 1926, Kingsway Hall, London.\u003cbr\u003eReleased as HMV 78s, D.B. 947-950\u003cbr\u003eMatrix numbers: CR533 - CR540 (all 1st takes) (also numbered 08273-08280)\u003cbr\u003eCR540 uses the alternate (A) cutting of the 1st take.\u003cbr\u003eDuration 30:55\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM021.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\nThe legendary trio of Cortot, Thibaud and Casals is woefully \nunder-represented in the recording catalogue. Each a major artist in his\n own right, the trio came together for a month each year to tour between\n 1907 and 1934 (when split due to political differences). And yet they \nonly recorded seven pieces, between 1926 and 1929 - two Trios by \nBeethoven, and one a piece by Haydn, Mendelssohn, Schubert and Schumann,\n together with Brahms' Double Concerto with Cortot at the baton.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n Of these recordings, the Schubert was the first, recorded in July 1926.\n This session ran so well and so smoothly that the trio, who'd always \nconcentrated on the perfection of a relatively limited repertoire, was \nable to record Beethoven's Kakadu Variations and the same time.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eDespite\n the age of the recording and the use of very early electric recording \ntechnology - microphones were introduced into the recording process \ncommercially in 1925 - this remains an amazingly powerful and valuable \nrecord of one of the great trios of all time. Every exquisite nuance of \nplaying, phrasing and timing is preserved for the listener's enjoyment, \nand what residual surface noise remains is quickly forgotten in this \nmagical performance.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\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 class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eTHIBAUD, CORTOT, CASALS\u003c\/b\u003e \u003cb\u003eSchubert\u003c\/b\u003e: Piano Trio No. 1 (1926)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003ePiano Trio No 1 in B flat, D898\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante un poco mosso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Scherzo — Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Rondo — Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 5-6 July 1926, Kingsway Hall, London.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003e\u003cb\u003eTracks 1–4:\u003c\/b\u003e\u003cbr\u003eReleased as HMV 78s, D.B. 947-950\u003cbr\u003eMatrix numbers: CR533 - CR540 (all 1st takes) (also numbered 08273-08280)\u003cbr\u003eCR540 uses the alternate (A) cutting of the 1st take.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eDuration 30:55\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eJacques Thibaud\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eAlfred Cortot\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003ePablo Casals\u003c\/b\u003e, cello\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\/PACM021.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM021.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":31418288461,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":55206785253710,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM021_b56900eb-b1fe-402c-9868-c12321335c3e.jpg?v=1487682672"},{"product_id":"pacm021-cd","title":"THIBAUD, CORTOT, CASALS Schubert: Piano Trio No. 1 (1926) - PACM021 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":31418356685,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM021_4599b0d1-e593-4950-9355-53f629bd639e.jpg?v=1657120330"},{"product_id":"pacm074-cd","title":"CASALS Bach: Suites for Solo Cello (1936-39) - PACM074 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD only in plastic sleeve (+MP3)","offer_id":31976268045,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM074_3d8455f8-7d88-4ced-a236-df33abc37448.jpg?v=1658480312"},{"product_id":"pacm097","title":"THIBAUD, CORTOT, CASALS Schumann \u0026 Mendelssohn Piano Trios (1927\/28) - PACM097","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eMENDELSSOHN \u003c\/b\u003ePiano Trio No. 1 in D minor, Op. 49\u003cbr\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003ePiano Trio No. 1 in D minor, Op. 63\u003c\/p\u003e\n\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1927 \u0026amp; 1928\u003cbr\u003eTotal duration: 59:30\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eJacques Thibaud\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eAlfred Cortot\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003ePablo Casals\u003c\/b\u003e, cello\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIf you don’t know these performances, I recommend them with all urgency578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAnyone interested in chamber music needs to know \nthe playing of the Pablo Casals, Alfred Cortot, Jacques Thibaud trio. \nStar soloists of their time, they had worked together for around 20 \nyears when they made these, and a handful of other vibrant, musically \nprobing recordings in the late 1920s. We’re lucky that they were around \nfor the advent of microphone and electrical recording technology in \n1925, but it’s a great shame that they didn’t record more as a trio; \nexamples of their Brahms, more Schumann trios, French repertoire, would \nbe invaluable. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eTheir Mendelssohn D-Minor is high on the list of \noutstanding recordings of that perfect work, from any era, but their \nSchumann D-Minor is even more extraordinary. It’s a much less \nstraightforward piece than the Mendelssohn, far less often played, and \nthe group penetrates to the heart of its unsettled, often despairing \nemotional world. Their performance communicates the volatile, depressive\n mood of the first movement, the frustrated defiance of the second, and \nthe mournful, interior musings of the third. In the fourth movement, \nSchumann resolves the conflicted state of the previous three with a \nrestoration of melodic coherence. I believe that its Mendelssohnian main\n theme is an intentional homage to that composer, Schumann’s great \nfriend who died in November of 1847, the year in which Schumann composed\n both his First and Second trios. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWhat I love about the Casals-Cortot-Thibaud Trio \nis their vivid characterization of the music, achieved through varieties\n of tone color, and the kind of spontaneous sounding flexibility in \nphrasing that’s much more often heard from a soloist than a chamber \nensemble. Cortot holds the ensemble together with the subtlety of the \nbalances that he achieves with the strings. I can’t think of a pianist \nin chamber music who was gentler in his quiet playing—try the opening of\n the Mendelssohn scherzo—or more imaginative in matters of color or \nrhythmic energy. And what glorious string playing is captured in these \nrecordings: The forthright, singing voice of Casals’s cello playing, and\n Thibaud’s artfully varied vibrato and, to my ears, always welcome \nportamentos. Technical virtuosity and seamless ensemble, the end goals \nof many modern piano trios, are just the starting point for these \nartists. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMy first acquaintance with the Schumann Trio came \nvia this performance on an aged RCA LP, in which it was coupled with the\n Schubert Trio No. 1. When I first heard the spooky sounding passage for\n ponticello strings in the first movement, I thought that either a \ndistant AM radio station was somehow interfering with the record, or \nthat there was a large amount of dust on the needle. Neither turned out \nto be the case; both the recorded sound of the performance and its \ntransfer were simply quite poor. Pristine prints a 1930  \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGramophone\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n review of the Schumann, and I agree with “W.R.A” that “in this \nstrongly-nered recording, the strings, whether by reason of natural \nvigour or the microphone’s interference, are a bit too strong for the \npiano.” \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eEven in Andrew Rose’s restoration, this problem \nwith the original miking can’t be altered. The strings, especially the \nviolin, sound a bit strident at louder dynamic levels, and the piano \nsound is too distant, but Rose’s reduction of surface noise, and some \npitch correction, make it easier to listen past the original recording’s\n flaws to experience a transcendent performance. The Mendelssohn had \nbetter sound to begin with. If you don’t know these performances, I \nrecommend them with all urgency.  \u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003ePaul Orgel  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM097.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fNew tab578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eCortot, Thibaud and Casals - perhaps the greatest piano trio ever?\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eTheir Mendelssohn and Schumann trios sound stunning in these new XR remasters\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eBy the time of these recordings, Cortot, Thibaud and Casals had been \nplaying together as a trio for around twenty years, and at a time when \nchamber music was considered by some as a bit of a joke they were \nclearly regarded as anything but. Each, of course, was a \nwell-established solo musician in his own right, but I think it's fair \nto say they were one of the first superstar trios of the age of sound \nrecording. The development of recorded chamber music had been aided by \nthe formation in the late acoustic era of the National Gramophonic \nSociety by the publisher of The Gramophone, and this clearly spurred the\n major record companies into following suit (the NGS fizzled out in 1931\n as a result of seeming no longer necessary for precisely this reason).\u003c\/p\u003e\u003cp\u003eAlthough microphone and electrical recording technology, introduced \nin the summer of 1925, was still very much in its infancy when these two\n recordings were made, it's quite astonishing to hear the fidelity and \ndetail captured in both the 1927 Mendelssohn and the 1928 Schumann. XR \nremastering has, here, done great service to the tonal qualities of all \ninstruments, with the cello and piano being particularly well-served. At\n the same time, Capstan pitch stabilisation processing has brought a \nreal solidity to the recording. Surface noise was less of an issue with \nthe Mendelssohn than the Schumann, where the slightly increased \nfrequency range of the recording clashed at times with surface swish, \nthough this has been largely dealt with. The results are particularly \nsplendid!