{"title":"Rudolf Firkušný","description":"\u003cp\u003eRudolf Firkušný was a Czech-born pianist, one of the leading keyboard artists of the twentieth century. He was especially admired for Czech repertory, Mozart, Beethoven and Janáček.\u003c\/p\u003e\u003cp\u003eIn the Pristine catalogue he appears in Beethoven, Brahms, Franck, Poulenc and Janáček, with conductors including Rafael Kubelík, Charles Munch and others.\u003c\/p\u003e\u003cp\u003eFirkušný’s playing combined elegance, clarity and a deep Czech musical inheritance, with a natural authority in repertory too often treated as peripheral.\u003c\/p\u003e\u003cp\u003eHis page is essential. Firkušný gives the piano shelf poise, sunlight and a Bohemian accent that never needs to shout.\u003c\/p\u003e","products":[{"product_id":"pasc045","title":"FIRKUSNY Dvorák: Piano Concerto No. 1 (1954) - PASC045","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eDVORÁK \u003c\/b\u003ePiano Concerto No. 1\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1954\u003cbr\u003eDuration: 36:23\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRudolf Firkušný\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eThe Cleveland Orchestra\u003c\/b\u003e\u003cbr\u003eConducted by \u003cb\u003eGeorge Szell\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC045.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Piano Concerto in G Minor was the first of the three concertos that Dvořák composed, and is by far the least known. It is usually dismissed as \"second-rate\" and remains the poor orphan of his major works. Such phrases as \"a concerto for two right hands\", \"flaccid\", and \"botched\" have been used by its critics - of whom there have been many. As recently as 1943, Alec Robertson, a British critic who patently adored Dvořák, bad-mouthed the concerto like this: \u003c\/p\u003e\n\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003ci\u003e\"Over this score might well be written 'a warning to young composers. The piano passage-work sounds as if Dvořák had... weighed out his ingredients fairly accurately, but mixed them with the heavy hand of an inexpert cook.\"\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHmm. Perhaps we should judge for ourselves.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eComposed in about six weeks of 1876, one of the the young composer's goals was to help consolidate his position in the musical establishment with a major concerto for a reputed soloist, and this was achieved with its first performance by the pianist Karel Slavkovský in 1878. It was a period in which Dvořák's international reputation blossomed.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eDvořák, however, seems to have been unsatisfied with the work and, as his compositional style developed, continued to revise and improve it until the publication of the score in 1883. Nor was this the end of the story: the pianist Vilem Kurz made several stylistic changes to the solo part, particularly by using octave doubling (a la Liszt) to give a greater depth to the melodic line.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWhich brings us to Rudolf Firkusný. If such a work ever needed a champion this one found it in Firkušný. And what a champion! A native Czech, he had studied with Janácek, Josef Suk, Cortot and Schnabel. Settled in the United States, almost single-handedly he resurrected the concerto (and made his own revisions to the piano part!). Four studio recordings by him were released, plus two others taken from radio broadcasts. \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe first of the Firkušný recordings, made on the 9th and 11th April 1954, shows a freshness of approach coupled with the fervency of an advocate, and Firkušný was ideally partnered - and, you might say, tempered - by the characteristically disciplined conducting of George Szell and his Cleveland orchestra.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAs happened too often, the advent of stereo in 1958 pushed companies to concentrate on the new format and to re-examine their catalogues, and this monophonic version soon went into the archives. Although reviewers have commented that none of Firkušný's later recordings matched its performance it has, as far as we can tell, been unavailable since then.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIn the mid-1950s, the American Columbia company's catalogue was distributed in Europe by Philips, and we were fortunate enough to have a mint test pressing of the Philips disk available for our restoration. Although it has the characteristics of seemingly all Columbia recordings in the Severance Hall of that vintage (thin string tone being one), we think it's come up remarkably well.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAnd, to return to where we began, what about the music? Well... Listen to the second movement, with its deep serenity, its pre-echos of the slow movement of the New World symphony (written fifteen years later); to the third characteristically Dvorakian movement with its folksy themes; and if this is \"second rate\" Dvořák one can only sympathise with the many \"first-rate\" composers who could never match it! \u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eNotes by Peter Harrison\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\u003eFIRKUSNY\u003c\/b\u003e \u003cb\u003eDvorák\u003c\/b\u003e: Piano Concerto No. 1 (1954)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDVORÁK \u003c\/b\u003ePiano Concerto No. 1 in G minor, Op. 33\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro agitato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(17:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante sostenuto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro con fuoco\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRudolf Firkušný\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eThe Cleveland Orchestra\u003c\/b\u003e\u003cbr\u003eConducted by \u003cb\u003eGeorge Szell\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded in 9th and 11th April, 1954\u003cbr\u003eSeverance Hall, Cleveland\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\n\n\u003cp style=\"font-size: 12px;\"\u003eReleased in 1955 as Columbia ML 4967\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eDuration 36'23\"\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\/PASC045.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC045.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":36191282701,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC045.jpg?v=1492596257"},{"product_id":"pasc045-cd","title":"FIRKUSNY Dvorák: Piano Concerto No. 1 (1954) - PASC045 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205567365454,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC045_fe52c858-7edb-452c-bbc8-373c78de29f1.jpg?v=1657717412"},{"product_id":"pasc501","title":"CANTELLI in New York, Vol. 1: Haydn, Mozart, Ravel, Falla, Vivaldi, Beethoven, Piston, Copland (1955) - PASC501","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eHAYDN \u003c\/b\u003eSymphony No. 93\u003cbr\u003e\u003cb\u003eMOZART \u003c\/b\u003ePiano Concerto No. 21\u003cbr\u003e\u003cb\u003eRAVEL \u003c\/b\u003ePavane pour une infante défunte\u003cbr\u003e\u003cb\u003eFALLA \u003c\/b\u003eEl Sombrero des Tres Picos, Suite No. 2\u003cbr\u003e\u003cb\u003eVIVALDI \u003c\/b\u003eL'Estro Armonico: Concerto Grosso No. 11\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 3\u003cbr\u003e\u003cb\u003ePISTON \u003c\/b\u003eToccata\u003cbr\u003e\u003cb\u003eCOPLAND \u003c\/b\u003eEl Salón México\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1955\u003cbr\u003eTotal duration: 2hr 26:56\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWalter Gieseking\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eRudolf Firkušný\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eNew York Philharmonic-Symphony Orchestra\u003c\/b\u003e\u003cbr\u003eConducted by \u003cb\u003eGuido Cantelli\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC501.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThese recordings were sourced from generally very high quality tape recordings. Despite some electrical hum and the occasional buzzing, both of which have largely been dealt with, only the very occasional incidence of mild, and short-lived dropout in any way troubled the reproduction. XR remastering has greatly improved the listening experience, with a fuller, clearer and cleaner sound. Whilst much of Jim Fassett's original CBS radio commentary has been retained, I have edited out sections irrelevant to the concerts.      \u003c\/p\u003e\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 style=\"font-size: 16px;\"\u003e\u003cb\u003eCD ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1\u003c\/span\u003e Concert 1 - Introduction\u003cspan style=\"font-size: 12px;\"\u003e (1:07)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eHAYDN\u003c\/b\u003e Symphony No. 93 in D major, Hob. 1:93\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2\u003c\/span\u003e 1st mvt. - Adagio - Allegro assai\u003cspan style=\"font-size: 12px;\"\u003e (8:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3\u003c\/span\u003e 2nd mvt. - Largo cantabile\u003cspan style=\"font-size: 12px;\"\u003e (5:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4\u003c\/span\u003e 3rd mvt. - Menuetto (Allegretto) - Trio\u003cspan style=\"font-size: 12px;\"\u003e (4:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5\u003c\/span\u003e 4th mvt. - Finale (Presto ma non troppo)\u003cspan style=\"font-size: 12px;\"\u003e (5:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6\u003c\/span\u003e Introduction to Mozart\u003cspan style=\"font-size: 12px;\"\u003e (1:28)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Piano Concerto No. 21 in C major, K.467\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7\u003c\/span\u003e 1st mvt. - Allegro maestoso\u003cspan style=\"font-size: 12px;\"\u003e (14:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8\u003c\/span\u003e Andante\u003cspan style=\"font-size: 12px;\"\u003e (7:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9\u003c\/span\u003e Allegro vivace assai\u003cspan style=\"font-size: 12px;\"\u003e (7:26)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWalter Gieseking\u003c\/b\u003e, piano\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10\u003c\/span\u003e \u003cb\u003eRAVEL Pavane pour une infante défunte\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (6:32)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eFALLA\u003c\/b\u003e El Sombrero des Tres Picos, Suite No. 2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11\u003c\/span\u003e 1. Los vecinos\u003cspan style=\"font-size: 12px;\"\u003e (3:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12\u003c\/span\u003e 2. Danza del molinero (Farruca)\u003cspan style=\"font-size: 12px;\"\u003e (2:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13\u003c\/span\u003e 3. Danza final\u003cspan style=\"font-size: 12px;\"\u003e (6:54)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCBS Radio Broadcast\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eIntroduced by Jim Fassett\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eCarnegie Hall, 6 March, 1955\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1\u003c\/span\u003e Concert 2 - Introduction\u003cspan style=\"font-size: 12px;\"\u003e (1:50)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVIVALDI\u003c\/b\u003e L'Estro Armonico: Concerto Grosso in D minor, Op. 3, No. 11, RV565\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2\u003c\/span\u003e 1st mvt. - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (1:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3\u003c\/span\u003e 2nd mvt. - Adagio e spiccato\u003cspan style=\"font-size: 12px;\"\u003e (0:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4\u003c\/span\u003e 3rd mvt. - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (3:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5\u003c\/span\u003e 4th mvt. - Largo e spiccato\u003cspan style=\"font-size: 12px;\"\u003e (3:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6\u003c\/span\u003e 5th mvt. - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (4:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7\u003c\/span\u003e Introduction to Beethoven\u003cspan style=\"font-size: 12px;\"\u003e (2:20)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Concerto No. 3 in C minor, Op. 37\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8\u003c\/span\u003e 1st mvt. - Allegro con brio\u003cspan style=\"font-size: 12px;\"\u003e (15:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9\u003c\/span\u003e 2nd mvt. - Largo\u003cspan style=\"font-size: 12px;\"\u003e (8:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10\u003c\/span\u003e 3rd mvt. - Rondo. Allegro - Presto\u003cspan style=\"font-size: 12px;\"\u003e (9:02)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRudolf Firkušný\u003c\/b\u003e, piano\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e11\u003c\/span\u003e \u003cb\u003ePISTON Toccata\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12\u003c\/span\u003e Introduction to Copland\u003cspan style=\"font-size: 12px;\"\u003e (1:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13\u003c\/span\u003e \u003cb\u003eCOPLAND El Salón México\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (11:16)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCBS Radio Broadcast\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eIntroduced by Jim Fassett\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eCarnegie Hall, 13 March, 1955\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003eNew York Philharmonic-Symphony Orchestra\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eConducted by \u003cb\u003eGuido Cantelli\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Guido Cantelli\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 26:56\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_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC501.