{"title":"Thomas Beecham","description":"Sir Thomas Beecham, 2nd Baronet, CH (29 April 1879 – 8 March 1961) was an English conductor and impresario best known for his association with the London Philharmonic and the Royal Philharmonic orchestras. He was also closely associated with the Liverpool Philharmonic and Hallé orchestras. From the early 20th century until his death, Beecham was a major influence on the musical life of Britain and, according to the BBC, was Britain's first international conductor.\u003cbr\u003e\u003cbr\u003eBorn to a rich industrial family, Beecham began his career as a conductor in 1899. He used his access to the family fortune to finance opera from the 1910s until the start of the Second World War, staging seasons at Covent Garden, Drury Lane and His Majesty's Theatre with international stars, his own orchestra and a wide repertoire. Among the works he introduced to England were Richard Strauss's Elektra, Salome and Der Rosenkavalier and three operas by Frederick Delius.\u003cbr\u003e\u003cbr\u003eTogether with his younger colleague Malcolm Sargent, Beecham founded the London Philharmonic, and he conducted its first performance at the Queen's Hall in 1932. In the 1940s he worked for three years in the United States where he was music director of the Seattle Symphony and conducted at the Metropolitan Opera. After his return to Britain, he founded the Royal Philharmonic in 1946 and conducted it until his death in 1961.\u003cbr\u003e\u003cbr\u003eBeecham's repertoire was eclectic, sometimes favouring lesser-known composers over famous ones. His specialities included composers whose works were neglected in Britain before he became their advocate, such as Delius and Berlioz. Other composers with whose music he was frequently associated were Haydn, Schubert, Sibelius and the composer he revered above all others, Mozart.","products":[{"product_id":"pasc328","title":"BEECHAM Haydn: London Symphonies, Volumes 1: Nos. 93-98 (1957) - PASC328","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eHAYDN \u003c\/b\u003eSymphony No. 93 in D major\u003c\/span\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 94 in G major, \u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe \"Surprise\"\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e \u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 95 in C minor\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 96 in D major, \u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe \"Miracle\"\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 97 in C major\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 98 in B flat major \u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1957\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 2hr 35:13\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eRoyal Philharmonic Orchestra \u003cbr\u003eSir Thomas Beecham, \u003c\/b\u003econductor\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is the issue to get ... we get a truer picture of the Royal Philharmonic and of Beecham’s Haydn578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eWhat, again? EMI reissued these recordings on CD in 1992, in 2004, and in 2011. We’ve been talking about escaping the “Papa Haydn” syndrome for half a century, and these are the performances we’ve been trying to escape. In Fanfare 28:3, I damned them as “overbearing … stolid … square … affected, more Beecham than Haydn … little sense of spontaneity or joy.” In 35: 2, Richard A. Kaplan, reviewing a 34-CD Beecham set, found these Haydn symphonies “inappropriately weighty, even pompous.” Kaplan’s description of Beecham’s Mozart (“alternately stodgy and quaint”) fits my view of his Haydn even more closely. I’ve listened to only the first CD of the first set (Symphonies Nos. 93, 94, and 95), as that’s what arrived in the mail, but I’ve known these recordings from time immemorial. A second disc is supposedly on its way; if it brings any surprises, I’ll get back to you. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe second set arrived complete. The opening Vivace assai of No. 99 in E♭ is played slowly, depriving it of all vigor and sparkle; the following Adagio is softened and sentimentalized. Beecham’s Minuet is a prime example of the Papa Haydn syndrome, powdered wig and all; the carefully isolated chords have no force of attack, and the Trio is unbearably sweet. The Vivace finale tiptoes along at a very moderate pace. One of Haydn’s most dynamic, potent symphonies has been reduced to a series of charming effects. I could go on and on, but to what point? With such performances the norm in the first half of the 20th century, it’s no wonder that Haydn was considered a minor composer. Beecham (1879–1961) was locked into that time; in 1958 he still used error-ridden scores from an earlier era, ignoring all of Robbins Landon’s corrections as well as most repeats. By this time, Hermann Scherchen’s recordings and many on the Haydn Society label had demonstrated how vital Haydn’s symphonies are. There are a few movements that go well in Beecham’s performances, notably the opening Allegro of No. 104, the “London” Symphony. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eIf you must have these recordings, however, this is the issue to get. The performances in the first set (Symphonies 93–98) have suffered great indignities from EMI’s executives and engineers. First, this English orchestra traveled to Paris in October 1957 to record five of these six symphonies at Salle Wigram, perhaps the only major recording site not equipped for stereo at the time. All of EMI’s reissues have been in an electronic stereo version. Pristine’s Andrew Rose has restored true mono, and then added his “far more subtle Ambient Effect” as an option, heard on the review copies. The second set is in stereo. Rose also has rectified a number of pitch irregularities that have plagued previous issues. The result is that we get a truer picture of the Royal Philharmonic and of Beecham’s Haydn. Which engenders a disturbing paradox: Now that the orchestra can be heard properly, all the problems that Kaplan and I complain about stand out even more clearly. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eJames H. North \u003c\/b\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis article originally appeared in Issue 36:1 (Sept\/Oct 2012) of \u003cem\u003eFanfare\u003c\/em\u003e Magazine.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC328.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eBeecham's supreme musicality exemplified in Haydn's symphonic masterworks\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eFirst six 'London' symphonies in superb new 32-bit XR-remastered transfers\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003c!--[if gte mso 9]\u003e\u003cxml\u003e\n \u003cofficedocumentsettings\u003e\n  \u003callowpng\u003e\u003c\/allowpng\u003e\n \u003c\/officedocumentsettings\u003e\n\u003c\/xml\u003e\u003c![endif]--\u003e\u003c!--[if gte mso 9]\u003e\u003cxml\u003e\n \u003cworddocument\u003e\n  \u003cview\u003eNormal\u003c\/view\u003e\n  \u003czoom\u003e0\u003c\/zoom\u003e\n  \u003ctrackmoves\u003e\u003c\/trackmoves\u003e\n  \u003ctrackformatting\u003e\u003c\/trackformatting\u003e\n  \u003cpunctuationkerning\u003e\u003c\/punctuationkerning\u003e\n  \u003cvalidateagainstschemas\u003e\u003c\/validateagainstschemas\u003e\n  \u003csaveifxmlinvalid\u003efalse\u003c\/saveifxmlinvalid\u003e\n  \u003cignoremixedcontent\u003efalse\u003c\/ignoremixedcontent\u003e\n  \u003calwaysshowplaceholdertext\u003efalse\u003c\/alwaysshowplaceholdertext\u003e\n  \u003cdonotpromoteqf\u003e\u003c\/donotpromoteqf\u003e\n  \u003clidthemeother\u003eEN-GB\u003c\/lidthemeother\u003e\n  \u003clidthemeasian\u003eX-NONE\u003c\/lidthemeasian\u003e\n  \u003clidthemecomplexscript\u003eX-NONE\u003c\/lidthemecomplexscript\u003e\n  \u003ccompatibility\u003e\n   \u003cbreakwrappedtables\u003e\u003c\/breakwrappedtables\u003e\n   \u003csnaptogridincell\u003e\u003c\/snaptogridincell\u003e\n   \u003cwraptextwithpunct\u003e\u003c\/wraptextwithpunct\u003e\n   \u003cuseasianbreakrules\u003e\u003c\/useasianbreakrules\u003e\n   \u003cdontgrowautofit\u003e\u003c\/dontgrowautofit\u003e\n   \u003csplitpgbreakandparamark\u003e\u003c\/splitpgbreakandparamark\u003e\n   \u003cenableopentypekerning\u003e\u003c\/enableopentypekerning\u003e\n   \u003cdontflipmirrorindents\u003e\u003c\/dontflipmirrorindents\u003e\n   \u003coverridetablestylehps\u003e\u003c\/overridetablestylehps\u003e\n  \u003c\/compatibility\u003e\n  \u003cmathpr\u003e\n   \u003cmathfont m:val=\"Cambria Math\"\u003e\u003c\/mathfont\u003e\n   \u003cbrkbin m:val=\"before\"\u003e\u003c\/brkbin\u003e\n   \u003cbrkbinsub m:val=\"--\"\u003e\u003c\/brkbinsub\u003e\n   \u003csmallfrac m:val=\"off\"\u003e\u003c\/smallfrac\u003e\n   \u003cdispdef\u003e\u003c\/dispdef\u003e\n   \u003clmargin m:val=\"0\"\u003e\u003c\/lmargin\u003e\n   \u003crmargin m:val=\"0\"\u003e\u003c\/rmargin\u003e\n   \u003cdefjc m:val=\"centerGroup\"\u003e\u003c\/defjc\u003e\n   \u003cwrapindent m:val=\"1440\"\u003e\u003c\/wrapindent\u003e\n   \u003cintlim m:val=\"subSup\"\u003e\u003c\/intlim\u003e\n   \u003cnarylim m:val=\"undOvr\"\u003e\u003c\/narylim\u003e\n  \u003c\/mathpr\u003e\u003c\/worddocument\u003e\n\u003c\/xml\u003e\u003c![endif]--\u003e\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":28571701608509,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":28571701641277,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":28571701674045,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":28571701706813,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC328.jpg?v=1559224218"},{"product_id":"pasc329","title":"BEECHAM Haydn: London Symphonies, Volumes 2: Nos. 99-104 (1958) - PASC329","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003eHAYDN \u003c\/b\u003eSymphony No. 99 in E flat major\u003cdiv\u003e\n\u003cb\u003eHAYDN \u003c\/b\u003eSymphony No. 100 in G major, The \"\u003cem\u003eMilitary\u003c\/em\u003e\"\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eHAYDN \u003c\/b\u003eSymphony No. 101 in D major, The \"\u003cem\u003eClock\u003c\/em\u003e\"\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eHAYDN \u003c\/b\u003eSymphony No. 102 in B flat major\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eHAYDN \u003c\/b\u003eSymphony No. 103 in E flat major, The \"\u003cem\u003eDrum-Roll\u003c\/em\u003e\" \u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eHAYDN \u003c\/b\u003eSymphony No. 104 in D major, The \"\u003cem\u003eLondon\u003c\/em\u003e\" \u003c\/div\u003e\u003cdiv\u003e\n\u003cspan style=\"font-size: 10px;\"\u003eRecorded in stereo in 1958\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 2hr 35:13\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eRoyal Philharmonic Orchestra \u003cbr\u003eSir Thomas Beecham, \u003c\/b\u003econductor\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fClassical CD Review review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fI highly recommend these discs578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eSerendipity. Some time after Wagner, audiences lost their ability to\n          listen to music of the Classical era. Hard to believe, but even Mozart\n          became\n        reduced to the status of a \u003cem\u003epetit maître\u003c\/em\u003e. When you accept \u003cem\u003eDie\n        Walküre,\n        Tristan\u003c\/em\u003e, or \u003cem\u003eTosca\u003c\/em\u003e as the norm of passion, \"Là ci darem la mano\" seems\n        pretty lame. However, Mozart had his ardent champions, notably George\n        Bernard Shaw, who hoisted his considerable wit in the service of restoring\n        Mozart\n        to more reasonable assessment.\u003cbr\u003e      \n        \u003cbr\u003e\n        Haydn's reputation, however, had sunk even lower than his pupil's. A\n        composer known in his day for his emotional force (one English writer\n        compared him\n        to Shakespeare) became huggable \"Papa Haydn.\" This persisted\n        well into the 20th century. My mother, for example, had studied music seriously\n        during the Thirties and Forties, and I later got to read her textbooks,\n        which characterized Haydn as \"historically important\" --\u003cem\u003e ie\u003c\/em\u003e,\n        not aesthetically important. It took the efforts of scholars like H.\n        Robbins Landon as well as committed conductors like Sir Thomas Beecham\n        and, later,\n        Antal Doráti (the second to record all the symphonies; the first\n        cycle, by Ernst Märzendorfer, had very limited release) to eventually\n        push Haydn into standard repertory. Doráti began recording in\n        1969.\u003cbr\u003e      \n        \u003cbr\u003e\n        Companies have this weird (to me) idea that they need to re-record the\n        same material with new artists in order to make money. Of course new artists\n        need support, but do they really need to preserve\u003cem\u003e their\u003c\/em\u003e Beethoven's \u003cem\u003ePastorale\u003c\/em\u003e?\n        Will it significantly better Mengelberg's or Szell's? Why push new product\n        with all the attendant costs of recording and editing when you already\n        have superior inventory? I just don't get it. What results is new audiences\n        ignorant of performance history -- the treasures and (I admit it) even\n        some trash of the past.