\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 class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eTHIBAUD, CORTOT, CASALS\u003c\/b\u003e \u003cb\u003eSchumann\u003c\/b\u003e \u0026amp; \u003cb\u003eMendelssohn\u003c\/b\u003e Piano Trios (1927\/28)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMENDELSSOHN \u003c\/b\u003e Piano Trio No. 1 in D minor, Op. 49\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Molto allegro ed agitato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante con moto tranquillo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Scherzo — Leggiero e vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Rondo — Allegro vivace — Presto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix Nos. CR .1385-2, 1936-2, 1387-1, 1389-1, 1390-2, 1391-3, 1392-2, 1393-1\u003cbr\u003eFirst issued as HMV 78s DB.1072-75\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded Large Queen's Hall, London, 20 \u0026amp; 21 June, 1927\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e  Piano Trio No. 1 in D minor, Op. 63\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Mit Energie und Leidenschraft\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Lebhaft, doch nich zu rasch\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Langsam, mit inniger Empfindung\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Mit Feuer\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix Nos. Cc.14740-2, 14741-1, 14742-1, 14743-1, 14744-3, 14756-1, 14757-1, 14758-3\u003cbr\u003eFirst issued as HMV 78s DB.1209-12\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded Studo C, Small Queen's Hall, London, 15 \u0026amp; 18 October and 3 November, 1928\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAlfred Cortot\u003c\/b\u003e piano\u003cbr\u003e\u003cb\u003eJacques Thibaud\u003c\/b\u003e violin\u003cbr\u003e\u003cb\u003ePablo Casals\u003c\/b\u003e cello\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_labelfb55cd020f0643f08418183279e63a5fNew tab578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM097.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM097.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003eSchumann Piano Trio No. 1, 78rpm release\u003cbr\u003e\u003cbr\u003eAgain\n the Great Three—Cortot, Thibaud, and Casals—and, alas, Uncle Red Label \nand all. H.M.V., 1209-12, costs 34s., for the Schumann Trio in D minor, \nOp. 63 (first movement, three sides ; second, one ; other two movements,\n one record each). There is grand meat in the first movement, in which \nthe appassionato is finally brought out, not merely laid on. Try the \nlast half-inch of the first side for a draught of the purest \nromanticism—that lamentable commodity which, a few dotermined persons \nassure us, with ludicrous lack of effect, is going , . . going. ... I \nfind the strings sometimes a bit too keen for my taste. Hear how they \nwork joyfully, like Titans, in the second movement, a great hurdler, in \nwhich strings and piano have an attractive rhythmic scheme between them.\n The piano dims in the third movement accompaniment to the fiddle. That \nopening is an unusual one, piquing curiosity as to what is coming after.\n A very rich, calm piece it is—the inward eye of Schumann. This \nmovement, by the way, runs straight on into the last, a big, broad \nswinger, full of heart and devices for beguiling the way. The whole work\n is on a high level, with few drops—some of the best of Schumann’s \nwriting for a few instruments; but I feel that in this strongly-nerved \nrecording, the strings, whether by reason of natural vigour or the \nmicrophone’s interference, are a bit too strong for the piano.\u003cbr\u003e\u003cbr\u003eW. R-A., The Gramophone, April 1930\u003c\/span\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":31976232013,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31976232077,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31976232141,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31976232205,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM097.jpg?v=1487682972"},{"product_id":"pacm097-cd","title":"THIBAUD, CORTOT, CASALS Schumann \u0026 Mendelssohn Piano Trios (1927\/28) - PACM097 - CD","description":"overviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM097.mp3","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976317645,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM097_864b88b6-295b-4712-a2c0-3db60b8e8489.jpg?v=1658480905"},{"product_id":"pasc401-cd","title":"CASALS Schumann, Dvorak: Cello Concertos (1953\/60) - PASC401 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC401.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976334349,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC401_9d551449-365e-457e-a24d-8a4a6d6cf789.jpg?v=1658741869"},{"product_id":"pasc246","title":"CASALS plays Brahms, Dvorák and Boccherini (1929\/37) - PASC246","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eDouble Concerto\u003cbr\u003e\u003cb\u003eBOCCHERINI \u003c\/b\u003eCello Sonata No. 4\u003cbr\u003e\u003cb\u003eDVORAK \u003c\/b\u003eCello Concerto\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded Barcelona 1929 and Prague 1937\u003cbr\u003eTotal duration: 75:27\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePablo Casals\u003c\/b\u003e, cello\u003cbr\u003e\u003cb\u003eJacques Thibaud\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eBlas Net\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003ePablo Casals Orchestra, Alfred Cortot\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eCzech Philharmonic Orchestra, George Szell\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fUrgently recommended mainly for the Dvořák578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003ePristine Audio, the love child of audio engineer and restorer \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epar excellence\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Bob [\u003ci\u003esic\u003c\/i\u003e] Rose, is a label dedicated to reclaiming recordings from various \nsources and, through his proprietary “XR” remastering process, \nrevitalizing them to as “pristine” a state as possible. Sometimes, as it\n turns out, the realm of the possible falls short of the perfect, and \nsuch is the case here with these Casals recordings that have long made \nthe rounds in various issues and transfers on a number of different \nlabels.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Dvořák concerto as presented here is, for \nexample, not entirely of a piece. Rose explains in his detailed notes \nthat the source for this famous 1937 Casals-Szell team-up was a vinyl \ntranscription on a white-label test pressing that appeared to be in mint\n condition. Deciding to subject it to his “XR” process, Rose was \nimpressed by the new life it brought to the recording. But the finished \nproduct we have on this disc includes “a couple of short sections from \nalternative sources” that Rose felt compelled to drop in where “top-end \nquality was less than excellent.” He fails to tell us what those \n“alternative sources” are, though I suspect they’re other pressings of \nthe same performance, since I’m not aware of another Dvořák concerto \nfrom Casals besides this one with Szell.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Brahms “Double” dates back even further to the\n 1929 recording Casals made in Barcelona with violinist Jacques Thibaud \nand Alfred Cortot conducting Casals’ own orchestra. For this “XR” \nremastering, Rose relied on Pristine Audio’s collection of 78s, stating \nthat “the XR process not only opened out upper frequencies and harmonics\n beyond those normally heard, it also unleashed an unusually rich \nacoustic from the recording venue which had been somewhat squashed \nbefore.”  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Boccherini sonata, probably the best known and\n most often recorded of the composer’s sonatas for cello and keyboard, \nis also taken from vintage 1929 78s, which again according to Rose, \nrevealed “much clarity, warmth, and a lovely reverberant acoustic to \ncomplement the instruments,” after undergoing the “XR” treatment.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWith due respect, and without meaning in any way \nto impugn or disparage Rose’s process or his accomplishments, I have to \nsay that there is only so much one can do to resuscitate the Brahms and \nBoccherini. I’m actually not quite old enough to have experienced the 78\n rpm era. By the time I began collecting records in the late 1950s, the \n33-1\/3 rpm LP had already been around for well over a decade. I’m \nguessing that by 1929 most, if not all, recordings were being made using\n the newer electrical, as opposed to the older acoustic, methods. Still,\n commendable as Rose’s efforts are, there is a constricted boxed-in and \ncovered, blanketed, woolly sound to both of these recordings that makes \nit more difficult to appreciate some of the subtleties in Casals’ \nplaying, as well as Thibaud’s in the Brahms.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Dvořák, in contrast, except for some frequency\n loss at the top and bottom, as well as some dynamic compression, sounds\n remarkably close to a modern recording. No music critic who wishes to \nbe taken seriously would deny Pablo Casals’ role as the preeminent \ncellist and perhaps \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethe\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n seminal force in the cello world during the first half of the 20th \ncentury. And this recording of the Dvořák is proof of why. It’s simply \nincredible. Szell and Casals take the first-movement Allegro quite \nfast—13:33, compared to what became a slower normal of around 15 minutes\n in 1962 with Starker’s and Doráti’s Mercury recording (15: 08), a \ntiming that persisted into the next generation of cellists with Yo-Yo \nMa’s and Masur’s 1995 Sony recording (15: 04). More recently, the tempo \nhas slowed still further with Gautier Capuçon’s and Paavo Järvi’s 2008 \nVirgin Classics recording (16:20).  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eBut it’s not just Casals’ upbeat tempo; his \ntechnique is of virtuosic authority and command, and his tone, even on \nthis recording, emerges full-bodied and refulgent. Nor is there much in \nthe way of the kind of rhapsodic romanticizing one hears in the \ncellist’s Bach suites where there was no one to ride herd on him. I \nsuspect in this case that Szell, not one to indulge loitering in his \nsoloists, had much to do with moving things along. The result is a \nperformance of enormous thrust and power that, frankly, lends Dvořák’s \npopular score a much more dramatic slant than it has taken on in more \nrecent soporific readings. Casals lunges at the passage in octaves near \nthe end of the movement with a devil-may-care abandon, and the devil \nvery nearly gets his due, but the cellist manages to sail through it \nunscathed.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eEven the lovely, unhurried lyricism of the Adagio \nis not drawn out. Compare Casals\/Szell at 10:32 to Starker\/Doráti at \n11:11, Ma\/Masur at 12:34, and the almost catatonic Capuçon\/Järvi at \n12:50. Casals and Szell rout all but one of the others, too, in the \nfinale, romping through it at 11:55. Here Starker and Doráti are \nactually faster by eight seconds at 11:47, but Ma and Masur take 12:50, \nand Capuçon and Järvi bring up the rear, limping in lame-legged at \n13:18.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI’m not suggesting that there aren’t other \nversions of the Dvořák concerto worthy of consideration, but Casals and \nSzell are obligatory for anyone who loves the work and is serious about \nthe cello. While this recording, as mentioned, has long been available \nin a number of pressings on various labels—EMI, Dutton \nLaboratories\/Vocalion, Pearl, and Opus Kura—I believe Bob Rose has \nworked his special magic through his “XR” process on this Pristine Audio\n remastering. Urgently recommended mainly for the Dvořák, though \nlisteners willing to make allowances for the less than ideal sound will \nalso find much to appreciate in the Brahms and Boccherini. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJerry Dubins  \u003c\/span\u003e\u003c\/b\u003e\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\/PASC246.