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC501.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fFull background notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eS\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003eleeve Note for 6 and 13 March 1955 \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\n\u003cp\u003e\n    It is a common misconception that Guido Cantelli had a limited repertoire.\n    This is possibly due, to some extent, because of the small number of his\n    commercial recordings which – apart from three - were approved by the\n    conductor; there were four with the NBC Symphony Orchestra; two with the\n    Orchestra Stabile Accademia di Santa Cecilia, Roma; one with the Orchestra\n    del Teatro alla Scala, Milano; 20 with the Philharmonia Orchestra and one\n    with the New York Philharmonic-Symphony Orchestra. That is very little\n    compared to the recorded legacies of other conductors of international\n    stature.\n\u003c\/p\u003e\n\u003cp\u003e\n    The situation changed for collectors of recorded music when Cantelli began\n    to give concerts in America. Whereas, in the UK, only five of Cantelli’s\n    concerts were broadcast. Three were all with the Philharmonia Orchestra and\n    the other two were with the New York Philharmonic-Symphony Orchestra. The\n    majority of the performance included in the concert given on 9 September\n    1954 in the Usher Hall during the Edinburgh Festival has already appeared\n    on CD and I can state with some confidence that another broadcast which was\n    given in London’s Royal Albert Hall on 11 May 1953 will be released some\n    time during 2017. Finally, when the New York Philharmonic-Symphony\n    Orchestra began its European Tour in 1955 its first stop was Edinburgh and\n    two concerts were broadcast from the Usher Hall on 6 and 7 September. These\n    were all BBC broadcasts.\n\u003c\/p\u003e\n\u003cp\u003e\n    One aspect to note is that the NBC’s radio station – unlike the BBC - was a\n    commercial operation and advertising occasionally took precedence over the\n    music which could be cut off the air if it ran over time.\n\u003c\/p\u003e\n\u003cp\u003e\n    From 1949 Cantelli gave 40 concerts with the NBC Symphony Orchestra which\n    were all broadcast and he appeared every year until 1954 when the orchestra\n    was disbanded. The number of works which he conducted was 106 but 31 of\n    these appeared later as commercial recordings. It is interesting to note,\n    for instance, that three of the four commercial recordings with this\norchestra (Haydn’s \u003cem\u003eSymphony No.93\u003c\/em\u003e; Hindemith’s\u003cem\u003e Sinfonie Mathis\u003c\/em\u003e \u003cem\u003eder Maler\u003c\/em\u003e and the Franck    \u003cem\u003eSymphony\u003c\/em\u003e)\u003cem\u003e \u003c\/em\u003ewere performed in these concerts three times.\n    Other works which were also performed this often with the orchestra were\n    Bartók’s \u003cem\u003eConcerto for Orchestra\u003c\/em\u003e (no commercial recording); the\n    Mozart \u003cem\u003eSymphony No.29\u003c\/em\u003e (the very last work he recorded\ncommercially); Ravel’s \u003cem\u003eLa valse \u003c\/em\u003eand Wagner’s    \u003cem\u003eRienzi Overture \u003c\/em\u003e(no commercial recordings). There are even more\n    examples of works being played twice. Even so, the Cantelli discography was\n    increased by 58 compositions which were broadcast and never recorded\n    commercially. Copyright law is complicated and is not the same for every\n    country but probably it was not illegal to record broadcasts for personal\n    use so it was quickly obvious that serious listeners soon had their tape\n    recorders connected to their radios to increase their collections of\n    recorded music.\n\u003c\/p\u003e\n\u003cp\u003e\n    In 1952 Toscanini was 85 and Cantelli possibly realised that his mentor’s\n    career was nearing its end. Furthermore, once Toscanini had retired it\n    would be inconceivable that the NBC would continue to maintain a symphony\n    orchestra.\n\u003c\/p\u003e\n\u003cp\u003e\n    At this time Cantelli envisaged that a substantial number of his concerts\n    would be in America. He had already given six concerts with the Pittsburgh\n    and three with the San Francisco Symphony Orchestras in 1951. Thus it was a\n    logical step to have a career with the main orchestra in the metropolis,\n    the New York Philharmonic-Symphony Orchestra. It is quite revealing to\n    compare his career in Europe with that in America from 1952.\n\u003c\/p\u003e\n\u003ctable border=\"1\" cellpadding=\"0\" cellspacing=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd valign=\"top\"\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n\u003cstrong\u003e52\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n\u003cstrong\u003e53\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n\u003cstrong\u003e54\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n\u003cstrong\u003e55\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n\u003cstrong\u003e56 \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n\u003cstrong\u003eTotal\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    Appearances with European Orchestras\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    12\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    15\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    17\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    30\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    23\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    97\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    Appearances with American Orchestras\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    21\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    33\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    32\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    46\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    14*\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    146\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    Appearances with the New York Philharmonic-Symphony\n                \u003c\/p\u003e\n\u003cp\u003e\n                    Orchestra\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    11\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    15\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    15\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    44\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    14*\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    99\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e\n    *Fourteen more concerts had been scheduled for November and December which obviously did not take place due to Cantelli’s tragic death in an air\n    crash.\n\n\u003c\/p\u003e\u003cp\u003e\n    Two factors should be noted. First, the programmes were for “proper”\n    concerts with a paying audience with an interval and second, Cantelli now\n    had the benefit of working with instrumentalists with international\n    reputations. Both concerts on these CDs were in the New York\n    Philharmonic-Symphony Orchestra’s subscription series which meant that the\n    majority of the programme was played three times. Thus, while Gieseking\nplayed Franck’s \u003cem\u003eVariations synphoniques\u003c\/em\u003e on 3\u003csup\u003erd\u003c\/sup\u003e and 4\u003csup\u003eth\u003c\/sup\u003e of March, it was replaced by Ravel’s \u003cem\u003ePavane pour une\u003c\/em\u003e \u003cem\u003einfante d\u003c\/em\u003e\u003cem\u003eéfunte\u003c\/em\u003e for the concert on 6\u003csup\u003eth\u003c\/sup\u003e March.\n    Similarly, while the first two concertos of Vivaldi’s \u003cem\u003eSeasons \u003c\/em\u003ewere\nplayed on 10th and 11\u003csup\u003eth\u003c\/sup\u003e March these were replaced by Vivaldi’s    \u003cem\u003eConcerto Op.3\u003c\/em\u003e \u003cem\u003eNo.11\u003c\/em\u003e for the concert on 13\u003csup\u003eth\u003c\/sup\u003e\n    March. (Incidentally, Cantelli recorded the Vivaldi \u003cem\u003eSeasons \u003c\/em\u003e\n    complete with this orchestra later in the year on 29 March. Cantelli’s\n    action caused considerable hiatus between HMV, RCA and CRI which has been\n    documented elsewhere†\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\n\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Concert on 6 March 1955 given in Carnegie Hall, New York\n    \u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eHaydn (1732-1809): Symphony in D major. Hob1:93\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    This work was something of Cantelli’s calling card; he gave 35 performances\n    with eleven orchestras. One of the interesting features – unlike his elder\n    peers eg Beecham – is that he played all the repeats. He was working from a\n    corrupt edition and did not have just the first desk strings playing in the\n    opening of the second movement: but, nevertheless, his musicianship shines\n    through and this live performance is among the best of the five\n    performances which have been recorded from Cantelli’s recorded concerts..\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\n        Mozart (1756-1791): Piano Concerto in C major, K.467, No.21\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    When Walter Legge suggested to Walter Gieseking that he might wish to\n    record the \u003cstrong\u003e\u003cem\u003eEmperor \u003c\/em\u003e\u003c\/strong\u003ewith Cantelli in a forthcoming\n    stereo version the pianist demurred on the grounds that when one had\n    recorded a work with Karajan to work with anyone else was a retrograde\n    step. One can only speculate that Gieseking was so impressed by his\n    collaboration with Cantelli in 1955 (which was the young conductor’s first\n    performances of this concerto) because he came back the next season. Which\nconcerto did he play? No surprise really: it had to be the …    \u003cstrong\u003e\u003cem\u003eEmperor\u003c\/em\u003e\u003c\/strong\u003e! As far as this Mozart concerto is\n    concerned the critics commented that the veteran pianist and the young\n    conductor were at one accord and certainly this is another highlight in\n    Cantelli’s discography.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eRavel (1875-1937): Pavane pour une infant d\u003c\/strong\u003e\n\u003cstrong\u003eéfunte\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    This composition had a very special significance for Cantelli. He was\n    inordinately fond of his nephew, Sergio, and was devastated when the child\n    died when only 12 in November 1951. His next performance, on 1 December,\n    was dedicated to Sergio’s memory. The next performances took place\n    with the Philharmonia Orchestra on 5 and 8 October 1952. A few days later\n    there was a commercial recording and the highly strung Cantelli was fully\n    aware that it would be a permanent memorial to Sergio, The sessions were\n    fraught with tension with Cantelli experiencing enormous problems with\n    balancing the harp’s contribution: the lady harpist, Renata Scheffel-Stein,\n    was reduced to a nervous wreck. Despite all this, it will take a\n    superlative artist to erode the memory Dennis Brain’s concert performance\n    or his commercial recording with the Philharmonia Orchestra. On this CD we\n    have a conductor who respects Ravel’s economy in this gravely beautiful\n    score – there is something about the six minutes of music which has\n    Mozartian refinement with maximum impact from limited resources. It is only\n    72 bars and the entire work only takes 12 pages of a study score. There are\n    13 changes of tempi but the horn is only asked to play \u003cem\u003eforte \u003c\/em\u003efor\n    very few notes. The orchestra’s principal horn, James Chambers, matches\n    Cantelli’s sensibility. It does not quite erase the memory of Cantelli’s\n    performance with Dennis Brain, but it is a close run thing. This\n    performance of this sombre piece is greeted by a lengthy silence from the\n    audience. In this author’s view that should be considered as the highest\n    praise.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e De Falla (1865-1935): El sombrero de tres picos \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Cantelli only ever conducted the \u003cem\u003eSecond Suite\u003c\/em\u003e\u003cstrong\u003e \u003c\/strong\u003e\nwith the three dances – \u003cem\u003eThe Neighbours’ Dance, The Miller’s Dance\u003c\/em\u003e \u003cstrong\u003e \u003c\/strong\u003eand \u003cem\u003eThe Final Dance\u003c\/em\u003e\u003cstrong\u003e \u003c\/strong\u003efrom de\n    Falla’s ballet music for \u003cstrong\u003eThe Three Cornered Hat. \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Although one cannot be absolutely certain, this could well be the first\n    time that a live performance of this de Falla by Cantelli has been issued\n    on CD. Perhaps some of the scoring does not emerge with maximum clarity –\n    let us face it, there is always a lot going on – but it is an enjoyable\n    performance.