\u003cbr\u003e      \n        \u003cbr\u003e\n        Like most conductors of his era, Beecham has become a collection of anecdotes\n        to the general classical public. I admit he left behind a superior collection\n        of anecdotes and \u003cem\u003ebon mots,\u003c\/em\u003e but more importantly, he bequeathed\n        a host of great performances. In many ways, he was bloody-minded, as\n        shown by his\n        notorious remark that \"I would give the whole of Bach's \u003cem\u003eBrandenburg\n        Concertos \u003c\/em\u003efor Massenet's \u003cem\u003eManon\u003c\/em\u003e, and would think I had vastly\n        profited by the exchange\". He knew what he liked and stuck to it. Fortunately,\n        he liked the unfashionable as well as the fashionable. No one, not even\n        Barbirolli, has surpassed his Delius recordings. In the Thirties, he was\n        one of the few to record Haydn symphonies -- and not dutifully, either,\n        but with real brio. He had a special affinity for Handel and resurrected\n        many forgotten works by that composer. His was, I believe, the first \"complete\" \u003cem\u003eMessiah\u003c\/em\u003e,\n        although in a Modern, super-glam orchestration. Numbers that hadn't been\n        heard in decades appeared in an \"Appendix.\" Haydn and Beecham\n        usually constituted an ideal match. Haydn's drollness and sentiment chimed\n        well with Beecham's personality. He, Szell, Doráti, and Bernstein\n        stand among my favorite Haydn conductors, although all four view Haydn\n        differently. Szell emphasizes Haydn's elegance, Doráti his warmth,\n        Bernstein his power, and Beecham his singing wit.\u003cbr\u003e      \n        \u003cbr\u003e\n        Haydn wrote six symphonies for each of his two visits to England. These\n        so-called \"London\" symphonies represent the height of his art,\n        without a dud in the dozen. They all follow the same general plan: sonata\n        movement; slow movement; minuet and trio; rondo-like finale, often sonata\n        rondo. Within those general specs, Haydn creates enormous variety, including\n        monothematic sonatas, innovative, poetic orchestration, and bursts of brilliant\n        counterpoint. Beecham does especially well in quicker movements, with a \"natural\" spontaneous\n        joy and rhythmic verve to his music-making. Haydn has always been known\n        for his musical jokes (the famous one in the \"Surprise\" Symphony\n        is only one of them, and by no means the best), and Beecham seems to\n        get them all. I especially like his second movement of No. 93, where\n        a lacy,\n        delicate texture rips apart with a loud fart from the bassoon, and Beecham\n        fully commits to it. In the slow movements, Beecham shapes a complex\n        singing line. At times, I find him a bit too slow; in one adagio, he\n        actually put\n        me to sleep. But I have trouble listening to slow movements anyway. I\n        need something, in the absence of lively rhythm, to keep my attention.\n        Beecham\n        usually gives me an unusually interesting shaping of the musical line,\n        a bit like a great \u003cem\u003eLieder\u003c\/em\u003e singer.\u003cbr\u003e      \n        \u003cbr\u003e\n        I highly recommend these discs, although I will mention a few points that\n        might give some listeners pause. First, he uses larger forces than we today\n        expect. No HIP here. Second, he uses pre-Landon editions, filled with mistakes\n        and editorial accruals that put down not what Haydn wrote, but what he\n        \u003cem\u003eshould\u003c\/em\u003e have written. Beecham doesn't observe all repeats. Third, this set\n        appeared on the cusp of the stereo era. \u003cstrong\u003eEMI\u003c\/strong\u003e, worried that stereo would\n        turn out to be a fad, got into the technology late. Hence, the first six\n        symphonies came out in mono and the second six in stereo. The difference\n        doesn't rattle me. Beecham's sheer musicality and the spectacular playing\n        of the Royal Phil's reeds and brasses (especially the trumpets) grandly\n        sweep aside such objections. The very greatest performances of Haydn's\n        symphonies are marked in large part by great solo wind players, which the\n        Phil obviously has. Textures are full but remain clear. Finally, unless\n        one knows the symphonies extremely well, I strongly doubt that Beecham's\n        departures from the true text will be noticed.