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe major concerto recordings of Pablo Casals, in particular that of the Dvořák \u003cem\u003eCello Concerto\u003c\/em\u003e of 1937, have been staples of the classical catalogue ever since their original releases. At the time of writing there are several issues available in different transfers by different labels, and it is surely fair, therefore, to ask why the world needs yet another transfer.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe truth of the matter is that this release came out of an instance of pure curiosity on my part. I had received, in amongst a major collection of LP records, a vinyl transcription of the Dvořák on a white-label test pressing that appeared to have been barely, if ever, played. I confess I have no idea whether this transfer was released, and if so, when - it was simply to serve as a quick and easy means of subjecting the recording to an XR remastering test - I certainly was not expecting the results of this to merit issue.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHowever, the LP transfer turned out to be much better than I had expected, and the XR remastering brought such new life to it that I decided to persevere with it, needing only to drop in a couple of short sections from alternative sources where top-end quality was less than excellent. Sitting close by was another test pressing, this time the Boccherini \u003cem\u003eCello Concerto No 9\u003c\/em\u003e with Casals conducting and Maurice Gendron playing. Investigations suggested that this was the first time Boccherini's original - rather than Grützmacher's bastardised version - had been recorded, and that it dated from 1958 but appeared since to have disappeared from the catalogue. I quickly got to work on this stereo recording with the intention of partnering it with the Dvořák, only to discover at the last minute that the erudite and well-respected author of the notes from which I'd taken the recording date was out by a matter of two years, and that the recording itself would remain in copyright until 2012.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eTurning - in need of some other recording to add to this release - to the Pristine Audio collection of 78s, I dug out the older recording of Brahm's \u003cem\u003eDouble Concerto\u003c\/em\u003e. As it dates from 1929 my hopes were less high than for the Dvořák, but despite some noisier sides I was extremely impressed with how these came out. The XR process not only opened out upper frequencies and harmonics beyond those normally heard, it also unleashed an unusually rich acoustic from the recording venue which had been somewhat squashed before.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe \u003cem\u003eDouble Concerto \u003c\/em\u003erecording contains clues as to why the XR process can be so successful in reviving older cello recordings - whereas the cello's harmonics are generally quite well represented in the limited frequency range of 1929 recording equipment, there are points where Thibaud's highest harmonics have a tendency to distort and thus produce a less pleasant sound. That said, it's still a remarkably clear and balanced recording for its day, and now far clearer and cleaner than ever before.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eFinally, as a result of recent diligent cataloguing work of the darker recesses of our collection by our archivist, I discovered the Boccherini disc tucked away in a large album of mixed 78s and in very good condition. As it was recorded in Barcelona shortly after the Brahms I decided to add it to the concerto recordings as a kind of musical stepping stone between the larger works. Again the remastering process brought out much clarity, warmth and a lovely reverberant acoustic to complement the instruments.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\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 class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eCASALS\u003c\/b\u003e plays \u003cb\u003eBrahms\u003c\/b\u003e, Dvorák and \u003cb\u003eBoccherini\u003c\/b\u003e (1929\/37)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Double Concerto for Violin and Cello, Op. 102\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(15:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Vivace non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eJacques Thibaud\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003ePablo Casals Orchestra\u003c\/b\u003e\u003cbr\u003econductor\u003cb\u003e Alfred Cortot\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded in Barcelona, 10-11 May, 1929. \u003cspan style=\"font-size: 12px;\"\u003eFirst issued as HMV DB1311014, matrices CJ2156-63\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBOCCHERINI \u003c\/b\u003eCello Sonata No. 4 in A, G4\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Adagio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBlas Net\u003c\/b\u003e, piano\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded in Barcelona, 16-17 June, 1929. \u003cspan style=\"font-size: 12px;\"\u003eFirst issued as HMV DB1392, matrices CJ2275-6\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDVORAK \u003c\/b\u003eCello Concerto in B minor, B191\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Adagio, ma non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eCzech Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003econductor\u003cb\u003e George Szell\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded in Prague, 28 April, 1937. \u003cspan style=\"font-size: 12px;\"\u003eFirst issued as HMV DB3288-92, matrices 2HC220-9\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\n\n\n\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePablo Casals\u003c\/b\u003e, cello\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTransfer \u0026amp; XR remastering by Andrew Rose at Pristine Audio, September 2010\u003cbr\u003eCover artwork based on a photograph of Pablo Casals\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 75:27\u003c\/b\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\/PASC246.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC246.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":34506338573,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34506338701,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34506338829,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34506338957,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC246_4842765f-0489-4f66-8f7a-706677fa3ebe.jpg?v=1490101518"},{"product_id":"pasc246-cd","title":"CASALS plays Brahms, Dvorák and Boccherini (1929\/37) - PASC246 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478222605,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC246_e4194bbd-8314-4e19-a2b8-c942e28f78da.jpg?v=1658245073"},{"product_id":"pasc648","title":"CASALS plays Elgar \u0026 Brahms (1926-1945) - PASC648","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eELGAR \u003c\/b\u003eCello Concerto\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eCello Sonata No. 2\u003cbr\u003eplus music by \u003cb\u003eFAURÉ, GODARD, GRANADOS, SAINT-SAËNS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1926-1945\u003cbr\u003eTotal duration: 72:42\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePau Casals\u003c\/b\u003e, cello\u003cbr\u003e\u003cb\u003eMieczyslaw Horszowski\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eNicolai Mednikov\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eBBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eSir Adrian Boult\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC648.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    \"Pablo Casals is probably the most astonishing figure of any musician of our\n    day, all the more astonishing because everything he achieves is so simple\n    and is always naturally right; and it may be because he has the most\n    sensitive ear possible, and he uses it all the time. But, of course, his\n    also very passionate nature, which he has entirely under control, is\n    probably, with his upbringing, the cause of his greatness. He is a most\n    typical Catalan, which must not be confused with Spaniards proper - they\n    are as different as the Celts are from the Anglo-Saxons - and you must know\n    that the education there is all in the hands of the monks, who give their\n    pupils a complete training in Gregorian Music, which is a wonderful\n    foundation to any musical training. As a matter of fact, Casals wrote a\n    number of choral works in his youth, and a cycle, called The Twelve Months,\n    which I heard two summers ago when I was spending my holiday at Vendrell\n    (Casals' native town near Tarragona), and which contains some lovely music.\n    He wanted to be a composer, and although he studied the violin first he was\n    attracted towards the 'cello only because, when he saw one for the first\n    time at his father's house, he thought the shape of it was so fine! He does\n    not spend much time on practising the 'cello, but he learns everything\n    mentally from the score. Conducting is really what he enjoys most, and,\n    apart from his work, what he likes best is to be at San Salvador by the sea\n    smoking his pipe after lunch at the little casino (only a cafe), where he\n    plays games of \u003ci\u003etrezilio \u003c\/i\u003e(a most complicated card game) with his friends\n    during the holidays.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    I had the pleasure of spending a wonderful day there two years ago on the\n    occasion of a fete that was given to Casals by the \"Commune,\" to which he\n    had presented a piece of ground on the sea front to be used for the\n    national dance - the \u003ci\u003eSardana\u003c\/i\u003e. Casals was at the height of happiness, all\n    the people there gathered on the new \"Place Publique,\" where the Cobla of\n    Barcelona had assembled and was going to play the ritual music - for\n    Catalans the \u003ci\u003eSardana \u003c\/i\u003eis almost a religious rite - it is the most\n    reverential form of dancing I have watched; men dance it together with very\n    serious expressions; women join in the happy circle as the dance goes on,\n    and the whole effect is most impressive. As an expression of rhythm it is\n    also unequalled.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    This little snapshot I took just before the dance began shows Casals with\n    his two nieces-his violinist brother Enrique's children. Casals, who thinks\n    also a great deal of sport, has built a tennis court next to his villa, and\n    as it is the only one for miles around, he allows anybody who likes to come\n    and play on it. He himself used to play a very good game although he had so\n    little training, but his head work was so strong that he always managed to\n    score. As he wrote on [\u003ci\u003ea\u003c\/i\u003e] photograph of the Trio taken years ago with the\n    Hungarian composer, Em. Moor, \"C'est moi qui gagne \" - which is Casals'\n    real motto.\"\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cb\u003eAndré Mangeot\u003c\/b\u003e, \u003ci\u003eThe Gramophone\u003c\/i\u003e, December 1927\n\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003ci\u003e(André Louis Mangeot (25 August 1883 – 11 September 1970) was a French-born violinist and impresario. He founded the International String Quartet in 1919, to which he invited the young John Barbirolli to become its cellist. This specialised in modern works, especially by young British composers. They made the first recording of Maurice Ravel’s String Quartet in 1927 and collaborated in the first (broadcast) performance of Benjamin Britten’s Phantasy Quartet in 1933. Later he formed the André Mangeot Quartet in 1947.)