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\n\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Concert on 13 March 1955 given in Carnegie Hall, New York\n    \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eVivaldi (1678-1741): Concert Grosso in D minor, Op.3 No.11 RV 565\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    The author was 22 before he heard a note of Vivaldi and this was in one of\n    Cantelli’s early concerts in London’s Royal Festival Hall. My reaction was\n    that this was fantastic music. The abiding memory is that management had a\n    separated print slip inserted in the programme note explaining that the\nVivaldi was in fact four three-movement concertos: it was, of course,    \u003cem\u003eThe Seasons.\u003c\/em\u003e The point is that this music was new and continued to\n    be so for the majority of concert-goers for a considerable time. The reason\n    for this preamble is that our knowledge of performance practice for the\n    music of the 17\u003csup\u003eth\u003c\/sup\u003e and 18\u003csup\u003eth\u003c\/sup\u003e centuries has changed out\n    of all recognition from the 1950s. Cantelli only had seven of Vivaldi’s\n    concertos in his repertoire (that is if one counts \u003cem\u003eThe Seasons \u003c\/em\u003eas\n    four). The performance of this concerto reflects accurately how Vivaldi was\n    played at the time. It sounds as if Cantelli had a substantial body of\n    strings which would not be the case today. But before this performance is\n    dismissed one should bear in mind that if one wanted to hear Vivaldi in the\n    mid-1950s this was how it was presented.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\n        Beethoven (1770-1827): Piano Concerto No.3 in C minor, Op.37\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Cantelli conducted four of Beethoven’s piano concertos and only the second\n    was absent. He collaborated with four pianists for this concerto: the first\n    was with Eduardo del Pueyo and the Orchestra del Maggio Musicale Fiorentino\n    on 26 January 1947; the second was with Friedrich Gulda and the Orchestra\n    del Theatre Comunale di Bologna on 20 February 1948; next was Rudolf\n    Firkušný (playing on this CD) and finally Arthur Rubinstein given with the\nOrchestra della Scala on 25 and 26 October 1956 together with the    \u003cstrong\u003e\u003cem\u003eEmperor\u003c\/em\u003e\u003c\/strong\u003e! Firkušný may not be a name which\n    resonates the same way as Arrau, Backhaus, Gieseking, Gulda, Casadesus or\n    Serkin (all of whom played Beethoven’s concertos with Cantelli) but the\n    fact is that he collaborated more often with Cantelli than any other\n    pianist and these co-operations, in alphabetical order, involved the\n    Beethoven 3\u003csup\u003erd( \u003c\/sup\u003e(3); the Brahms 1\u003csup\u003est \u003c\/sup\u003e(3); the Dvorák\n    (2); the Grieg (6) and the Menotti – the Grieg and the Menotti were\n    Cantelli’s only performances.\n\u003c\/p\u003e\n\u003cp\u003e\n    Cantelli’s contribution is nigh on ideal as far as the tempi and balances\n    are concerned and one should be aware that he had only performed the\n    concerto twice before as mentioned above. What is particularly noticeable\nis the relish that Cantelli sets for the opening    \u003cem\u003eAllegro con brio. \u003c\/em\u003eThe soloist and conductor integrate their\n    conception which was to be expected from their long association. Perhaps it\n    would be fair to say that Firkušný’s finger work is not as always as clear\n    as one would expect in the 21\u003csup\u003est\u003c\/sup\u003e century (is it the recording?)\n    but one would be pernickety to make too much of that. It is a case of\n    excellent being an enemy of the good.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003ePiston (1894-1976): Toccata\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Although Cantelli only performed this eight-minute piece three times he had\n    a complete grasp of both the rumbustious elements and the quieter moments.\n    The composer heard the broadcast recorded on this CD and he wrote to\n    Cantelli the same day in his somewhat unidiomatic Italian (Piston’s\n    grandfather was actually Italian).\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 50px;\"\u003e\n\u003ci\u003eDear Maestro,\n\u003c\/i\u003e\u003c\/p\u003e\u003ci\u003e\n\u003c\/i\u003e\u003cp style=\"margin-left: 50px;\"\u003e\u003ci\u003e\u003cem\u003e\n\u003ci\u003eI have listened to my Toccata\u003cstrong\u003e \u003c\/strong\u003e\u003c\/i\u003e\u003c\/em\u003eon the radio and I\n    want to tell you what great pleasure your\u003cbr\u003eperformance gave me. It was all a composer can hope for and I am very\n    grateful too for\u003cbr\u003eyour sense of rhythm, your enthusiasm and your wonderful performance.\n\u003c\/i\u003e\u003c\/p\u003e\u003ci\u003e\n\u003c\/i\u003e\u003cp style=\"margin-left: 50px;\"\u003e\u003ci\u003e\n    I also want to thank you for including the music of two contemporary\n    American composers\u003cbr\u003eIn your programme.\n\n\u003c\/i\u003e\u003c\/p\u003e\u003cp style=\"margin-left: 50px;\"\u003e\u003ci\u003e\n    I hope that you will accept the kind regards of your devoted\n\u003c\/i\u003e\u003c\/p\u003e\u003ci\u003e\n\u003c\/i\u003e\u003cp style=\"margin-left: 50px;\"\u003e\u003ci\u003e\n    Walter Piston\n\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    Is there anything nothing more to be said.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eCopland (1900-1990): El Salón México\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    When Copland paid his first visit to Mexico in 1932 he visited – to use his\n    own words – a “hot spot” and conceived the notion of writing music which\n    reflected the spirit he experienced in the Salón México. Copland considered\n    – quite rightly – that as a tourist he did not have enough knowledge to\n    write a piece which reflected the more profound side of the country. His\n    composition would consist of melodies which were connected in his mind with\n    his experience in that dance hall. In a note that Copland published in his\n    recording with the New Philharmonia Orchestra in 1972 he mentioned that\n    practically all the themes came from the \u003cem\u003eCancionero Mexicano \u003c\/em\u003eby\n    Francis Toor or the erudite \u003cem\u003eEl Folk-lore y la Música Mexicana \u003c\/em\u003eby\n    Ruben M. Campos\u003cem\u003e. \u003c\/em\u003eCopland wrote “It wasn’t the music I heard, but\n    the spirit is what I hope to have put in my music.”\n\u003c\/p\u003e\n\u003cp\u003e\n    As so often with Cantelli, although he first conducted this piece during\n    the March 1955 subscription concerts, he grasps the contents as though he\n    had known the piece all his life. He later gave two more performances with\n    this orchestra and – more surprisingly – two with the Orchestra del Teatro\n    alla Scala. It is another recording that should be in anyone’s Cantelli\n    discography.\n\u003c\/p\u003e\n\u003cp\u003e\n    Keith Bennett © 2017\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\n\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e† This is in the publication ‘        \u003cem\u003eCantelli – Just eight years of Fame’\u003c\/em\u003e. Contact\n    \u003c\/strong\u003e\n\u003ca href=\"mailto:keith.bennett@zen.co.uk\"\u003e\n\u003cstrong\u003ekeith.bennett@zen.co.uk\u003c\/strong\u003e\n\u003c\/a\u003e\n\u003cstrong\u003e\n        for further information. The recording of Vivaldi’s\u003cem\u003e Seasons\u003c\/em\u003e\n        with the Philharmonic-Symphony Orchestra of New York has been\n        remastered by Mark Obert-Thorn and is available on Pristine Audio \u003c\/strong\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc176\" target=\"_blank\"\u003ePASC        176\u003c\/a\u003e\u003cstrong\u003e.\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":36677574989,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205556748622,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205556781390,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC501_f715f769-6cff-4370-bd4f-430af82ee692.jpg?v=1493362962"},{"product_id":"pasc501-cd","title":"CANTELLI in New York, Vol. 1: Haydn, Mozart, Ravel, Falla, Vivaldi, Beethoven, Piston, Copland (1955) - PASC501 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD only in plastic sleeve (+MP3)","offer_id":55205556715854,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC501_433e8c74-907a-4973-91cc-6cb09ff0e479.jpg?v=1658744412"},{"product_id":"pasc523","title":"CANTELLI in New York, Vol. 3: Wagner, Verdi, Brahms, Monteverdi, Handel, Hindemith (1956) - PASC523","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eParsifal - Good Friday Spell\u003cbr\u003e\u003cb\u003eVERDI \u003c\/b\u003eTe Deum\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eAlto Rhapsody\u003cbr\u003e\u003cb\u003eMONTEVERDI \u003c\/b\u003eMagnificat\u003cbr\u003e\u003cb\u003eHANDEL \u003c\/b\u003eXerxes - Largo\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003ePiano Concerto No. 1\u003cbr\u003e\u003cb\u003eHINDEMITH \u003c\/b\u003eConcert Music For Strings And Brass\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive broadcast concerts, 1956\u003cbr\u003eTotal duration: 2hr 15:36\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMartha Lipton\u003c\/b\u003e, alto\u003cbr\u003e\u003cb\u003eRudolf Firkušný\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eNew York Philharmonic-Symphony Orchestra\u003c\/b\u003e\u003cbr\u003eConducted by \u003cb\u003eGuido Cantelli\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIf you love great conducting of great music, make this absolutely a priority, must-have acquisition578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eThis set brings us the last two concerts that Guido Cantelli conducted with the New York Philharmonic—indeed, the final concerts he gave in the USA—before his tragic death on November 24, 1956 in a plane crash. The Brahms Concerto and the Handel and Hindemith selections were performed on April 8, and the other works on April 1. This set is also valuable because only the Handel and Monteverdi works have other performances surviving in Cantelli’s discography; indeed, these were the conductor’s first performances ever of the works by Brahms and Verdi, while he had conducted the Wagner only once before, in 1945. The sound quality throughout the set is excellent; Andrew Rose obviously had access to excellent original sources even before applying his trademark XR sound processing to them. \u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eEven more importantly, with only one exception they are performances of the very front rank. The exception occurs right at the start of the first CD: the Good Friday Spell from Parsifal is prosaic and businesslike, technically well played but completely lacking in atmosphere. After that, Cantelli moves from strength to strength. Both the Verdi Te Deum and the Brahms Alto Rhapsody receive impassioned renditions—the Verdi shows what a grievous loss Cantelli’s premature death was to the opera world—with excellent work by the Westminster Choir matching the instrumentalists of the New York Philharmonic. In the Brahms, Martha Lipton is a very capable soloist, though she lacks the unique vocal profiles and interpretive insights of such great contemporaries as Marian Anderson and Kathleen Ferrier. An unexpectedly fine surprise is provided by Giorgio Federico Ghedini’s arrangement for orchestra of Monteverdi’s Magnificat. A previous performance with identical forces was given on January 6, 1952 and issued in a 12-CD set of Cantelli performances by Music \u0026amp; Arts; there the much inferior recorded sound and more ragged playing and singing made the work something of a trial. Here, it springs vividly to life; if hardly in line with present-day HIP standards for Baroque music, the modern forces make a visceral impact with suitable grandeur. I do wish that the fine solo soprano in the opening lines had been identified. \u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eIn the second concert, the ever-popular Largo from Handel’s Xerxes has competition in the Cantelli discography from a December 27, 1953 NBC Symphony broadcast. While the NBC version has more sonic presence and attains an extra degree of rapt intensity, this one is still quite fine on its own terms (although both versions milk the closing bars for overly Romanticized emotion). The Brahms and Hindemith works that follow receive interpretations that are pinnacles of excellence. Cantelli brings both a fiery intensity and passionate lyricism to the orchestral part that far surpasses the somewhat stolid accompaniment that William Steinberg and the Pittsburgh Symphony would provide for Firkušný in an October 1956 studio recording. For his part, the Czech pianist is inspired by his partner to great heights, balancing high drama with ardent songfulness and technically clean execution. This is one of the truly great accounts of this score that belongs in every collector’s library. The Hindemith Concert Music is well-nigh miraculous. I had never expected to hear anyone equal Leonard Bernstein’s fabled 1961 New York Philharmonic studio recording, but Cantelli actually aces him with a stunningly perfect command of Hindemith’s musical rhetoric. He brings out an extra degree of febrile tension in the score by crisp accentuation of rhythms and articulation and keenly balanced contrasts in the often discordant brass harmonies, while the strings have an almost serpentine menace to them. This is now my go-to version for a performance of this marvelous, too little appreciated masterpiece. \u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eAs usual with Pristine, only minimal notes are provided. While Andrew Rose has issued many fine releases over the years, this one in my estimation ranks in the top 10 percent. If you love great conducting of great music, make this absolutely a priority, must-have acquisition; urgently recommended. \u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003e\u003cspan style=\"font-weight: bold; font-style: italic;\"\u003eJames A. Altena \u003c\/span\u003e\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC523.