\u003c\/i\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 style=\"font-size: 24px;\"\u003e\u003cb\u003eCASALS \u003c\/b\u003eplays \u003cb\u003eElgar\u003c\/b\u003e \u0026amp; \u003cb\u003eBrahms\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eELGAR \u003c\/b\u003eCello Concerto in E minor, Op. 85\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e 1st mvt. - Adagio; Moderato\u003cspan style=\"font-size: 12px;\"\u003e (7:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 2nd mvt. - Lento; Allegro molto\u003cspan style=\"font-size: 12px;\"\u003e (4:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 3rd mvt. - Adagio\u003cspan style=\"font-size: 12px;\"\u003e (4:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 4th mvt. - Allegro; Moderato; Allegro, ma non troppo; Poco più lento; Adagio\u003cspan style=\"font-size: 12px;\"\u003e (11:15)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eSir Adrian Boult\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003erec. 14 October 1945\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eCello Sonata No. 2 in F major, Op. 99\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 1st mvt. - Allegro vivace\u003cspan style=\"font-size: 12px;\"\u003e (9:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 2nd mvt. - Adagio affettuoso\u003cspan style=\"font-size: 12px;\"\u003e (8:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 3rd mvt. - Allegro passionato\u003cspan style=\"font-size: 12px;\"\u003e (7:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 4th mvt. - Allegro molto\u003cspan style=\"font-size: 12px;\"\u003e (4:29)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMieczyslaw Horszowski\u003c\/b\u003e, piano\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003erec. 28 November 1936\u003cbr\u003e\u003cb\u003eBONUS TRACKS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cb\u003eFAURÉ-CASALS\u003c\/b\u003e Après un rêve\u003cspan style=\"font-size: 12px;\"\u003e (3:03)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003erec. 20 January 1926\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cb\u003eGODARD \u003c\/b\u003eBerceuse (from Jocelyn)\u003cspan style=\"font-size: 12px;\"\u003e (4:41)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003erec. 20 January 1926\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cb\u003eGRANADOS-CASSADÓ\u003c\/b\u003e Goyescas - Intermezzo\u003cspan style=\"font-size: 12px;\"\u003e (4:32)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003erec. 28 February 1927\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cb\u003eSAINT-SAËNS\u003c\/b\u003e The Swan (from Carnival of the Animals)\u003cspan style=\"font-size: 12px;\"\u003e (2:44)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003erec. 31 January 1928\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNicolai Mednikov\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003ePau Casals\u003c\/b\u003e, cello\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR Remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Pau Casals taken in 1917\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 72:42\u003c\/b\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\/PASC648.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC648.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":39501487931453,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205524341070,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205524373838,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC648.jpg?v=1638886257"},{"product_id":"pasc648-cd","title":"CASALS plays Elgar \u0026 Brahms (1926-1945) - PASC648 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC648.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205524308302,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC648_831440f9-12bd-4a2b-ae3a-779e9f292a0e.jpg?v=1658751791"},{"product_id":"pabx055","title":"PABLO CASALS - The Pristine Collection - PABX055","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBACH\u003c\/b\u003e Suites for Solo Cello, BWV 1007–1012\u003cbr\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Double Concerto for Violin and Cello, Op. 102; Cello Sonata No. 2 in F major, Op. 99\u003cbr\u003e\u003cb\u003eBOCCHERINI\u003c\/b\u003e Cello Sonata No. 4 in A, G4\u003cbr\u003e\u003cb\u003eDVOŘÁK\u003c\/b\u003e Cello Concerto in B minor (1937 and 1960 recordings; the latter in stereo)\u003cbr\u003e\u003cb\u003eELGAR\u003c\/b\u003e Cello Concerto in E minor, Op. 85\u003cbr\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Cello Concerto in A minor, Op. 129\u003cbr\u003e\u003cb\u003eSCHUBERT\u003c\/b\u003e Piano Trio No. 1 in B flat, D898\u003cbr\u003eShorter works by \u003cb\u003eFAURÉ\u003c\/b\u003e, \u003cb\u003eGODARD\u003c\/b\u003e, \u003cb\u003eGRANADOS\u003c\/b\u003e and \u003cb\u003eSAINT-SAËNS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio and live recordings, 1926–1960\u003cbr\u003eTotal duration: 6:13:29\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePablo Casals\u003c\/b\u003e, cello\u003cbr\u003e\u003cb\u003eJacques Thibaud\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eAlfred Cortot\u003c\/b\u003e, piano and conductor of the \u003cb\u003ePablo Casals Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBlas Net\u003c\/b\u003e, \u003cb\u003eMieczyslaw Horszowski\u003c\/b\u003e and \u003cb\u003eNicolai Mednikov\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eCzech Philharmonic Orchestra\u003c\/b\u003e, conducted by \u003cb\u003eGeorge Szell\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBBC Symphony Orchestra\u003c\/b\u003e, conducted by \u003cb\u003eSir Adrian Boult\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePrades Festival Orchestra\u003c\/b\u003e, conducted by \u003cb\u003eEugene Ormandy\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eFestival Casals Orchestra of Puerto Rico\u003c\/b\u003e, conducted by \u003cb\u003eAlexander Schneider\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM021.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS Bach: Suites for Solo Cello (1936-39) - PACM074\u003c\/summary\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eCasals' finest recordings as never heard before\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eXR remastering strips away the decades to reveal incredible detail and nuance\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003eWhen one considers all of the recordings made in the \npost-1925 electrical recording era, but before the development of full \nfrequency range recordings in the 1940s, there can be few instruments \nmore suited to the restrictions of the technology at the time than the \ncello. The range of frequencies required to capture it well, thanks to \nits low register, generally falls within the capabilities of 1930 disc \nrecording, and this makes it a prime candidate for XR remastering. I've \nalready had considerable success with Casals - his 1938 recording of the\n Dvorák Cello Concerto (PASC 246) beat all others, old and new, to \nbecome Gramophone's recommended recording of the work in February 2011.\u003cbr\u003e\u003cbr\u003eHowever, nothing prepared me for the possibilities lying\n hidden in the grooves of his Cello Suites recordings of 1936 to 1939, \nwhich have surpassed all expectations. I was already familiar with \nissues on both EMI and Naxos (the latter a considerable improvement on \nthe former), but neither offers the listener the full-bodied tone of \nCasals' cello, the crispness of his sound, the sense of immediacy and \nclarity which lay hidden in these recordings for so many decades.\u003cbr\u003e\u003cbr\u003eMy first task was to take the disparate recordings and \nbring some homogeneity to the sound of the instrument - each suite was \ninitially processed separately, using a common reference in order to \niron out differences in the recording equipment and locations used \nduring the recording sessions. Thereafter I brought them together to \ncontinue what was at times a tricky restoration - revealing so much \nmusical detail also reveals much else that is unwanted. Occasionally \nthis may still be heard, but it should not distract you from one of the \nmost remarkable restorations it has been my pleasure to undertake.\u003cem\u003e\u003cbr\u003e\u003cbr\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e\u003c\/em\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS plays Brahms, Dvorák and Boccherini (1929\/37) - PASC246\u003c\/summary\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eClassic cello recordings from one of the all-time greats\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eCasals sounds incredibly fresh in these new XR-remastered transfers\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp class=\"body\"\u003eThe major concerto recordings of Pablo Casals, in particular that of the Dvorák \u003cem\u003eCello Concerto\u003c\/em\u003e of 1937, have been staples of the classical catalogue ever since their original releases. At the time of writing there are several issues available in different transfers by different labels, and it is surely fair, therefore, to ask why the world needs yet another transfer.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe truth of the matter is that this release came out of an instance of pure curiosity on my part. I had received, in amongst a major collection of LP records, a vinyl transcription of the Dvorák on a white-label test pressing that appeared to have been barely, if ever, played. I confess I have no idea whether this transfer was released, and if so, when - it was simply to serve as a quick and easy means of subjecting the recording to an XR remastering test - I certainly was not expecting the results of this to merit issue.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eHowever, the LP transfer turned out to be much better than I had expected, and the XR remastering brought such new life to it that I decided to persevere with it, needing only to drop in a couple of short sections from alternative sources where top-end quality was less than excellent. Sitting close by was another test pressing, this time the Boccherini \u003cem\u003eCello Concerto No 9\u003c\/em\u003e with Casals conducting and Maurice Gendron playing. Investigations suggested that this was the first time Boccherini's original - rather than Grützmacher's bastardised version - had been recorded, and that it dated from 1958 but appeared since to have disappeared from the catalogue. I quickly got to work on this stereo recording with the intention of partnering it with the Dvorák, only to discover at the last minute that the erudite and well-respected author of the notes from which I'd taken the recording date was out by a matter of two years, and that the recording itself would remain in copyright until 2012.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eTurning - in need of some other recording to add to this release - to the Pristine Audio collection of 78s, I dug out the older recording of Brahm's \u003cem\u003eDouble Concerto\u003c\/em\u003e. As it dates from 1929 my hopes were less high than for the Dvorák, but despite some noisier sides I was extremely impressed with how these came out. The XR process not only opened out upper frequencies and harmonics beyond those normally heard, it also unleashed an unusually rich acoustic from the recording venue which had been somewhat squashed before.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe \u003cem\u003eDouble Concerto \u003c\/em\u003erecording contains clues as to why the XR process can be so successful in reviving older cello recordings - whereas the cello's harmonics are generally quite well represented in the limited frequency range of 1929 recording equipment, there are points where Thibaud's highest harmonics have a tendency to distort and thus produce a less pleasant sound. That said, it's still a remarkably clear and balanced recording for its day, and now far clearer and cleaner than ever before.\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003eFinally, as a result of recent diligent cataloguing work of the darker recesses of our collection by our archivist, I discovered the Boccherini disc tucked away in a large album of mixed 78s and in very good condition. As it was recorded in Barcelona shortly after the Brahms I decided to add it to the concerto recordings as a kind of musical stepping stone between the larger works. Again the remastering process brought out much clarity, warmth and a lovely reverberant acoustic to complement the instruments.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS plays Elgar \u0026amp; Brahms (1926-1945) - PASC648\u003c\/summary\u003e\u003cp\u003e\n    \"Pablo Casals is probably the most astonishing figure of any musician of our\n    day, all the more astonishing because everything he achieves is so simple\n    and is always naturally right; and it may be because he has the most\n    sensitive ear possible, and he uses it all the time. But, of course, his\n    also very passionate nature, which he has entirely under control, is\n    probably, with his upbringing, the cause of his greatness. He is a most\n    typical Catalan, which must not be confused with Spaniards proper - they\n    are as different as the Celts are from the Anglo-Saxons - and you must know\n    that the education there is all in the hands of the monks, who give their\n    pupils a complete training in Gregorian Music, which is a wonderful\n    foundation to any musical training. As a matter of fact, Casals wrote a\n    number of choral works in his youth, and a cycle, called The Twelve Months,\n    which I heard two summers ago when I was spending my holiday at Vendrell\n    (Casals' native town near Tarragona), and which contains some lovely music.\n    He wanted to be a composer, and although he studied the violin first he was\n    attracted towards the 'cello only because, when he saw one for the first\n    time at his father's house, he thought the shape of it was so fine! He does\n    not spend much time on practising the 'cello, but he learns everything\n    mentally from the score. Conducting is really what he enjoys most, and,\n    apart from his work, what he likes best is to be at San Salvador by the sea\n    smoking his pipe after lunch at the little casino (only a cafe), where he\n    plays games of \u003ci\u003etrezilio \u003c\/i\u003e(a most complicated card game) with his friends\n    during the holidays.\n\u003c\/p\u003e\n\u003cp\u003e\n    I had the pleasure of spending a wonderful day there two years ago on the\n    occasion of a fete that was given to Casals by the \"Commune,\" to which he\n    had presented a piece of ground on the sea front to be used for the\n    national dance - the \u003ci\u003eSardana\u003c\/i\u003e. Casals was at the height of happiness, all\n    the people there gathered on the new \"Place Publique,\" where the Cobla of\n    Barcelona had assembled and was going to play the ritual music - for\n    Catalans the \u003ci\u003eSardana \u003c\/i\u003eis almost a religious rite - it is the most\n    reverential form of dancing I have watched; men dance it together with very\n    serious expressions; women join in the happy circle as the dance goes on,\n    and the whole effect is most impressive. As an expression of rhythm it is\n    also unequalled.\n\u003c\/p\u003e\n\u003cp\u003e\n    This little snapshot I took just before the dance began shows Casals with\n    his two nieces-his violinist brother Enrique's children. Casals, who thinks\n    also a great deal of sport, has built a tennis court next to his villa, and\n    as it is the only one for miles around, he allows anybody who likes to come\n    and play on it. He himself used to play a very good game although he had so\n    little training, but his head work was so strong that he always managed to\n    score. As he wrote on [\u003ci\u003ea\u003c\/i\u003e] photograph of the Trio taken years ago with the\n    Hungarian composer, Em. Moor, \"C'est moi qui gagne \" - which is Casals'\n    real motto.\"\u003c\/p\u003e\n\u003cp\u003e\n    \u003cb\u003eAndré Mangeot\u003c\/b\u003e, \u003ci\u003eThe Gramophone\u003c\/i\u003e, December 1927\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-style: italic;\"\u003e(André Louis Mangeot (25 August 1883 – 11 September 1970) was a French-born violinist and impresario. He founded the International String Quartet in 1919, to which he invited the young John Barbirolli to become its cellist. This specialised in modern works, especially by young British composers. They made the first recording of Maurice Ravel’s String Quartet in 1927 and collaborated in the first (broadcast) performance of Benjamin Britten’s Phantasy Quartet in 1933. Later he formed the André Mangeot Quartet in 1947.)\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS Schumann, Dvorak: Cello Concertos (1953\/60) - PASC401\u003c\/summary\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe late genius of Pablo Casals - his first and his final post-war concerto recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eLive festival recordings - including the much sought-after stereo Dvorák from Puerto Rico in 1960\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003eAt the end of the Second World War, Pablo Casals \nhoped that the Allied forces which had just ousted Hitler would now turn\n their attention to removing the dictator Franco from Spain. When they \nshowed no inclination to do so, he broke off a London recording session \nof the Haydn D Major Cello Concerto in October, 1945 and withdrew to his\n French home in Prades near the Spanish border, vowing not to perform \npublicly again until democracy was restored to his homeland.\u003c\/p\u003e\n\u003cp class=\"western\"\u003eHe was drawn out of his self-imposed silence by \nBudapest Quartet violinist Alexander Schneider, who first approached him\n for coaching help with the Bach violin suites, and who later suggested \nholding a festival in Prades to mark the 200th anniversary of Bach’s \ndeath in 1950. American Columbia was brought in to make recordings, a \nseries which continued as the festival expanded its purview beyond Bach \nand moved to larger quarters in nearby Perpignan in 1951, returning to \nPrades the following year.\u003c\/p\u003e\n\u003cp class=\"western\"\u003eWhile Casals had conducted and played in chamber \nmusic performances, the Schumann from the 1953 festival was his first \nconcerto recording as a soloist since the aborted Haydn set. \nInterestingly, master accompanist Eugene Ormandy was not credited on the\n original LP, nor on its first reissue in the budget-priced Odyssey \nseries, probably for contractual reasons. In 1957, a new series of \nCasals festivals was begun in Puerto Rico, where the cellist had \nrecently married and made his home. It was there that his final concerto\n recording was made.\u003c\/p\u003e\n\u003cp class=\"western\"\u003eThe Dvořák has an interesting history. Recorded by \nEverest during the 1960 Puerto Rico festival, it remained unapproved \nwhen the label changed hands shortly thereafter. The new owners found \nthe tape in a box and issued it, believing they owned the rights. Casals\n promptly sued to have the release withdrawn, claiming it damaged his \nreputation. It has never subsequently been reissued in any authorized \nedition from the Everest masters, although a couple European CD \nreleases, apparently transferred from monaural sources, have appeared. \nThe original suppressed LP is now a highly sought-after collector’s \nitem. I was fortunate to have two stereo pressings in good condition to \nwork from for the present transfer. (The first note, incidentally, is \nclipped on the original recording.)\u003c\/p\u003e\n\u003cp class=\"western\"\u003eWhile Casals is admittedly not in top form, his \nperformance brings to mind Dr. Johnson’s famous Eighteenth Century \nwitticism likening a woman preaching to a dog walking on its hind legs \n(“It is not done well; but you are surprised to find it done at all.”) \nConsidering that he was in his 84th year at the time, it is a remarkable\n achievement; and Schneider’s heartfelt, sympathetic accompaniment \nmatches his soloist like the veteran chamber player he was. It’s an \nautumnal reading quite different from Casals’s brisker 1937 recording \nwith Szell (Pristine PASC 246), and one which despite its flaws deserves\n to be heard.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eTHIBAUD, CORTOT, CASALS Schubert: Piano Trio No. 1 (1926) - PACM021\u003c\/summary\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThibaud, Cortot \u0026amp; Casals play Schubert\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e1926 classic remastered for finest sound quality\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eThe legendary trio of Cortot, Thibaud and Casals is woefully \nunder-represented in the recording catalogue. Each a major artist in his\n own right, the trio came together for a month each year to tour between\n 1907 and 1934 (when split due to political differences). And yet they \nonly recorded seven pieces, between 1926 and 1929 - two Trios by \nBeethoven, and one a piece by Haydn, Mendelssohn, Schubert and Schumann,\n together with Brahms' Double Concerto with Cortot at the baton.\u003cbr\u003e\u003cp\u003e\u003cbr\u003e\n Of these recordings, the Schubert was the first, recorded in July 1926.\n This session ran so well and so smoothly that the trio, who'd always \nconcentrated on the perfection of a relatively limited repertoire, was \nable to record Beethoven's Kakadu Variations and the same time.\u003cbr\u003e\u003cbr\u003eDespite\n the age of the recording and the use of very early electric recording \ntechnology - microphones were introduced into the recording process \ncommercially in 1925 - this remains an amazingly powerful and valuable \nrecord of one of the great trios of all time. Every exquisite nuance of \nplaying, phrasing and timing is preserved for the listener's enjoyment, \nand what residual surface noise remains is quickly forgotten in this \nmagical performance.