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThese two CDs preserve Guido Cantelli's programmes of his last subscription concerts and are valuable for two reasons. First, they contain Cantelli's very last concerts which he gave in America, but second and more importantly three of the compositions - both of the Brahms and the Verdi - were the first time that the conductor had performed these works. Additionally, Cantelli had only conducted the Wagner and Hindemith once: the Wagner was given in Italy during 1945 so it is unlikely that it was recorded but,fortunately, the Hindemith - a new addition to Cantelli's repertoire - was broadcast with the NBC Symphony Orchestra and is available on a Pristine Audio CD, PASC 111. \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eKeith Bennnett\u003c\/b\u003e (author of \"\u003ci\u003eGuido Gantelli, Just Eight Years of Fame\u003c\/i\u003e\")\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThese two final broadcast concerts conducted by Guido Cantelli were sourced from high quality mono FM radio recordings and offer excellent sound quality throughout. That said, there were some issues with wow and flutter which I was able to deal with using Capstan pitch stabilisation software, and other minor sonic technical issues were easily overcome. Commentaries were quite long between most works, and these have been trimmed down  - at times considerably. I chose, however, to leave the very final closing as broadcast - it was the last time Cantelli would appear on US radio and on a US concert platform. The following month he headed to London for recording sessions with the Philharmonia Orchestra, and for the rest of the year conducted in London, Milan, Johannesburg, Modena and, finally, in Brescia, Italy on 15 November 1956. Nine days later he was to lose his life in a fatal plane crash in Paris, France, having just a week earlier been named Musical Director of La Scala, Milan.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eNB. The arrangement of Handel's \u003ci\u003eLargo \u003c\/i\u003efrom \u003ci\u003eXerxes\u003c\/i\u003e is attributed by the commentator to the Italian composer Bernardino Molinari, whereas the New York Philharmonic Orchestra's official archive suggests the more common arrangement by Arthur Luck. An examination of the printed concert programme for the evening is of no help - there is no mention here of the arranger (by contrast the Monteverdi arrangement is properly attributed to Ghedini). An examination of the recording indicates that Cantelli does not, in fact, use the Luck arrangement - Luck begins with strings, Cantelli with wind; Luck proceeds with solo violin and harp, Cantelli with solo violin and other orchestral instruments, and so forth. We have been unable to verify 100% that a Molinari arrangement is used here but have no reason to doubt it, despite this contradicting the \"official\" record.\u003c\/p\u003e\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 style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Radio Introduction, 1 April 1956\u003cspan style=\"font-size: 12px;\"\u003e (1:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cb\u003eWAGNER \u003c\/b\u003eParsifal - Good Friday Spell\u003cspan style=\"font-size: 12px;\"\u003e (11:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cb\u003eVERDI \u003c\/b\u003eTe Deum\u003cspan style=\"font-size: 12px;\"\u003e (14:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cb\u003eBRAHMS \u003c\/b\u003eAlto Rhapsody\u003cspan style=\"font-size: 12px;\"\u003e (16:11)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMartha Lipton\u003c\/b\u003e, alto\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cb\u003eMONTEVERDI \u003c\/b\u003e(arr. Ghedini) Magnificat for 6 voices (from Vespro della Beata Vergine, SV 206)\u003cspan style=\"font-size: 12px;\"\u003e (21:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Radio Ending, 1 April 1956\u003cspan style=\"font-size: 12px;\"\u003e (1:29)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWestminster Choir\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eDirector: John \u003cb\u003eFinlay Williamson\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Radio Introduction, 8 April 1956\u003cspan style=\"font-size: 12px;\"\u003e (1:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cb\u003eHANDEL \u003c\/b\u003e(arr. B. Molinari) Xerxes - Largo\u003cspan style=\"font-size: 12px;\"\u003e (6:17)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003ePiano Concerto No. 1 in D minor, Op. 15\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 1st mvt. - Maestoso\u003cspan style=\"font-size: 12px;\"\u003e (21:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 2nd mvt. - Adagio\u003cspan style=\"font-size: 12px;\"\u003e (12:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 3rd mvt. - Rondo. Allegro non troppo\u003cspan style=\"font-size: 12px;\"\u003e (11:42)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRudolf Firkušný\u003c\/b\u003e piano\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cb\u003eHINDEMITH \u003c\/b\u003eConcert Music for Strings and Brass\u003cspan style=\"font-size: 12px;\"\u003e (15:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Radio Ending, 8 April 1956\u003cspan style=\"font-size: 12px;\"\u003e (0:46)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003eNew York Philharmonic-Symphony Orchestra\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eConducted by \u003cb\u003eGuido Cantelli\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Guido Cantelli\u003cbr\u003e\u003cb\u003eConcert No. 1\u003c\/b\u003e\u003cbr\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 1 April, 1956\u003cbr\u003e\u003cb\u003eConcert No. 2\u003c\/b\u003e\u003cbr\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 8 April, 1956\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 15:36\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\/PASC523.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC523.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":12856924766269,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205548458318,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205548491086,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC523_d0a34d88-7a40-4603-840c-3e4c603949a4.jpg?v=1537526434"},{"product_id":"pasc523-cd","title":"CANTELLI in New York, Vol. 3: Wagner, Verdi, Brahms, Monteverdi, Handel, Hindemith (1956) - PASC523 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC523.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205548425550,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC523_4c7db5b8-d47a-452d-ba91-16b712f16ddb.jpg?v=1658745170"},{"product_id":"pasc733","title":"FIRKUŠNÝ Beethoven Concertos (stereo, 1957\/58) - PASC733","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 3\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 5, 'Emperor'\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStereo studio recordings, 1957 \u0026amp; 1958\u003cbr\u003eTotal duration: 71:43\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRudolf Firkušný\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eWalter Susskind\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePittsburgh Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eWilliam Steinberg\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC733.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Czech-American pianist Rudolf Firkušný, despite a long and successful career as a pianist, made surprisingly few concerto recordings in his lifetime. However one might wish for a complete Firkušný Beethoven cycle, he only ever recorded two of the Beethoven concertos in the studio: the Third and the Fifth.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe two recordings here were the first of his Beethoven concerto recordings, made just eight months apart on opposite sides of the Atlantic. Firkušný recorded the first of his three studio recordings of the ‘Emperor’ Concerto in the United States with the Pittsburgh Symphony under William Steinberg in late October 1957, garnering a largely positive review in \u003ci\u003eThe Gramophone\u003c\/i\u003e the following September:\u003c\/p\u003e\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e“Firkušný gives a forthright performance of the \u003ci\u003eEmperor\u003c\/i\u003e. It is particularly effective in the slow movement, and in the finale, which is given very considerable rhythmic vitality. The orchestra, too, are sympathetic to the style, and provide in these movements an excellent partnership. The recording … is excellent, both for soloist and orchestra, with the difficult timpani figure nearly at the end of the finale quite well caught both as to clarity and pitch.”\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWhilst he would return to the \u003ci\u003eEmperor \u003c\/i\u003ein 1964 with the Royal Philharmonic Orchestra under Kempe (for Reader’s Digest) and in 1973 with the New Philharmonia under Uri Segal (for Decca), the only other Beethoven concerto Firkušný recorded in the studio, the Third, originated in EMI’s Abbey Road Studio 1 on 16 June 1958, with Czech-British conductor Walter Susskind and the Philharmonia. Once again, \u003ci\u003eThe Gramophone\u003c\/i\u003e bestowed a largely positive review on the recording’s (mono) release on Capitol Records in 1959:\u003c\/p\u003e\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e“The thirteen current recordings of this concerto are readily divisible into sheep and goats: Firkušný is one of the sheep. Pleasant to say so, but the sheep are a numerous flock. His playing is neat and stylish, more classic than romantic; he takes the first movement at a good pace, not quite as quick as Serkin, but quicker than Arrau or Katchen or Solomon. Nevertheless I enjoyed his playing, most keenly in the finale which is strong and good-humoured and elegant all at once; the first movement is a trifle lacking in tension and excitement, and the expansive pace of the Adagio isn't quite steadily sustained. The recording is rather low in level and subfusc in timbre; there are two little grumbles - some notes are almost inaudible (e.g., the left-hand arpeggio figure at bar 223 of the first movement)…”\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHappily, despite the reported shortcomings of Capitol’s mono LP pressings, it turns out that both recordings were well made in good stereo, something that’s made all the clearer in these clean, clear, vibrant Pristine XR remasters. \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAdmirers of Firkušný can currently find three other concerto recordings by the pianist at Pristine: a live 1955 Beethoven 3 (\u003ci\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC501\"\u003ePASC501\u003c\/a\u003e\u003c\/i\u003e) and a live 1956 Brahms 1 (\u003ci\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC523\"\u003ePASC523\u003c\/a\u003e\u003c\/i\u003e), both with the New York Philharmonic under Cantelli, together with his 1954 studio recording of the Dvořák concerto with Szell and the Cleveland Orchestra (\u003ci\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC045\"\u003ePASC045\u003c\/a\u003e\u003c\/i\u003e). Perhaps the time has come to expand the pianist’s rather limited presence at Pristine? Watch this space!\u003c\/p\u003e\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 style=\"font-size: 24px;\"\u003e\u003cb\u003eFIRKUŠNÝ \u003c\/b\u003e\u003cb\u003eBeethoven\u003c\/b\u003e Piano Concertos\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 3 in C minor, Op. 37\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e 1st mvt. - Allegro con brio\u003cspan style=\"font-size: 12px;\"\u003e (16:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 2nd mvt. - Largo\u003cspan style=\"font-size: 12px;\"\u003e (8:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 3rd mvt. - Rondo. Allegro\u003cspan style=\"font-size: 12px;\"\u003e (9:14)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eWalter Susskind\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 5 in E-flat major, Op. 73, 'Emperor'\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 1st mvt. - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (19:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 2nd mvt. - Adagio un poco moto\u003cspan style=\"font-size: 12px;\"\u003e (7:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 3rd mvt. - Rondo. Allegro, ma non troppo\u003cspan style=\"font-size: 12px;\"\u003e (9:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePittsburgh Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eWilliam Steinberg\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRudolf Firkušný\u003c\/b\u003e, piano\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Rudolf Firkušný\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003ePiano Concerto No. 3\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded Abbey Road Studio 1, London, 16 June 1958\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 18px;\"\u003ePiano Concerto No. 5\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded Syria Mosque, Pittsburgh, 26 October 1957\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 71:43\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\/PASC733.