\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\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\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS Bach: Suites for Solo Cello (1936-39) - PACM074\u003c\/summary\u003e\u003cul\u003e\u003c\/ul\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH \u003c\/b\u003eSuites for Solo Cello, BVW 1007-1012\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eSuite 1: Paris, 2 June 1938, Eng. M. Cailly, issued in Bach Society Volume 7, DB.3671-3673\u003cbr\u003eSuites 2 \u0026amp; 3: Abbey Road, London, 25 November 1936, issued in Bach Society Volume 6, DB.3399-3404\u003cbr\u003eSuites 4 \u0026amp; 5: Paris, 13 June 1939, Eng. M. Cailly, issued in Bach Society Volume 8, DB.6538-6540\u003cbr\u003eSuite 6: Paris, 3 June 1938, Eng. M. Cailly, issued in Bach Society Volume 7, DB.3674-3677\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, February 2011\u003cbr\u003e Cover artwork based on a photograph of Pablo Casals\u003cbr\u003eTotal duration: 2hr 9:56\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cb\u003ePablo Casals, \u003c\/b\u003ecello\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS plays Brahms, Dvorák and Boccherini (1929\/37) - PASC246\u003c\/summary\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Double Concerto for Violin and Cello, Op. 102\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e Jacques Thibaud, \u003c\/b\u003eviolin\u003cbr\u003e \u003cb\u003ePablo Casals Orchestra\u003c\/b\u003e \u003cb\u003e\u003cbr\u003e \u003c\/b\u003econductor\u003cb\u003e Alfred Cortot\u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded in Barcelona, 10-11 May, 1929. First issued as HMV DB1311014, matrices CJ2156-63 \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e\u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBOCCHERINI\u003c\/b\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodybigblue\"\u003eCello Sonata No. 4 in A, G4 \u003c\/span\u003e\u003cbr\u003e \u003cb\u003eBlas Net,\u003c\/b\u003e piano\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded in Barcelona, 16-17 June, 1929. First issued as HMV DB1392, matrices CJ2275-6 \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eDVORAK\u003c\/b\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodybigblue\"\u003eCello Concerto in B minor, B191\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eCzech Philharmonic Orchestra \u003cbr\u003e \u003c\/b\u003econductor\u003cb\u003e George Szell\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded in Prague, 28 April, 1937. First issued as HMV DB3288-92, matrices 2HC220-9 \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cb\u003ePablo Casals, \u003c\/b\u003ecello\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eTransfer \u0026amp; XR remastering by Andrew Rose at Pristine Audio, September 2010\u003cbr\u003eCover artwork based on a photograph of Pablo Casals\u003cbr\u003e\u003cbr\u003eTotal duration: 75:27 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS plays Elgar \u0026amp; Brahms (1926-1945) - PASC648\u003c\/summary\u003e\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eCASALS \u003c\/b\u003eplays Elgar \u0026amp; Brahms\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eELGAR \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eCello Concerto in E minor, Op. 85 \u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Adagio; Moderato  (7:39)\u003cbr\u003e2. 2nd mvt. - Lento; Allegro molto  (4:52)\u003cbr\u003e3. 3rd mvt. - Adagio  (4:03)\u003cbr\u003e4. 4th mvt. - Allegro; Moderato; Allegro, ma non troppo; Poco più lento; Adagio  (11:15)\u003cbr\u003e\u003cb\u003eBBC Symphony Orchestra\u003c\/b\u003e \u003cbr\u003econducted by \u003cb\u003eSir Adrian Boult\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erec. 14 October 1945\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eCello Sonata No. 2 in F major, Op. 99 \u003c\/span\u003e\u003cbr\u003e5. 1st mvt. - Allegro vivace  (9:29)\u003cbr\u003e6. 2nd mvt. - Adagio affettuoso  (8:06)\u003cbr\u003e7. 3rd mvt. - Allegro passionato  (7:49)\u003cbr\u003e8. 4th mvt. - Allegro molto  (4:29)\u003cbr\u003e\u003cb\u003eMieczyslaw Horszowski\u003c\/b\u003e, piano\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erec. 28 November 1936\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eBONUS TRACKS\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e9. \u003cb\u003eFAURÉ-CASALS\u003c\/b\u003e Après un rêve  (3:03)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erec. 20 January 1926\u003c\/span\u003e\u003cbr\u003e10. \u003cb\u003eGODARD \u003c\/b\u003eBerceuse (from Jocelyn)  (4:41)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erec. 20 January 1926\u003c\/span\u003e\u003cbr\u003e11. \u003cb\u003eGRANADOS-CASSADÓ\u003c\/b\u003e Goyescas - Intermezzo  (4:32)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erec. 28 February 1927\u003c\/span\u003e\u003cbr\u003e12. \u003cb\u003eSAINT-SAËNS\u003c\/b\u003e The Swan (from Carnival of the Animals)  (2:44)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erec. 31 January 1928\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eNicolai Mednikov\u003c\/b\u003e, piano\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePau Casals\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e, cello\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by  Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Pau Casals taken in 1917\u003cbr\u003e\u003cbr\u003eTotal duration: 72:42  \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS Schumann, Dvorak: Cello Concertos (1953\/60) - PASC401\u003c\/summary\u003e\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Cello Concerto in A Minor, Op. 129\u003cbr\u003e\u003cb\u003eEugene Ormandy\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePrades Festival Orchestra\u003cbr\u003e\u003c\/b\u003eRecorded 28 May 1953 in L’Église St-Pierre, Prades\u003cbr\u003eFirst issued on Columbia ML-4926\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003eCello Concerto in B Minor, Op. 104 (\u003cem\u003eSTEREO recording\u003c\/em\u003e) \u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003e\u003cb\u003eAlexander Schneider\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eFestival Casals Orchestra of Puerto Rico\u003cbr\u003e\u003c\/b\u003eLive recording, Spring, 1960, in the Theatre of the University of Puerto Rico, San Juan\u003cbr\u003eFirst issued on Everest SDBR 3083\u003c\/p\u003e\n\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003ePablo Casals \u003c\/b\u003e cello\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eTHIBAUD, CORTOT, CASALS Schubert: Piano Trio No. 1 (1926) - PACM021\u003c\/summary\u003e\u003cul\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003ePiano Trio No 1 in B flat, D898\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 5-6 July 1926, Kingsway Hall, London.\u003cbr\u003eReleased as HMV 78s, D.B. 947-950\u003cbr\u003eMatrix numbers: CR533 - CR540 (all 1st takes) (also numbered 08273-08280)\u003cbr\u003eCR540 uses the alternate (A) cutting of the 1st take.\u003cbr\u003eDuration 30:55\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\n\u003cp\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cb\u003eJacques Thibaud, \u003c\/b\u003eviolin\u003cb\u003e \u003cbr\u003e Alfred Cortot, \u003c\/b\u003epiano\u003cbr\u003e\u003cb\u003ePablo Casals\u003c\/b\u003e, cello\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\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_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pacm074\"\u003eCASALS Bach: Suites for Solo Cello (1936-39) - PACM074 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc246\"\u003eCASALS plays Brahms, Dvorák and Boccherini (1929\/37) - PASC246 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc648\"\u003eCASALS plays Elgar \u0026amp; Brahms (1926-1945) - PASC648 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc401\"\u003eCASALS Schumann, Dvorak: Cello Concertos (1953\/60) - PASC401 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pacm021\"\u003eTHIBAUD, CORTOT, CASALS Schubert: Piano Trio No. 1 (1926) - PACM021 — cover art\u003c\/a\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_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":60913298080078,"sku":null,"price":66.0,"currency_code":"EUR","in_stock":true},{"title":"MP3","offer_id":60913298145614,"sku":null,"price":54.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX055.jpg?v=1790075242"},{"product_id":"pabx055-cd","title":"PABLO CASALS - The Pristine Collection - PABX055 - CD","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBACH\u003c\/b\u003e Suites for Solo Cello, BWV 1007–1012\u003cbr\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Double Concerto for Violin and Cello, Op. 102; Cello Sonata No. 2 in F major, Op. 99\u003cbr\u003e\u003cb\u003eBOCCHERINI\u003c\/b\u003e Cello Sonata No. 4 in A, G4\u003cbr\u003e\u003cb\u003eDVOŘÁK\u003c\/b\u003e Cello Concerto in B minor (1937 and 1960 recordings; the latter in stereo)\u003cbr\u003e\u003cb\u003eELGAR\u003c\/b\u003e Cello Concerto in E minor, Op. 85\u003cbr\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Cello Concerto in A minor, Op. 129\u003cbr\u003e\u003cb\u003eSCHUBERT\u003c\/b\u003e Piano Trio No. 1 in B flat, D898\u003cbr\u003eShorter works by \u003cb\u003eFAURÉ\u003c\/b\u003e, \u003cb\u003eGODARD\u003c\/b\u003e, \u003cb\u003eGRANADOS\u003c\/b\u003e and \u003cb\u003eSAINT-SAËNS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio and live recordings, 1926–1960\u003cbr\u003eTotal duration: 6:13:29\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePablo Casals\u003c\/b\u003e, cello\u003cbr\u003e\u003cb\u003eJacques Thibaud\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eAlfred Cortot\u003c\/b\u003e, piano and conductor of the \u003cb\u003ePablo Casals Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBlas Net\u003c\/b\u003e, \u003cb\u003eMieczyslaw Horszowski\u003c\/b\u003e and \u003cb\u003eNicolai Mednikov\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eCzech Philharmonic Orchestra\u003c\/b\u003e, conducted by \u003cb\u003eGeorge Szell\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBBC Symphony Orchestra\u003c\/b\u003e, conducted by \u003cb\u003eSir Adrian Boult\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePrades Festival Orchestra\u003c\/b\u003e, conducted by \u003cb\u003eEugene Ormandy\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eFestival Casals Orchestra of Puerto Rico\u003c\/b\u003e, conducted by \u003cb\u003eAlexander Schneider\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM021.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS Bach: Suites for Solo Cello (1936-39) - PACM074\u003c\/summary\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eCasals' finest recordings as never heard before\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eXR remastering strips away the decades to reveal incredible detail and nuance\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003eWhen one considers all of the recordings made in the \npost-1925 electrical recording era, but before the development of full \nfrequency range recordings in the 1940s, there can be few instruments \nmore suited to the restrictions of the technology at the time than the \ncello. The range of frequencies required to capture it well, thanks to \nits low register, generally falls within the capabilities of 1930 disc \nrecording, and this makes it a prime candidate for XR remastering. I've \nalready had considerable success with Casals - his 1938 recording of the\n Dvorák Cello Concerto (PASC 246) beat all others, old and new, to \nbecome Gramophone's recommended recording of the work in February 2011.\u003cbr\u003e\u003cbr\u003eHowever, nothing prepared me for the possibilities lying\n hidden in the grooves of his Cello Suites recordings of 1936 to 1939, \nwhich have surpassed all expectations. I was already familiar with \nissues on both EMI and Naxos (the latter a considerable improvement on \nthe former), but neither offers the listener the full-bodied tone of \nCasals' cello, the crispness of his sound, the sense of immediacy and \nclarity which lay hidden in these recordings for so many decades.