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC733.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":50829845037390,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":55205507694926,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":55205507727694,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC733.jpg?v=1736482504"},{"product_id":"pasc733-cd","title":"FIRKUŠNÝ Beethoven Concertos (stereo, 1957\/58) - PASC733 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC733.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CD (+MP3)","offer_id":50829766656334,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":true},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205507662158,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC733_709b2c2e-2041-4a65-87c7-2a4445dbc80a.jpg?v=1736171036"},{"product_id":"pakm095","title":"FIRKUŠNÝ plays Debussy (1956, 1958) - PAKM095","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eDEBUSSY\u003c\/b\u003e\u003cbr\u003eDeux Arabesques\u003cbr\u003eSuite Bergamasque\u003cbr\u003eChildren's Corner\u003cbr\u003eEstampes\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1956 \u0026amp; 1958\u003cbr\u003eTotal duration: 65:22\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRudolf Firkušný\u003c\/b\u003e, piano\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis release should play a major role578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eRudolf Firkušný (1912-1994) studied with Cortot and Schnabel, and was a protégé of Janáček, of whom he said: “It was not piano but music I studied with him.” In 1939, he fled to Paris and then New York. He became an American citizen.\u003c\/p\u003e\u003cp\u003eFirkušný’s extensive discography includes Mozart, Beethoven, Schumann, Brahms, Dvořák, Debussy, Janáček, Mussorgsky, Barber and Martinů. With such breadth of taste and repertoire, he may be regarded as not a specialist in any area: an all-rounder with no distinctive voice or special affinity with composers or periods. This would be a sad mistake. If one is as fine a musician as Firkušný, “all-rounder” can only be a compliment.\u003c\/p\u003e\u003cp\u003eFrom the opening Prélude of Suite Bergamasque , I am struck by the musical intelligence, the unfussy artistry. Clair de lune , played without languor or sentimentality, observes the tempo marking of Andante très espressif. If we take the successive movements of Children’s Corner , we hear delicacy, lucidity, naturalness, subtlety, undemonstrative musicianship, then ruggedness in Golliwog’s Cakewalk .\u003c\/p\u003e\u003cp\u003eIn the first of the Arabesques , Firkušný plays the opening bars with fluidity and grace. I cannot remember feeling the same “breath of fresh air” quality in other performances. One might wish for a more overwhelming climax in La cathédrale engloutie , but this is a richly satisfying performance.\u003c\/p\u003e\u003cp\u003eFirkušný’s keyboard artistry makes one forget technical aspects. One simply appreciates the seemingly effortless and quietly authoritative relationship with the instrument. All performances on this valuable disc are rewarding, all distinguished by that “to live with” quality which invites repeated listening. Why, then, do I feel that Firkušný is generally overlooked?\u003c\/p\u003e\u003cp\u003eObviously, the many pianists of today who might be described as technically dazzling will always attract more excitement seekers. Those who prefer Michelangeli’s steely magnificence cannot be scorned. But, as with any great composer, there is more than one valid approach. Without drawing attention to himself, Firkušný allows us to listen to Debussy in pure, unadorned performances free from mannerism. The Cypriot Martino Tirimo, who has recorded the complete Préludes, comes to mind as another pianist who exudes selfless authority and admirable musicianship.\u003c\/p\u003e\u003cp\u003eIn my Debussy collection I have – and would not be without – Cortot, Gieseking, Michelangeli, Tirimo, Weissenberg and Jacobs, and a few others less indispensable. Firkušný will belong in the first group.\u003c\/p\u003e\u003cp\u003ePristine Audio have achieved their usual transformation in a fine remastering of recordings from the 1950s. I happily recommend this disc, and feel sure that it will awaken or reawaken many to the outstanding qualities of a great musician.\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePhilip Borg-Wheeler\u003c\/b\u003e\u003cbr\u003e\u003ci\u003eMusicWeb International\u003c\/i\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM095.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e“A third pianist who has been more and more active on the recording scene is the Czech-born Rudolf Firkušný, whose latest Capitol disk is devoted to popular pieces by Debussy.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe word that comes to mind to describe Firkušný’s playing here is \"fresh.” He is poised, rhythmically alert and completely to the point. Never does he over-pedal, and never does he hold back or resort to a dubious emotional effect. There is something absolutely dewy about these clean-sounding performances and the ultra-efficient, tasteful manner in which Firkušný makes his points. The quality of recorded sound, too, is extraordinarily lifelike.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIt might be well to point out that Firkušný’s Debussy is quite different from that of a great exponent like Gieseking. Gieseking was the impressionist par excellence, and he probably knew more about pedal technique than any living pianist. Firkušný eschews pedal effects and relies more upon finger work and a sparer texture. He does not achieve the color effects that Gieseking obtained, but what he does achieve adds up to some of the most natural-sounding and pianistic Debussy playing that this listener has heard in a long time.”\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eHarold C. Schonberg\u003c\/b\u003e, \u003ci\u003eThe New York Times\u003c\/i\u003e, 26 October, 1958\u003c\/p\u003e\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e“Gieseking has cornered the market in Debussy recordings. Firkušný, a versatile and often subtle pianist, plays the \u003ci\u003eEstampes \u003c\/i\u003every attractively, with an excellent grasp of their diverse rhythms and motions, using a subdued, delicate but not dull palette. But his readings are not fired by the genius that informs Gieseking’s performance (on Columbia 33CX1137), which is compound of beauties in pedalling, touch, and inflection, and sounds far more evocative. Firkušný’s \u003ci\u003eChildren's Corner\u003c\/i\u003e Suite is slightly lacking in imaginative flair (lasting only 15½ minutes, it takes one whole side, which is pretty poor value for a 12-inch LP), Gieseking’s superlative account of the \u003ci\u003eSuite Bergamasque\u003c\/i\u003e, issued on 78s and then withdrawn, still awaits microgroove publication. Impatient people, who already have the \u003ci\u003eChildren’s Corner\u003c\/i\u003e and \u003ci\u003eEstampes\u003c\/i\u003e, will probably be tempted by the Decca MP, LW5278, on which Friedrich Gulda plays the Suite in a shapely way. Firkušný, like Gulda, makes the elements of claveciniste pastiche the starting-point of his interpretation, but he comes nearer than the Austrian pianist to finding the sudden romantic flecks and gleams which Gieseking realised so perfectly. He plays \u003ci\u003eClair de lune\u003c\/i\u003e very well. Admirable recording.”\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eAndrew Porter\u003c\/b\u003e, \u003ci\u003eThe Gramophone\u003c\/i\u003e, November 1957\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eRudolf Firkušný made two LP sets of music by Debussy in the 1950s for Capitol. Alas despite making these recordings in 1956 and 1958, both were mono, and to modern ears sound somewhat flat and dull as a result both of this and of the microphone used at the time. These Ambient Stereo XR remasters offer significant sonic improvements to both sets of recordings, as well as correcting some wavering pitch issues which affected both releases.\u003c\/p\u003e\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 style=\"font-size: 24px;\"\u003e\u003cb\u003eFIRKUŠNÝ \u003c\/b\u003eplays \u003cb\u003eDebussy\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003eSuite Bergamasque\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Prélude\u003cspan style=\"font-size: 12px;\"\u003e (3:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Menuet\u003cspan style=\"font-size: 12px;\"\u003e (3:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Clair de lune\u003cspan style=\"font-size: 12px;\"\u003e (4:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Passepied\u003cspan style=\"font-size: 12px;\"\u003e (3:37)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003eEstampes\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Pagodes\u003cspan style=\"font-size: 12px;\"\u003e (4:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e La soirée dans Grenade\u003cspan style=\"font-size: 12px;\"\u003e (5:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Jardins sous la pluie\u003cspan style=\"font-size: 12px;\"\u003e (3:50)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003eChildren's Corner\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Doctor Gradus ad Parnassum\u003cspan style=\"font-size: 12px;\"\u003e (2:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Jimbo's Lullaby\u003cspan style=\"font-size: 12px;\"\u003e (3:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Serenade for the Doll\u003cspan style=\"font-size: 12px;\"\u003e (2:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e The Snow Is Dancing\u003cspan style=\"font-size: 12px;\"\u003e (2:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e The Little Shepherd\u003cspan style=\"font-size: 12px;\"\u003e (2:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Golliwog's Cake-walk\u003cspan style=\"font-size: 12px;\"\u003e (2:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cb\u003eDEBUSSY \u003c\/b\u003eImages, livre 1 - 1. Reflets dans l'eau\u003cspan style=\"font-size: 12px;\"\u003e (4:28)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003eDeux arabesques\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e 1. Andantino con moto\u003cspan style=\"font-size: 12px;\"\u003e (3:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e 2. Allegretto scherzando\u003cspan style=\"font-size: 12px;\"\u003e (3:14)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003ePréludes, livre 1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e 10. La cathédrale engloutie\u003cspan style=\"font-size: 12px;\"\u003e (6:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e 12. Minstrels\u003cspan style=\"font-size: 12px;\"\u003e (1:58)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRudolf Firkušný\u003c\/b\u003e, piano\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Rudolf Firkušný\u003cbr\u003eRecorded Studio A, Capitol 46th St. Studios, New York City\u003cbr\u003eTracks 1-13: 10, 11, 22 May 1956\u003cbr\u003eTracks 14-18: 23, 24, 27 January 1958\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 65:21\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\/PAKM095.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM095.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":52721696276814,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205506122062,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205506154830,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PAKM095_648f7d21-a55a-4eb1-ad4d-74a29455f60f.jpg?v=1748192675"},{"product_id":"pakm095-cd","title":"FIRKUŠNÝ plays Debussy (1956, 1958) - 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PACM129","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eViola Sonata No. 1\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eViola Sonata No. 2\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003e10 works for solo piano\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1958 \u0026amp; 1959\u003cbr\u003eTotal duration: 75:38\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRudolf Firkušný\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eWilliam Primrose\u003c\/b\u003e, viola\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fGramophone Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fGramophone Editor's Choice, October 2025578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eAmong my all-time favourite pianists in Brahms is the Czech master Rudolf Firkušný, one of the great recorded interpreters of the First Piano Concerto (whether under Bour, Rosbaud or Steinberg) and peerless in the two viola sonatas with the Scottish viola player William Primrose, once out on a Capitol LP but lately reissued on Pristine Classical as expertly remastered by Andrew Rose. Try the grand opening of the F minor Sonata, where Primrose's subtle brand of lyricism (with portamentos that never obtrude and a vibrato that sings without tightening excessively) balances the sheer size of Firkušný's tone.\u003c\/p\u003e\u003cp\u003eIn addition to the sonatas (Firkušný also recorded the cello sonatas with Pierre Fournier for DG), Pristine offers us a selection of Brahms's solo pieces, mostly late, said to be 'presented in stereo', though listening on cans I don't hear much stereophony in evidence. No matter: the playing is again beyond reproach, the foreboding tones of the G minor Rhapsody given with the sort of natural authority that Firkušný's teacher Artur Schnabel (Warner Classics) also brought to it. Then there's the G flat Intermezzo, Op 117 No 2, Brahms at his most placid, which seems to ripple off Firkušný's fingers.\u003c\/p\u003e\u003cp\u003eFor me, though, the highlight among the solo pieces is the E flat minor Intermezzo, Op 118 No 6, which opens like the loneliest soliloquy before rising to shake a defiant, maybe resentful fist at the heavens. It's a difficult piece to get right: exaggerate the contrast and the message is vulgarised; underplay it and you barely notice what has passed. Firkušný judges the music to perfection. He closes his programme with the thrilling E flat major Rhapsody, Op 119 No 4, another magnificent performance.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eRob Cowan\u003c\/b\u003e\u003cbr\u003e\u003ci\u003eGramophone\u003c\/i\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM129.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIn 1959, Capitol Records brought together two towering musical personalities—violist William Primrose and pianist Rudolf Firkušný—for a recording of Johannes Brahms’s two sonatas for viola and piano, Op. 120. Captured in New York, these performances remain a distinguished entry in the discography of Brahms’s chamber music, notable not only for their refinement and expressive insight, but also for the convergence of two artists whose musical philosophies, though shaped by different traditions, found deep common ground in this repertoire.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003ePrimrose, a Scottish virtuoso who had elevated the viola to solo prominence in the twentieth century, brought to these sonatas his characteristic warmth of tone, technical control, and rhetorical clarity. A consummate craftsman, he was always mindful of the viola’s particular voice—its dusky lyricism, its inwardness—and Brahms’s writing in these late works suited him perfectly. Originally composed for clarinet and piano in 1894, the Op. 120 sonatas were later arranged by the composer himself for viola, whose timbre he considered equally expressive. Primrose embraces their autumnal colours and meditative mood with natural authority, shaping each phrase with understated eloquence.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eFirkušný, meanwhile, was by 1959 an established master of the Romantic piano repertoire, admired for his luminous tone and poetic sensibility. A Czech by birth and a student of both Leoš Janáček and Artur Schnabel, he balanced intellectual integrity with lyric impulse, never allowing the piano to overwhelm or underplay its chamber role. In this collaboration, his playing is marked by a warm sonority and an unerring sense of ensemble, weaving seamlessly with Primrose’s viola in dialogues that feel organic and alive.\u003cbr\u003eThe recorded sound, produced during Capitol’s golden age of classical sessions, captures the intimacy of the sonatas without sacrificing nuance or dynamic range. Though not as extroverted as some later interpretations—such as those by Bashmet or Kashkashian—this reading is more contemplative, inwardly turned, and perhaps truer to the works' late-Brahmsian spirit. There is no self-indulgence, no showmanship; rather, these are mature artists speaking in a shared musical language, allowing Brahms’s music to unfold with dignity and grace.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThough the Firkušný-Primrose collaboration was relatively rare on record, this 1959 recital stands as a testament to their artistry and mutual respect. It is a recording that rewards repeated listening, offering insights not only into Brahms’s profound musical world, but also into the artistry of two musicians who served the music above all else.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIn 1958, Rudolf Firkušný recorded a selection of Brahms’s solo piano works for Capitol Records, offering a deeply personal and introspective interpretation of the composer’s mature keyboard style. The programme included the second \u003ci\u003eRhapsody\u003c\/i\u003e, Op. 79, and various \u003ci\u003eIntermezzi \u003c\/i\u003eand \u003ci\u003eCapriccios \u003c\/i\u003efrom Opp. 116–119—late works that distil Brahms’s musical thought into compact, richly expressive forms. Firkušný approached these pieces not with overt Romanticism but with poetic restraint and structural clarity, favouring warmth of tone and rhythmic flexibility over virtuosic display. His readings are notable for their inner luminosity and emotional depth, revealing a pianist more interested in character and nuance than in power. At a time when Brahms’s piano music was often rendered with muscular intensity, Firkušný’s more lyrical and contemplative style stood apart. These Capitol recordings remain a compelling testament to his affinity with Brahms, blending Czech lyricism with a distinctly Central European sense of musical architecture.\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\u003eFIRKUŠNÝ \u0026amp; PRIMROSE\u003c\/b\u003e \u003cb\u003eBrahms\u003c\/b\u003e Viola Sonatas \u0026amp; Solo Works\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eViola Sonata No. 1 in F minor, Op. 120, No. 1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e 1st mvt. - Allegro appassionato\u003cspan style=\"font-size: 12px;\"\u003e (7:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 2nd mvt. - Andante un poco adagio\u003cspan style=\"font-size: 12px;\"\u003e (5:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 3rd mvt. - Allegretto grazioso\u003cspan style=\"font-size: 12px;\"\u003e (4:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 4th mvt. - Vivace\u003cspan style=\"font-size: 12px;\"\u003e (5:02)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eViola Sonata No. 2 in E-flat major, Op. 120, No. 2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 1st mvt. - Allegro amabile\u003cspan style=\"font-size: 12px;\"\u003e (7:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 2nd mvt. - Allegro appassionato\u003cspan style=\"font-size: 12px;\"\u003e (4:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 3rd mvt. - Andante con moto - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (6:11)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWilliam Primrose\u003c\/b\u003e, viola\u003cbr\u003e\u003cb\u003eRudolf Firkušný\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e 10 Works for Solo Piano\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cb\u003eRhapsody \u003c\/b\u003ein G Minor (Op.79, No.2)\u003cspan style=\"font-size: 12px;\"\u003e (5:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cb\u003eIntermezzo \u003c\/b\u003ein G Flat Minor (Op.117, No.2)\u003cspan style=\"font-size: 12px;\"\u003e (3:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cb\u003eCapriccio \u003c\/b\u003ein F Sharp Minor (Op.76, No.1)\u003cspan style=\"font-size: 12px;\"\u003e (2:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cb\u003eIntermezzo \u003c\/b\u003ein A Flat Major (Op.76, No.3)\u003cspan style=\"font-size: 12px;\"\u003e (2:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cb\u003eCapriccio \u003c\/b\u003ein D Minor (Op.116, No.1)\u003cspan style=\"font-size: 12px;\"\u003e (1:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cb\u003eIntermezzo \u003c\/b\u003ein E Flat Minor (Op.118, No.6)\u003cspan style=\"font-size: 12px;\"\u003e (4:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cb\u003eIntermezzo \u003c\/b\u003ein B Minor (Op.119, No.1)\u003cspan style=\"font-size: 12px;\"\u003e (3:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cb\u003eIntermezzo \u003c\/b\u003ein E Minor (Op.119, No.2)\u003cspan style=\"font-size: 12px;\"\u003e (4:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cb\u003eIntermezzo \u003c\/b\u003ein C Major (Op.119, No.3)\u003cspan style=\"font-size: 12px;\"\u003e (1:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cb\u003eRhapsody \u003c\/b\u003ein E Flat Major (Op.119, No.4)\u003cspan style=\"font-size: 12px;\"\u003e (4:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRudolf Firkušný\u003c\/b\u003e, piano\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on photographs of Firkušný (left) and Primrose (right)\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eSonatas for Viola \u0026amp;\u003c\/b\u003e Piano recorded 21 May 1958, presented in Ambient Stereo\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eSolo piano works\u003c\/b\u003e recorded 20 January and 13, 14, 25 March, 1959, presented in stereo\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eAll recordings made at Studio A, Capitol 46th Street Studio, New York City\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 75:38\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 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21\u003cbr\u003e\u003cb\u003eHAYDN\u003c\/b\u003e Symphony No. 93\u003cbr\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Symphony No. 4\u003cbr\u003e\u003cb\u003eVIVALDI\u003c\/b\u003e \u003ci\u003eL'Estro Armonico\u003c\/i\u003e: Concerto Grosso No. 11 in D minor, RV565 (1955 and 1956 performances)\u003cbr\u003e\u003cb\u003eRAVEL\u003c\/b\u003e \u003ci\u003ePavane pour une infante défunte\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eFALLA\u003c\/b\u003e \u003ci\u003eEl Sombrero des Tres Picos\u003c\/i\u003e, Suite No. 2\u003cbr\u003e\u003cb\u003ePISTON\u003c\/b\u003e Toccata\u003cbr\u003e\u003cb\u003eCOPLAND\u003c\/b\u003e \u003ci\u003eEl Salón México\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e \u003ci\u003eDon Juan\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eCRESTON\u003c\/b\u003e Dance Overture\u003cbr\u003e\u003cb\u003eWAGNER\u003c\/b\u003e \u003ci\u003eParsifal\u003c\/i\u003e – Good Friday Spell\u003cbr\u003e\u003cb\u003eVERDI\u003c\/b\u003e Te Deum\u003cbr\u003e\u003cb\u003eMONTEVERDI\u003c\/b\u003e Magnificat (arr. Ghedini)\u003cbr\u003e\u003cb\u003eHANDEL\u003c\/b\u003e \u003ci\u003eXerxes\u003c\/i\u003e – Largo\u003cbr\u003e\u003cb\u003eHINDEMITH\u003c\/b\u003e Concert Music for Strings and Brass\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eSix live CBS broadcast concerts, Carnegie Hall, New York, 6 March 1955–8 April 1956\u003cbr\u003eTotal duration: 7:06:07, including radio commentary by Jim Fassett\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNew York Philharmonic-Symphony Orchestra\u003c\/b\u003e, conducted by \u003cb\u003eGuido Cantelli\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWalter Gieseking\u003c\/b\u003e, piano (Mozart No. 21; Beethoven No. 5)\u003cbr\u003e\u003cb\u003eRudolf Firkušný\u003c\/b\u003e, piano (Beethoven No. 3; Brahms No. 1)\u003cbr\u003e\u003cb\u003eWilhelm Backhaus\u003c\/b\u003e, piano (Beethoven No. 4)\u003cbr\u003e\u003cb\u003eMartha Lipton\u003c\/b\u003e, alto\u003cbr\u003e\u003cb\u003eWestminster Choir\u003c\/b\u003e, directed by \u003cb\u003eJohn Finley Williamson\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC523.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCANTELLI in New York, Vol. 1: Haydn, Mozart, Ravel, Falla, Vivaldi, Beethoven, Piston, Copland (1955) - PASC501\u003c\/summary\u003e\u003cp\u003eThese recordings were sourced from generally very high quality tape recordings. Despite some electrical hum and the occasional buzzing, both of which have largely been dealt with, only the very occasional incidence of mild, and short-lived dropout in any way troubled the reproduction. XR remastering has greatly improved the listening experience, with a fuller, clearer and cleaner sound. Whilst much of Jim Fassett's original CBS radio commentary has been retained, I have edited out sections irrelevant to the concerts.      \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCANTELLI in New York, Vol. 2: Beethoven, Schumann, Vivaldi, Strauss, Creston (1956) - PASC510\u003c\/summary\u003e\u003cp\u003eThese recordings were sourced from generally very high quality tape \nrecordings. Despite some electrical hum and the occasional buzzing, both\n of which have largely been dealt with, only the very occasional \nincidence of mild, and short-lived dropout in any way troubled the \nreproduction. XR remastering has greatly improved the listening \nexperience, with a fuller, clearer and cleaner sound. I have edited out some of the longer sections of Jim\n Fassett's original CBS radio commentary, most of which was largely irrelevant to the concerts.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCANTELLI in New York, Vol. 3: Wagner, Verdi, Brahms, Monteverdi, Handel, Hindemith (1956) - PASC523\u003c\/summary\u003e\u003cp style=\"margin-left: 25px;\"\u003eThese two CDs preserve Guido Cantelli's programmes of his last subscription concerts and are valuable for two reasons. First, they contain Cantelli's very last concerts which he gave in America, but second and more importantly three of the compositions - both of the Brahms and the Verdi - were the first time that the conductor had performed these works. Additionally, Cantelli had only conducted the Wagner and Hindemith once: the Wagner was given in Italy during 1945 so it is unlikely that it was recorded but,fortunately, the Hindemith - a new addition to Cantelli's repertoire - was broadcast with the NBC Symphony Orchestra and is available on a Pristine Audio CD, PASC 111. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eKeith Bennnett\u003c\/b\u003e (author of \"\u003ci\u003eGuido Gantelli, Just Eight Years of Fame\u003c\/i\u003e\")\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003eThese two final broadcast concerts conducted by Guido Cantelli were sourced from high quality mono FM radio recordings and offer excellent sound quality throughout. That said, there were some issues with wow and flutter which I was able to deal with using Capstan pitch stabilisation software, and other minor sonic technical issues were easily overcome. Commentaries were quite long between most works, and these have been trimmed down  - at times considerably. I chose, however, to leave the very final closing as broadcast - it was the last time Cantelli would appear on US radio and on a US concert platform. The following month he headed to London for recording sessions with the Philharmonia Orchestra, and for the rest of the year conducted in London, Milan, Johannesburg, Modena and, finally, in Brescia, Italy on 15 November 1956. Nine days later he was to lose his life in a fatal plane crash in Paris, France, having just a week earlier been named Musical Director of La Scala, Milan.\u003c\/p\u003e\n\u003cp\u003eNB. The arrangement of Handel's \u003ci\u003eLargo \u003c\/i\u003efrom \u003ci\u003eXerxes\u003c\/i\u003e is attributed by the commentator to the Italian composer Bernadino Molinari, whereas the New York Philharmonic Orchestra's official archive suggests the more common arrangement by Arthur Luck. An examination of the printed concert programme for the evening is of no help - there is no mention here of the arranger (by contrast the Monteverdi arrangement is properly attributed to Ghedini). An examination of the recording indicates that Cantelli does not, in fact, use the Luck arrangement - Luck begins with strings, Cantelli with wind; Luck proceeds with solo violin and harp, Cantelli with solo violin and other orchestral instruments, and so forth. We have been unable to verify 100% that a Molinari arrangement is used here but have no reason to doubt it, despite this contradicting the \"official\" record.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003e\u003cbr\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\u003eCANTELLI in New York, Vol. 1: Haydn, Mozart, Ravel, Falla, Vivaldi, Beethoven, Piston, Copland (1955) - PASC501\u003c\/summary\u003e\u003cp\u003e\u003cb\u003eCD ONE\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1 Concert 1 - Introduction  (1:07)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eHAYDN  Symphony No. 93 in D major, Hob. 1:93\u003c\/b\u003e\u003cbr\u003e2 1st mvt. - Adagio - Allegro assai  (8:09)\u003cbr\u003e3 2nd mvt. - Largo cantabile  (5:37)\u003cbr\u003e4 3rd mvt. - Menuetto (Allegretto) - Trio  (4:19)\u003cbr\u003e5 4th mvt. - Finale (Presto ma non troppo)  (5:30)\u003cbr\u003e\u003cbr\u003e6 Introduction to Mozart  (1:28) \u003cbr\u003e\u003cbr\u003e\u003cb\u003eMOZART  Piano Concerto No. 21 in C major, K.467\u003c\/b\u003e\u003cbr\u003e7 1st mvt. - Allegro maestoso  (14:54)\u003cbr\u003e8 Andante  (7:39)\u003cbr\u003e9 Allegro vivace assai  (7:26)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eWalter Gieseking,\u003c\/b\u003e piano\u003cbr\u003e\u003cbr\u003e10 \u003cb\u003eRAVEL Pavane pour une infante défunte\u003c\/b\u003e  (6:32)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eFALLA  El Sombrero des Tres Picos, Suite No. 2\u003c\/b\u003e\u003cbr\u003e11 1. Los vecinos  (3:06)\u003cbr\u003e12 2. Danza del molinero (Farruca)  (2:52)\u003cbr\u003e13 3. Danza final  (6:54)\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 6 March, 1955\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCD TWO\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e1 Concert 2 - Introduction  (1:50)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eVIVALDI  L'Estro Armonico: Concerto Grosso in D minor, Op. 11, No. 3, RV565\u003c\/b\u003e\u003cbr\u003e2 1st mvt. - Allegro   (1:11)\u003cbr\u003e3 2nd mvt. - Adagio e spiccato  (0:41)\u003cbr\u003e4 3rd mvt. - Allegro  (3:35)\u003cbr\u003e5 4th mvt. - Largo e spiccato  (3:45)\u003cbr\u003e6 5th mvt. - Allegro  (4:12)\u003cbr\u003e\u003cbr\u003e7 Introduction to Beethoven  (2:20)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBEETHOVEN  Piano Concerto No. 3 in C minor, Op. 37\u003c\/b\u003e\u003cbr\u003e8 1st mvt. - Allegro con brio  (15:15)\u003cbr\u003e9 2nd mvt. - Largo  (8:48)\u003cbr\u003e10 3rd mvt. - Rondo. Allegro - Presto  (9:02)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eRudolf Firkušný\u003c\/b\u003e, piano\u003cbr\u003e\u003cbr\u003e11 \u003cb\u003ePISTON Toccata\u003c\/b\u003e  (8:15)\u003cbr\u003e\u003cbr\u003e12 Introduction to Copland  (1:12)\u003cbr\u003e\u003cbr\u003e13 \u003cb\u003eCOPLAND El Salón México\u003c\/b\u003e  (11:16)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 13 March, 1955\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eNew York Philharmonic-Symphony Orchestra \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eConducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eGuido Cantelli\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Guido Cantelli\u003cbr\u003eTotal duration:  2hr 26:56   \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCANTELLI in New York, Vol. 2: Beethoven, Schumann, Vivaldi, Strauss, Creston (1956) - PASC510\u003c\/summary\u003e\u003cp\u003e1 \u003cb\u003eConcert 1\u003c\/b\u003e: Introduction   (0:17)\u003cbr\u003e\u003cbr\u003e2\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eCRESTON \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eDance Overture, Op. 62 \u003c\/span\u003e (12:02)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSCHUMANN  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 4 in D minor, Op. 120\u003c\/span\u003e\u003cbr\u003e3 1st mvt. - Ziemlich langsam - Lebhaft  (8:53)\u003cbr\u003e4 2nd mvt. - Romanze (Ziemlich langsam)  (3:38)\u003cbr\u003e5 3rd mvt. - Scherzo (Lebhaft)  (5:04)\u003cbr\u003e6 4th mvt. - Langsam - Lebhaft - Schneller - Presto  (8:33)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBEETHOVEN  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ePiano Concerto No. 4 in G major, Op. 58\u003c\/span\u003e\u003cbr\u003e7 1st mvt. - Allegro moderato  (17:28)\u003cbr\u003e8 2nd mvt. - Andante con moto  (4:45)\u003cbr\u003e9 3rd mvt. - Rondo - Vivace  (11:06)\u003cbr\u003e\u003cb\u003eWilhelm Backhaus \u003c\/b\u003e    piano\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e1 \u003cb\u003eConcert 2\u003c\/b\u003e: Introduction  (1:00)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eVIVALDI  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eL'Estro Armonico: Concerto Grosso in D minor, Op. 11, No. 3, RV565\u003c\/span\u003e\u003cbr\u003e2 1st mvt - Allegro  (1:20)\u003cbr\u003e3 2nd mvt - Adagio Spiccato e Tutti  (0:45)\u003cbr\u003e4 3rd mvt - Allegro  (3:57)5 4th mvt - Largo e Spicato  (4:00)\u003cbr\u003e6 5th mvt - Allegro  (5:11)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBEETHOVEN  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ePiano Concerto No. 5 in Eb major, Op. 73 \"Emperor\"\u003c\/span\u003e\u003cbr\u003e7 1st mvt. - Allegro  (19:38)\u003cbr\u003e8 2nd mvt. - Adagio un poco mosso  (6:58)\u003cbr\u003e9 3rd mvt. - Rondo  - Allegro  (10:49)\u003cbr\u003e\u003cb\u003eWalter Gieseking\u003c\/b\u003e     piano\u003cbr\u003e\u003cbr\u003e10 \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSTRAUSS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eDon Juan, Op. 20\u003c\/span\u003e  (18:13)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNew York Philharmonic-Symphony Orchestra     Guido Cantelli\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003e\u003cbr\u003eCover artwork based on a photograph of Guido Cantelli\u003cbr\u003e\u003cbr\u003e\u003cb\u003eConcert No. 1\u003c\/b\u003e\u003cbr\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 18 March, 1956\u003cbr\u003e\u003cbr\u003e\u003cb\u003eConcert No. 2\u003c\/b\u003e\u003cbr\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 25 March, 1956\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 23:36   \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCANTELLI in New York, Vol. 3: Wagner, Verdi, Brahms, Monteverdi, Handel, Hindemith (1956) - PASC523\u003c\/summary\u003e\u003cp\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1. Radio Introduction, 1 April 1956  (1:01)\u003cbr\u003e2. \u003cb\u003eWAGNER \u003c\/b\u003eParsifal - Good Friday Spell  (11:06)\u003cbr\u003e3. \u003cb\u003eVERDI \u003c\/b\u003eTe Deum  (14:32)\u003cbr\u003e4. \u003cb\u003eBRAHMS \u003c\/b\u003eAlto Rhapsody  (16:11)\u003cbr\u003e\u003cb\u003eMartha Lipton\u003c\/b\u003e, alto\u003cbr\u003e5. \u003cb\u003eMONTEVERDI \u003c\/b\u003e(arr. Ghedini) Magnificat for 6 voices (from \u003cspan class=\"st\"\u003eVespro della Beata Vergine, SV 206)\u003c\/span\u003e (21:22)\u003cbr\u003e6. Radio Ending, 1 April 1956  (1:29)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eWestminster Choir\u003c\/b\u003e\u003cbr\u003eDirector: John \u003cb\u003eFinlay Williamson\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1. Radio Introduction, 8 April 1956  (1:08)\u003cbr\u003e2. \u003cb\u003eHANDEL \u003c\/b\u003e(arr. B. Molinari) Xerxes - Largo  (6:17)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBRAHMS  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ePiano Concerto No. 1 in D minor, Op. 15\u003c\/span\u003e\u003cbr\u003e3. 1st mvt. - Maestoso  (21:15)\u003cbr\u003e4. 2nd mvt. - Adagio  (12:51)\u003cbr\u003e5. 3rd mvt. - Rondo. Allegro non troppo  (11:42)\u003cbr\u003e\u003cb\u003eRudolf Firkušný\u003c\/b\u003e     piano\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e6. \u003cb\u003eHINDEMITH \u003c\/b\u003eConcert Music for Strings and Brass  (15:55)\u003cbr\u003e7. Radio Ending, 8 April 1956  (0:46)\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNew York Philharmonic-Symphony Orchestra\u003cbr\u003e\u003c\/b\u003eConducted by \u003cb\u003eGuido Cantelli\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Guido Cantelli\u003cb\u003e\u003cbr\u003e\u003cbr\u003eConcert No. 1\u003cbr\u003e\u003c\/b\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 1 April, 1956\u003cb\u003e\u003cbr\u003e\u003cbr\u003eConcert No. 2\u003cbr\u003e\u003c\/b\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 8 April, 1956\u003cbr\u003e\u003cbr\u003eTotal duration:  2hr 15:36\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\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\/pasc501\"\u003eCANTELLI in New York, Vol. 1: Haydn, Mozart, Ravel, Falla, Vivaldi, Beethoven, Piston, Copland (1955) - PASC501 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc510\"\u003eCANTELLI in New York, Vol. 2: Beethoven, Schumann, Vivaldi, Strauss, Creston (1956) - PASC510 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc523\"\u003eCANTELLI in New York, Vol. 3: Wagner, Verdi, Brahms, Monteverdi, Handel, Hindemith (1956) - PASC523 — 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":"24-bit FLAC","offer_id":60913332519246,"sku":null,"price":96.0,"currency_code":"EUR","in_stock":true},{"title":"16-bit FLAC","offer_id":60913332552014,"sku":null,"price":66.0,"currency_code":"EUR","in_stock":true},{"title":"MP3","offer_id":60913332584782,"sku":null,"price":54.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX056.jpg?v=1790075401"},{"product_id":"pabx056-cd","title":"CANTELLI in New York - The 1955-1956 Broadcast Collection - PABX056 - CD","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Concertos Nos. 3, 4 and 5\u003cbr\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Piano Concerto No. 1; Alto Rhapsody\u003cbr\u003e\u003cb\u003eMOZART\u003c\/b\u003e Piano Concerto No. 21\u003cbr\u003e\u003cb\u003eHAYDN\u003c\/b\u003e Symphony No. 93\u003cbr\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Symphony No. 4\u003cbr\u003e\u003cb\u003eVIVALDI\u003c\/b\u003e \u003ci\u003eL'Estro Armonico\u003c\/i\u003e: Concerto Grosso No. 11 in D minor, RV565 (1955 and 1956 performances)\u003cbr\u003e\u003cb\u003eRAVEL\u003c\/b\u003e \u003ci\u003ePavane pour une infante défunte\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eFALLA\u003c\/b\u003e \u003ci\u003eEl Sombrero des Tres Picos\u003c\/i\u003e, Suite No. 2\u003cbr\u003e\u003cb\u003ePISTON\u003c\/b\u003e Toccata\u003cbr\u003e\u003cb\u003eCOPLAND\u003c\/b\u003e \u003ci\u003eEl Salón México\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e \u003ci\u003eDon Juan\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eCRESTON\u003c\/b\u003e Dance Overture\u003cbr\u003e\u003cb\u003eWAGNER\u003c\/b\u003e \u003ci\u003eParsifal\u003c\/i\u003e – Good Friday Spell\u003cbr\u003e\u003cb\u003eVERDI\u003c\/b\u003e Te Deum\u003cbr\u003e\u003cb\u003eMONTEVERDI\u003c\/b\u003e Magnificat (arr. Ghedini)\u003cbr\u003e\u003cb\u003eHANDEL\u003c\/b\u003e \u003ci\u003eXerxes\u003c\/i\u003e – Largo\u003cbr\u003e\u003cb\u003eHINDEMITH\u003c\/b\u003e Concert Music for Strings and Brass\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eSix live CBS broadcast concerts, Carnegie Hall, New York, 6 March 1955–8 April 1956\u003cbr\u003eTotal duration: 7:06:07, including radio commentary by Jim Fassett\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNew York Philharmonic-Symphony Orchestra\u003c\/b\u003e, conducted by \u003cb\u003eGuido Cantelli\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWalter Gieseking\u003c\/b\u003e, piano (Mozart No. 21; Beethoven No. 5)\u003cbr\u003e\u003cb\u003eRudolf Firkušný\u003c\/b\u003e, piano (Beethoven No. 3; Brahms No. 1)\u003cbr\u003e\u003cb\u003eWilhelm Backhaus\u003c\/b\u003e, piano (Beethoven No. 4)\u003cbr\u003e\u003cb\u003eMartha Lipton\u003c\/b\u003e, alto\u003cbr\u003e\u003cb\u003eWestminster Choir\u003c\/b\u003e, directed by \u003cb\u003eJohn Finley Williamson\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC523.