\u003cbr\u003e\u003cbr\u003eMy first task was to take the disparate recordings and \nbring some homogeneity to the sound of the instrument - each suite was \ninitially processed separately, using a common reference in order to \niron out differences in the recording equipment and locations used \nduring the recording sessions. Thereafter I brought them together to \ncontinue what was at times a tricky restoration - revealing so much \nmusical detail also reveals much else that is unwanted. Occasionally \nthis may still be heard, but it should not distract you from one of the \nmost remarkable restorations it has been my pleasure to undertake.\u003cem\u003e\u003cbr\u003e\u003cbr\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e\u003c\/em\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS plays Brahms, Dvorák and Boccherini (1929\/37) - PASC246\u003c\/summary\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eClassic cello recordings from one of the all-time greats\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eCasals sounds incredibly fresh in these new XR-remastered transfers\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp class=\"body\"\u003eThe major concerto recordings of Pablo Casals, in particular that of the Dvorák \u003cem\u003eCello Concerto\u003c\/em\u003e of 1937, have been staples of the classical catalogue ever since their original releases. At the time of writing there are several issues available in different transfers by different labels, and it is surely fair, therefore, to ask why the world needs yet another transfer.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe truth of the matter is that this release came out of an instance of pure curiosity on my part. I had received, in amongst a major collection of LP records, a vinyl transcription of the Dvorák on a white-label test pressing that appeared to have been barely, if ever, played. I confess I have no idea whether this transfer was released, and if so, when - it was simply to serve as a quick and easy means of subjecting the recording to an XR remastering test - I certainly was not expecting the results of this to merit issue.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eHowever, the LP transfer turned out to be much better than I had expected, and the XR remastering brought such new life to it that I decided to persevere with it, needing only to drop in a couple of short sections from alternative sources where top-end quality was less than excellent. Sitting close by was another test pressing, this time the Boccherini \u003cem\u003eCello Concerto No 9\u003c\/em\u003e with Casals conducting and Maurice Gendron playing. Investigations suggested that this was the first time Boccherini's original - rather than Grützmacher's bastardised version - had been recorded, and that it dated from 1958 but appeared since to have disappeared from the catalogue. I quickly got to work on this stereo recording with the intention of partnering it with the Dvorák, only to discover at the last minute that the erudite and well-respected author of the notes from which I'd taken the recording date was out by a matter of two years, and that the recording itself would remain in copyright until 2012.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eTurning - in need of some other recording to add to this release - to the Pristine Audio collection of 78s, I dug out the older recording of Brahm's \u003cem\u003eDouble Concerto\u003c\/em\u003e. As it dates from 1929 my hopes were less high than for the Dvorák, but despite some noisier sides I was extremely impressed with how these came out. The XR process not only opened out upper frequencies and harmonics beyond those normally heard, it also unleashed an unusually rich acoustic from the recording venue which had been somewhat squashed before.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe \u003cem\u003eDouble Concerto \u003c\/em\u003erecording contains clues as to why the XR process can be so successful in reviving older cello recordings - whereas the cello's harmonics are generally quite well represented in the limited frequency range of 1929 recording equipment, there are points where Thibaud's highest harmonics have a tendency to distort and thus produce a less pleasant sound. That said, it's still a remarkably clear and balanced recording for its day, and now far clearer and cleaner than ever before.\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003eFinally, as a result of recent diligent cataloguing work of the darker recesses of our collection by our archivist, I discovered the Boccherini disc tucked away in a large album of mixed 78s and in very good condition. As it was recorded in Barcelona shortly after the Brahms I decided to add it to the concerto recordings as a kind of musical stepping stone between the larger works. Again the remastering process brought out much clarity, warmth and a lovely reverberant acoustic to complement the instruments.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS plays Elgar \u0026amp; Brahms (1926-1945) - PASC648\u003c\/summary\u003e\u003cp\u003e\n    \"Pablo Casals is probably the most astonishing figure of any musician of our\n    day, all the more astonishing because everything he achieves is so simple\n    and is always naturally right; and it may be because he has the most\n    sensitive ear possible, and he uses it all the time. But, of course, his\n    also very passionate nature, which he has entirely under control, is\n    probably, with his upbringing, the cause of his greatness. He is a most\n    typical Catalan, which must not be confused with Spaniards proper - they\n    are as different as the Celts are from the Anglo-Saxons - and you must know\n    that the education there is all in the hands of the monks, who give their\n    pupils a complete training in Gregorian Music, which is a wonderful\n    foundation to any musical training. As a matter of fact, Casals wrote a\n    number of choral works in his youth, and a cycle, called The Twelve Months,\n    which I heard two summers ago when I was spending my holiday at Vendrell\n    (Casals' native town near Tarragona), and which contains some lovely music.\n    He wanted to be a composer, and although he studied the violin first he was\n    attracted towards the 'cello only because, when he saw one for the first\n    time at his father's house, he thought the shape of it was so fine! He does\n    not spend much time on practising the 'cello, but he learns everything\n    mentally from the score. Conducting is really what he enjoys most, and,\n    apart from his work, what he likes best is to be at San Salvador by the sea\n    smoking his pipe after lunch at the little casino (only a cafe), where he\n    plays games of \u003ci\u003etrezilio \u003c\/i\u003e(a most complicated card game) with his friends\n    during the holidays.\n\u003c\/p\u003e\n\u003cp\u003e\n    I had the pleasure of spending a wonderful day there two years ago on the\n    occasion of a fete that was given to Casals by the \"Commune,\" to which he\n    had presented a piece of ground on the sea front to be used for the\n    national dance - the \u003ci\u003eSardana\u003c\/i\u003e. Casals was at the height of happiness, all\n    the people there gathered on the new \"Place Publique,\" where the Cobla of\n    Barcelona had assembled and was going to play the ritual music - for\n    Catalans the \u003ci\u003eSardana \u003c\/i\u003eis almost a religious rite - it is the most\n    reverential form of dancing I have watched; men dance it together with very\n    serious expressions; women join in the happy circle as the dance goes on,\n    and the whole effect is most impressive. As an expression of rhythm it is\n    also unequalled.\n\u003c\/p\u003e\n\u003cp\u003e\n    This little snapshot I took just before the dance began shows Casals with\n    his two nieces-his violinist brother Enrique's children. Casals, who thinks\n    also a great deal of sport, has built a tennis court next to his villa, and\n    as it is the only one for miles around, he allows anybody who likes to come\n    and play on it. He himself used to play a very good game although he had so\n    little training, but his head work was so strong that he always managed to\n    score. As he wrote on [\u003ci\u003ea\u003c\/i\u003e] photograph of the Trio taken years ago with the\n    Hungarian composer, Em. Moor, \"C'est moi qui gagne \" - which is Casals'\n    real motto.\"\u003c\/p\u003e\n\u003cp\u003e\n    \u003cb\u003eAndré Mangeot\u003c\/b\u003e, \u003ci\u003eThe Gramophone\u003c\/i\u003e, December 1927\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-style: italic;\"\u003e(André Louis Mangeot (25 August 1883 – 11 September 1970) was a French-born violinist and impresario. He founded the International String Quartet in 1919, to which he invited the young John Barbirolli to become its cellist. This specialised in modern works, especially by young British composers. They made the first recording of Maurice Ravel’s String Quartet in 1927 and collaborated in the first (broadcast) performance of Benjamin Britten’s Phantasy Quartet in 1933. Later he formed the André Mangeot Quartet in 1947.)\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS Schumann, Dvorak: Cello Concertos (1953\/60) - PASC401\u003c\/summary\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe late genius of Pablo Casals - his first and his final post-war concerto recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eLive festival recordings - including the much sought-after stereo Dvorák from Puerto Rico in 1960\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003eAt the end of the Second World War, Pablo Casals \nhoped that the Allied forces which had just ousted Hitler would now turn\n their attention to removing the dictator Franco from Spain. When they \nshowed no inclination to do so, he broke off a London recording session \nof the Haydn D Major Cello Concerto in October, 1945 and withdrew to his\n French home in Prades near the Spanish border, vowing not to perform \npublicly again until democracy was restored to his homeland.\u003c\/p\u003e\n\u003cp class=\"western\"\u003eHe was drawn out of his self-imposed silence by \nBudapest Quartet violinist Alexander Schneider, who first approached him\n for coaching help with the Bach violin suites, and who later suggested \nholding a festival in Prades to mark the 200th anniversary of Bach’s \ndeath in 1950. American Columbia was brought in to make recordings, a \nseries which continued as the festival expanded its purview beyond Bach \nand moved to larger quarters in nearby Perpignan in 1951, returning to \nPrades the following year.\u003c\/p\u003e\n\u003cp class=\"western\"\u003eWhile Casals had conducted and played in chamber \nmusic performances, the Schumann from the 1953 festival was his first \nconcerto recording as a soloist since the aborted Haydn set. \nInterestingly, master accompanist Eugene Ormandy was not credited on the\n original LP, nor on its first reissue in the budget-priced Odyssey \nseries, probably for contractual reasons. In 1957, a new series of \nCasals festivals was begun in Puerto Rico, where the cellist had \nrecently married and made his home. It was there that his final concerto\n recording was made.