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCANTELLI in New York, Vol. 1: Haydn, Mozart, Ravel, Falla, Vivaldi, Beethoven, Piston, Copland (1955) - PASC501\u003c\/summary\u003e\u003cp\u003eThese recordings were sourced from generally very high quality tape recordings. Despite some electrical hum and the occasional buzzing, both of which have largely been dealt with, only the very occasional incidence of mild, and short-lived dropout in any way troubled the reproduction. XR remastering has greatly improved the listening experience, with a fuller, clearer and cleaner sound. Whilst much of Jim Fassett's original CBS radio commentary has been retained, I have edited out sections irrelevant to the concerts.      \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCANTELLI in New York, Vol. 2: Beethoven, Schumann, Vivaldi, Strauss, Creston (1956) - PASC510\u003c\/summary\u003e\u003cp\u003eThese recordings were sourced from generally very high quality tape \nrecordings. Despite some electrical hum and the occasional buzzing, both\n of which have largely been dealt with, only the very occasional \nincidence of mild, and short-lived dropout in any way troubled the \nreproduction. XR remastering has greatly improved the listening \nexperience, with a fuller, clearer and cleaner sound. I have edited out some of the longer sections of Jim\n Fassett's original CBS radio commentary, most of which was largely irrelevant to the concerts.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCANTELLI in New York, Vol. 3: Wagner, Verdi, Brahms, Monteverdi, Handel, Hindemith (1956) - PASC523\u003c\/summary\u003e\u003cp style=\"margin-left: 25px;\"\u003eThese two CDs preserve Guido Cantelli's programmes of his last subscription concerts and are valuable for two reasons. First, they contain Cantelli's very last concerts which he gave in America, but second and more importantly three of the compositions - both of the Brahms and the Verdi - were the first time that the conductor had performed these works. Additionally, Cantelli had only conducted the Wagner and Hindemith once: the Wagner was given in Italy during 1945 so it is unlikely that it was recorded but,fortunately, the Hindemith - a new addition to Cantelli's repertoire - was broadcast with the NBC Symphony Orchestra and is available on a Pristine Audio CD, PASC 111. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eKeith Bennnett\u003c\/b\u003e (author of \"\u003ci\u003eGuido Gantelli, Just Eight Years of Fame\u003c\/i\u003e\")\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003eThese two final broadcast concerts conducted by Guido Cantelli were sourced from high quality mono FM radio recordings and offer excellent sound quality throughout. That said, there were some issues with wow and flutter which I was able to deal with using Capstan pitch stabilisation software, and other minor sonic technical issues were easily overcome. Commentaries were quite long between most works, and these have been trimmed down  - at times considerably. I chose, however, to leave the very final closing as broadcast - it was the last time Cantelli would appear on US radio and on a US concert platform. The following month he headed to London for recording sessions with the Philharmonia Orchestra, and for the rest of the year conducted in London, Milan, Johannesburg, Modena and, finally, in Brescia, Italy on 15 November 1956. Nine days later he was to lose his life in a fatal plane crash in Paris, France, having just a week earlier been named Musical Director of La Scala, Milan.\u003c\/p\u003e\n\u003cp\u003eNB. The arrangement of Handel's \u003ci\u003eLargo \u003c\/i\u003efrom \u003ci\u003eXerxes\u003c\/i\u003e is attributed by the commentator to the Italian composer Bernadino Molinari, whereas the New York Philharmonic Orchestra's official archive suggests the more common arrangement by Arthur Luck. An examination of the printed concert programme for the evening is of no help - there is no mention here of the arranger (by contrast the Monteverdi arrangement is properly attributed to Ghedini). An examination of the recording indicates that Cantelli does not, in fact, use the Luck arrangement - Luck begins with strings, Cantelli with wind; Luck proceeds with solo violin and harp, Cantelli with solo violin and other orchestral instruments, and so forth. We have been unable to verify 100% that a Molinari arrangement is used here but have no reason to doubt it, despite this contradicting the \"official\" record.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003e\u003cbr\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\u003eCANTELLI in New York, Vol. 1: Haydn, Mozart, Ravel, Falla, Vivaldi, Beethoven, Piston, Copland (1955) - PASC501\u003c\/summary\u003e\u003cp\u003e\u003cb\u003eCD ONE\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1 Concert 1 - Introduction  (1:07)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eHAYDN  Symphony No. 93 in D major, Hob. 1:93\u003c\/b\u003e\u003cbr\u003e2 1st mvt. - Adagio - Allegro assai  (8:09)\u003cbr\u003e3 2nd mvt. - Largo cantabile  (5:37)\u003cbr\u003e4 3rd mvt. - Menuetto (Allegretto) - Trio  (4:19)\u003cbr\u003e5 4th mvt. - Finale (Presto ma non troppo)  (5:30)\u003cbr\u003e\u003cbr\u003e6 Introduction to Mozart  (1:28) \u003cbr\u003e\u003cbr\u003e\u003cb\u003eMOZART  Piano Concerto No. 21 in C major, K.467\u003c\/b\u003e\u003cbr\u003e7 1st mvt. - Allegro maestoso  (14:54)\u003cbr\u003e8 Andante  (7:39)\u003cbr\u003e9 Allegro vivace assai  (7:26)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eWalter Gieseking,\u003c\/b\u003e piano\u003cbr\u003e\u003cbr\u003e10 \u003cb\u003eRAVEL Pavane pour une infante défunte\u003c\/b\u003e  (6:32)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eFALLA  El Sombrero des Tres Picos, Suite No. 2\u003c\/b\u003e\u003cbr\u003e11 1. Los vecinos  (3:06)\u003cbr\u003e12 2. Danza del molinero (Farruca)  (2:52)\u003cbr\u003e13 3. Danza final  (6:54)\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 6 March, 1955\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCD TWO\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e1 Concert 2 - Introduction  (1:50)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eVIVALDI  L'Estro Armonico: Concerto Grosso in D minor, Op. 11, No. 3, RV565\u003c\/b\u003e\u003cbr\u003e2 1st mvt. - Allegro   (1:11)\u003cbr\u003e3 2nd mvt. - Adagio e spiccato  (0:41)\u003cbr\u003e4 3rd mvt. - Allegro  (3:35)\u003cbr\u003e5 4th mvt. - Largo e spiccato  (3:45)\u003cbr\u003e6 5th mvt. - Allegro  (4:12)\u003cbr\u003e\u003cbr\u003e7 Introduction to Beethoven  (2:20)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBEETHOVEN  Piano Concerto No. 3 in C minor, Op. 37\u003c\/b\u003e\u003cbr\u003e8 1st mvt. - Allegro con brio  (15:15)\u003cbr\u003e9 2nd mvt. - Largo  (8:48)\u003cbr\u003e10 3rd mvt. - Rondo. Allegro - Presto  (9:02)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eRudolf Firkušný\u003c\/b\u003e, piano\u003cbr\u003e\u003cbr\u003e11 \u003cb\u003ePISTON Toccata\u003c\/b\u003e  (8:15)\u003cbr\u003e\u003cbr\u003e12 Introduction to Copland  (1:12)\u003cbr\u003e\u003cbr\u003e13 \u003cb\u003eCOPLAND El Salón México\u003c\/b\u003e  (11:16)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 13 March, 1955\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eNew York Philharmonic-Symphony Orchestra \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eConducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eGuido Cantelli\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Guido Cantelli\u003cbr\u003eTotal duration:  2hr 26:56   \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCANTELLI in New York, Vol. 2: Beethoven, Schumann, Vivaldi, Strauss, Creston (1956) - PASC510\u003c\/summary\u003e\u003cp\u003e1 \u003cb\u003eConcert 1\u003c\/b\u003e: Introduction   (0:17)\u003cbr\u003e\u003cbr\u003e2\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eCRESTON \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eDance Overture, Op. 62 \u003c\/span\u003e (12:02)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSCHUMANN  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 4 in D minor, Op. 120\u003c\/span\u003e\u003cbr\u003e3 1st mvt. - Ziemlich langsam - Lebhaft  (8:53)\u003cbr\u003e4 2nd mvt. - Romanze (Ziemlich langsam)  (3:38)\u003cbr\u003e5 3rd mvt. - Scherzo (Lebhaft)  (5:04)\u003cbr\u003e6 4th mvt. - Langsam - Lebhaft - Schneller - Presto  (8:33)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBEETHOVEN  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ePiano Concerto No. 4 in G major, Op. 58\u003c\/span\u003e\u003cbr\u003e7 1st mvt. - Allegro moderato  (17:28)\u003cbr\u003e8 2nd mvt. - Andante con moto  (4:45)\u003cbr\u003e9 3rd mvt. - Rondo - Vivace  (11:06)\u003cbr\u003e\u003cb\u003eWilhelm Backhaus \u003c\/b\u003e    piano\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e1 \u003cb\u003eConcert 2\u003c\/b\u003e: Introduction  (1:00)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eVIVALDI  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eL'Estro Armonico: Concerto Grosso in D minor, Op. 11, No. 3, RV565\u003c\/span\u003e\u003cbr\u003e2 1st mvt - Allegro  (1:20)\u003cbr\u003e3 2nd mvt - Adagio Spiccato e Tutti  (0:45)\u003cbr\u003e4 3rd mvt - Allegro  (3:57)5 4th mvt - Largo e Spicato  (4:00)\u003cbr\u003e6 5th mvt - Allegro  (5:11)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBEETHOVEN  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ePiano Concerto No. 5 in Eb major, Op. 73 \"Emperor\"\u003c\/span\u003e\u003cbr\u003e7 1st mvt. - Allegro  (19:38)\u003cbr\u003e8 2nd mvt. - Adagio un poco mosso  (6:58)\u003cbr\u003e9 3rd mvt. - Rondo  - Allegro  (10:49)\u003cbr\u003e\u003cb\u003eWalter Gieseking\u003c\/b\u003e     piano\u003cbr\u003e\u003cbr\u003e10 \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSTRAUSS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eDon Juan, Op. 20\u003c\/span\u003e  (18:13)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNew York Philharmonic-Symphony Orchestra     Guido Cantelli\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003e\u003cbr\u003eCover artwork based on a photograph of Guido Cantelli\u003cbr\u003e\u003cbr\u003e\u003cb\u003eConcert No. 1\u003c\/b\u003e\u003cbr\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 18 March, 1956\u003cbr\u003e\u003cbr\u003e\u003cb\u003eConcert No. 2\u003c\/b\u003e\u003cbr\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 25 March, 1956\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 23:36   \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCANTELLI in New York, Vol. 3: Wagner, Verdi, Brahms, Monteverdi, Handel, Hindemith (1956) - PASC523\u003c\/summary\u003e\u003cp\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1. Radio Introduction, 1 April 1956  (1:01)\u003cbr\u003e2. \u003cb\u003eWAGNER \u003c\/b\u003eParsifal - Good Friday Spell  (11:06)\u003cbr\u003e3. \u003cb\u003eVERDI \u003c\/b\u003eTe Deum  (14:32)\u003cbr\u003e4. \u003cb\u003eBRAHMS \u003c\/b\u003eAlto Rhapsody  (16:11)\u003cbr\u003e\u003cb\u003eMartha Lipton\u003c\/b\u003e, alto\u003cbr\u003e5. \u003cb\u003eMONTEVERDI \u003c\/b\u003e(arr. Ghedini) Magnificat for 6 voices (from \u003cspan class=\"st\"\u003eVespro della Beata Vergine, SV 206)\u003c\/span\u003e (21:22)\u003cbr\u003e6. Radio Ending, 1 April 1956  (1:29)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eWestminster Choir\u003c\/b\u003e\u003cbr\u003eDirector: John \u003cb\u003eFinlay Williamson\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1. Radio Introduction, 8 April 1956  (1:08)\u003cbr\u003e2. \u003cb\u003eHANDEL \u003c\/b\u003e(arr. B. Molinari) Xerxes - Largo  (6:17)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBRAHMS  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ePiano Concerto No. 1 in D minor, Op. 15\u003c\/span\u003e\u003cbr\u003e3. 1st mvt. - Maestoso  (21:15)\u003cbr\u003e4. 2nd mvt. - Adagio  (12:51)\u003cbr\u003e5. 3rd mvt. - Rondo. Allegro non troppo  (11:42)\u003cbr\u003e\u003cb\u003eRudolf Firkušný\u003c\/b\u003e     piano\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e6. \u003cb\u003eHINDEMITH \u003c\/b\u003eConcert Music for Strings and Brass  (15:55)\u003cbr\u003e7. Radio Ending, 8 April 1956  (0:46)\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNew York Philharmonic-Symphony Orchestra\u003cbr\u003e\u003c\/b\u003eConducted by \u003cb\u003eGuido Cantelli\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Guido Cantelli\u003cb\u003e\u003cbr\u003e\u003cbr\u003eConcert No. 1\u003cbr\u003e\u003c\/b\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 1 April, 1956\u003cb\u003e\u003cbr\u003e\u003cbr\u003eConcert No. 2\u003cbr\u003e\u003c\/b\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 8 April, 1956\u003cbr\u003e\u003cbr\u003eTotal duration:  2hr 15:36\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\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\/pasc501\"\u003eCANTELLI in New York, Vol. 1: Haydn, Mozart, Ravel, Falla, Vivaldi, Beethoven, Piston, Copland (1955) - PASC501 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc510\"\u003eCANTELLI in New York, Vol. 2: Beethoven, Schumann, Vivaldi, Strauss, Creston (1956) - PASC510 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc523\"\u003eCANTELLI in New York, Vol. 3: Wagner, Verdi, Brahms, Monteverdi, Handel, Hindemith (1956) - PASC523 — 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":60913332650318,"sku":null,"price":75.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX056_2954cd01-e237-413c-b072-1d8f970706b8.jpg?v=1790075409"}],"url":"https:\/\/www.pristineclassical.com\/collections\/artist-rudolf-firkusny.oembed?page=2","provider":"Pristine Classical","version":"1.0","type":"link"}