\u003c\/p\u003e\n\u003cp class=\"western\"\u003eThe Dvořák has an interesting history. Recorded by \nEverest during the 1960 Puerto Rico festival, it remained unapproved \nwhen the label changed hands shortly thereafter. The new owners found \nthe tape in a box and issued it, believing they owned the rights. Casals\n promptly sued to have the release withdrawn, claiming it damaged his \nreputation. It has never subsequently been reissued in any authorized \nedition from the Everest masters, although a couple European CD \nreleases, apparently transferred from monaural sources, have appeared. \nThe original suppressed LP is now a highly sought-after collector’s \nitem. I was fortunate to have two stereo pressings in good condition to \nwork from for the present transfer. (The first note, incidentally, is \nclipped on the original recording.)\u003c\/p\u003e\n\u003cp class=\"western\"\u003eWhile Casals is admittedly not in top form, his \nperformance brings to mind Dr. Johnson’s famous Eighteenth Century \nwitticism likening a woman preaching to a dog walking on its hind legs \n(“It is not done well; but you are surprised to find it done at all.”) \nConsidering that he was in his 84th year at the time, it is a remarkable\n achievement; and Schneider’s heartfelt, sympathetic accompaniment \nmatches his soloist like the veteran chamber player he was. It’s an \nautumnal reading quite different from Casals’s brisker 1937 recording \nwith Szell (Pristine PASC 246), and one which despite its flaws deserves\n to be heard.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eTHIBAUD, CORTOT, CASALS Schubert: Piano Trio No. 1 (1926) - PACM021\u003c\/summary\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThibaud, Cortot \u0026amp; Casals play Schubert\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e1926 classic remastered for finest sound quality\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eThe legendary trio of Cortot, Thibaud and Casals is woefully \nunder-represented in the recording catalogue. Each a major artist in his\n own right, the trio came together for a month each year to tour between\n 1907 and 1934 (when split due to political differences). And yet they \nonly recorded seven pieces, between 1926 and 1929 - two Trios by \nBeethoven, and one a piece by Haydn, Mendelssohn, Schubert and Schumann,\n together with Brahms' Double Concerto with Cortot at the baton.\u003cbr\u003e\u003cp\u003e\u003cbr\u003e\n Of these recordings, the Schubert was the first, recorded in July 1926.\n This session ran so well and so smoothly that the trio, who'd always \nconcentrated on the perfection of a relatively limited repertoire, was \nable to record Beethoven's Kakadu Variations and the same time.\u003cbr\u003e\u003cbr\u003eDespite\n the age of the recording and the use of very early electric recording \ntechnology - microphones were introduced into the recording process \ncommercially in 1925 - this remains an amazingly powerful and valuable \nrecord of one of the great trios of all time. Every exquisite nuance of \nplaying, phrasing and timing is preserved for the listener's enjoyment, \nand what residual surface noise remains is quickly forgotten in this \nmagical performance.\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\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\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS Bach: Suites for Solo Cello (1936-39) - PACM074\u003c\/summary\u003e\u003cul\u003e\u003c\/ul\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH \u003c\/b\u003eSuites for Solo Cello, BVW 1007-1012\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eSuite 1: Paris, 2 June 1938, Eng. M. Cailly, issued in Bach Society Volume 7, DB.3671-3673\u003cbr\u003eSuites 2 \u0026amp; 3: Abbey Road, London, 25 November 1936, issued in Bach Society Volume 6, DB.3399-3404\u003cbr\u003eSuites 4 \u0026amp; 5: Paris, 13 June 1939, Eng. M. Cailly, issued in Bach Society Volume 8, DB.6538-6540\u003cbr\u003eSuite 6: Paris, 3 June 1938, Eng. M. Cailly, issued in Bach Society Volume 7, DB.3674-3677\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, February 2011\u003cbr\u003e Cover artwork based on a photograph of Pablo Casals\u003cbr\u003eTotal duration: 2hr 9:56\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cb\u003ePablo Casals, \u003c\/b\u003ecello\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS plays Brahms, Dvorák and Boccherini (1929\/37) - PASC246\u003c\/summary\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Double Concerto for Violin and Cello, Op. 102\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e Jacques Thibaud, \u003c\/b\u003eviolin\u003cbr\u003e \u003cb\u003ePablo Casals Orchestra\u003c\/b\u003e \u003cb\u003e\u003cbr\u003e \u003c\/b\u003econductor\u003cb\u003e Alfred Cortot\u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded in Barcelona, 10-11 May, 1929. First issued as HMV DB1311014, matrices CJ2156-63 \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e\u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBOCCHERINI\u003c\/b\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodybigblue\"\u003eCello Sonata No. 4 in A, G4 \u003c\/span\u003e\u003cbr\u003e \u003cb\u003eBlas Net,\u003c\/b\u003e piano\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded in Barcelona, 16-17 June, 1929. First issued as HMV DB1392, matrices CJ2275-6 \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eDVORAK\u003c\/b\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodybigblue\"\u003eCello Concerto in B minor, B191\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eCzech Philharmonic Orchestra \u003cbr\u003e \u003c\/b\u003econductor\u003cb\u003e George Szell\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded in Prague, 28 April, 1937. First issued as HMV DB3288-92, matrices 2HC220-9 \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cb\u003ePablo Casals, \u003c\/b\u003ecello\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eTransfer \u0026amp; XR remastering by Andrew Rose at Pristine Audio, September 2010\u003cbr\u003eCover artwork based on a photograph of Pablo Casals\u003cbr\u003e\u003cbr\u003eTotal duration: 75:27 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS plays Elgar \u0026amp; Brahms (1926-1945) - PASC648\u003c\/summary\u003e\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eCASALS \u003c\/b\u003eplays Elgar \u0026amp; Brahms\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eELGAR \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eCello Concerto in E minor, Op. 85 \u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Adagio; Moderato  (7:39)\u003cbr\u003e2. 2nd mvt. - Lento; Allegro molto  (4:52)\u003cbr\u003e3. 3rd mvt. - Adagio  (4:03)\u003cbr\u003e4. 4th mvt. - Allegro; Moderato; Allegro, ma non troppo; Poco più lento; Adagio  (11:15)\u003cbr\u003e\u003cb\u003eBBC Symphony Orchestra\u003c\/b\u003e \u003cbr\u003econducted by \u003cb\u003eSir Adrian Boult\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erec. 14 October 1945\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eCello Sonata No. 2 in F major, Op. 99 \u003c\/span\u003e\u003cbr\u003e5. 1st mvt. - Allegro vivace  (9:29)\u003cbr\u003e6. 2nd mvt. - Adagio affettuoso  (8:06)\u003cbr\u003e7. 3rd mvt. - Allegro passionato  (7:49)\u003cbr\u003e8. 4th mvt. - Allegro molto  (4:29)\u003cbr\u003e\u003cb\u003eMieczyslaw Horszowski\u003c\/b\u003e, piano\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erec. 28 November 1936\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eBONUS TRACKS\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e9. \u003cb\u003eFAURÉ-CASALS\u003c\/b\u003e Après un rêve  (3:03)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erec. 20 January 1926\u003c\/span\u003e\u003cbr\u003e10. \u003cb\u003eGODARD \u003c\/b\u003eBerceuse (from Jocelyn)  (4:41)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erec. 20 January 1926\u003c\/span\u003e\u003cbr\u003e11. \u003cb\u003eGRANADOS-CASSADÓ\u003c\/b\u003e Goyescas - Intermezzo  (4:32)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erec. 28 February 1927\u003c\/span\u003e\u003cbr\u003e12. \u003cb\u003eSAINT-SAËNS\u003c\/b\u003e The Swan (from Carnival of the Animals)  (2:44)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erec. 31 January 1928\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eNicolai Mednikov\u003c\/b\u003e, piano\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePau Casals\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e, cello\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by  Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Pau Casals taken in 1917\u003cbr\u003e\u003cbr\u003eTotal duration: 72:42  \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS Schumann, Dvorak: Cello Concertos (1953\/60) - PASC401\u003c\/summary\u003e\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Cello Concerto in A Minor, Op. 129\u003cbr\u003e\u003cb\u003eEugene Ormandy\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePrades Festival Orchestra\u003cbr\u003e\u003c\/b\u003eRecorded 28 May 1953 in L’Église St-Pierre, Prades\u003cbr\u003eFirst issued on Columbia ML-4926\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003eCello Concerto in B Minor, Op. 104 (\u003cem\u003eSTEREO recording\u003c\/em\u003e) \u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003e\u003cb\u003eAlexander Schneider\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eFestival Casals Orchestra of Puerto Rico\u003cbr\u003e\u003c\/b\u003eLive recording, Spring, 1960, in the Theatre of the University of Puerto Rico, San Juan\u003cbr\u003eFirst issued on Everest SDBR 3083\u003c\/p\u003e\n\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003ePablo Casals \u003c\/b\u003e cello\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eTHIBAUD, CORTOT, CASALS Schubert: Piano Trio No. 1 (1926) - PACM021\u003c\/summary\u003e\u003cul\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003ePiano Trio No 1 in B flat, D898\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 5-6 July 1926, Kingsway Hall, London.\u003cbr\u003eReleased as HMV 78s, D.B. 947-950\u003cbr\u003eMatrix numbers: CR533 - CR540 (all 1st takes) (also numbered 08273-08280)\u003cbr\u003eCR540 uses the alternate (A) cutting of the 1st take.\u003cbr\u003eDuration 30:55\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\n\u003cp\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cb\u003eJacques Thibaud, \u003c\/b\u003eviolin\u003cb\u003e \u003cbr\u003e Alfred Cortot, \u003c\/b\u003epiano\u003cbr\u003e\u003cb\u003ePablo Casals\u003c\/b\u003e, cello\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\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_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pacm074\"\u003eCASALS Bach: Suites for Solo Cello (1936-39) - PACM074 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc246\"\u003eCASALS plays Brahms, Dvorák and Boccherini (1929\/37) - PASC246 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc648\"\u003eCASALS plays Elgar \u0026amp; Brahms (1926-1945) - PASC648 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc401\"\u003eCASALS Schumann, Dvorak: Cello Concertos (1953\/60) - PASC401 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pacm021\"\u003eTHIBAUD, CORTOT, CASALS Schubert: Piano Trio No. 1 (1926) - PACM021 — cover art\u003c\/a\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"6 CDs only in plastic sleeve (+MP3)","offer_id":60913298309454,"sku":null,"price":77.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX055_b486fd27-41e5-4597-9f4e-9465a2324e19.jpg?v=1790075249"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/collections\/Casals.jpg?v=1495806815","url":"https:\/\/www.pristineclassical.com\/collections\/artist-pablo-casals.oembed?page=2","provider":"Pristine Classical","version":"1.0","type":"link"}