\u003cbr\u003e      \n        \u003cbr\u003e\n        The bulk of\u003cstrong\u003e Pristine\u003c\/strong\u003e's releases are mono. The label specializes in great\n        performances of the past and in applying the latest techniques to \"wash\n        the face\" of old vinyl. This involves much more than removing crackles\n        and pops. Here, producer Andrew Rose has digitally standardized the variations\n        in tape recording speeds, so that pitch changes between and within movements\n        don't jar. Apparently, he has also reduced the excessive brightness of\n        the EMI sound of the time. Most controversially, I think, he has submitted\n        the mono recordings to a process misleadingly called \"Ambient Stereo.\" To\n        me, the controversy lies exclusively in the term \"stereo,\" rather\n        than in the results. Based on various descriptions I Googled, unlike the\n        notorious \"electronic stereo\" of the Sixties, there's no attempt\n        to \"locate\" the instruments left and right. Something else\n        happens. Mono recordings tend to sound flat and compressed forward and\n        back, as\n        well as left and right. Ambient Stereo rounds out the sound, or as another\n        description has it, puts air around it. It's as if it restores the ambience\n        of the venue, so that the sound seems to originate in an actual room\n        rather than from a radio speaker. It's a very subtle effect. I don't\n        listen to\n        historical recordings because I'm so interested in history. I listen\n        to them because I enjoy great music-making. Consequently, I think Ambient\n        Stereo an enhancement, rather than an accretion. Pristine has decided\n        to\n        apply the process to its entire catalogue. More power to them.\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003e S.G.S. (August 2012)\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC329.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eBeecham's supreme musicality exemplified in Haydn's symphonic masterworks\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eSecond volume of six 'London' symphonies in superb stereo 32-bit XR-remastered transfers\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003c!--[if gte mso 9]\u003e\u003cxml\u003e\n \u003cofficedocumentsettings\u003e\n  \u003callowpng\u003e\u003c\/allowpng\u003e\n \u003c\/officedocumentsettings\u003e\n\u003c\/xml\u003e\u003c![endif]--\u003e\u003c!--[if gte mso 9]\u003e\u003cxml\u003e\n \u003cworddocument\u003e\n  \u003cview\u003eNormal\u003c\/view\u003e\n  \u003czoom\u003e0\u003c\/zoom\u003e\n  \u003ctrackmoves\u003e\u003c\/trackmoves\u003e\n  \u003ctrackformatting\u003e\u003c\/trackformatting\u003e\n  \u003cpunctuationkerning\u003e\u003c\/punctuationkerning\u003e\n  \u003cvalidateagainstschemas\u003e\u003c\/validateagainstschemas\u003e\n  \u003csaveifxmlinvalid\u003efalse\u003c\/saveifxmlinvalid\u003e\n  \u003cignoremixedcontent\u003efalse\u003c\/ignoremixedcontent\u003e\n  \u003calwaysshowplaceholdertext\u003efalse\u003c\/alwaysshowplaceholdertext\u003e\n  \u003cdonotpromoteqf\u003e\u003c\/donotpromoteqf\u003e\n  \u003clidthemeother\u003eEN-GB\u003c\/lidthemeother\u003e\n  \u003clidthemeasian\u003eX-NONE\u003c\/lidthemeasian\u003e\n  \u003clidthemecomplexscript\u003eX-NONE\u003c\/lidthemecomplexscript\u003e\n  \u003ccompatibility\u003e\n   \u003cbreakwrappedtables\u003e\u003c\/breakwrappedtables\u003e\n   \u003csnaptogridincell\u003e\u003c\/snaptogridincell\u003e\n   \u003cwraptextwithpunct\u003e\u003c\/wraptextwithpunct\u003e\n   \u003cuseasianbreakrules\u003e\u003c\/useasianbreakrules\u003e\n   \u003cdontgrowautofit\u003e\u003c\/dontgrowautofit\u003e\n   \u003csplitpgbreakandparamark\u003e\u003c\/splitpgbreakandparamark\u003e\n   \u003cenableopentypekerning\u003e\u003c\/enableopentypekerning\u003e\n   \u003cdontflipmirrorindents\u003e\u003c\/dontflipmirrorindents\u003e\n   \u003coverridetablestylehps\u003e\u003c\/overridetablestylehps\u003e\n  \u003c\/compatibility\u003e\n  \u003cmathpr\u003e\n   \u003cmathfont m:val=\"Cambria Math\"\u003e\u003c\/mathfont\u003e\n   \u003cbrkbin m:val=\"before\"\u003e\u003c\/brkbin\u003e\n   \u003cbrkbinsub m:val=\"--\"\u003e\u003c\/brkbinsub\u003e\n   \u003csmallfrac m:val=\"off\"\u003e\u003c\/smallfrac\u003e\n   \u003cdispdef\u003e\u003c\/dispdef\u003e\n   \u003clmargin m:val=\"0\"\u003e\u003c\/lmargin\u003e\n   \u003crmargin m:val=\"0\"\u003e\u003c\/rmargin\u003e\n   \u003cdefjc m:val=\"centerGroup\"\u003e\u003c\/defjc\u003e\n   \u003cwrapindent m:val=\"1440\"\u003e\u003c\/wrapindent\u003e\n   \u003cintlim m:val=\"subSup\"\u003e\u003c\/intlim\u003e\n   \u003cnarylim m:val=\"undOvr\"\u003e\u003c\/narylim\u003e\n  \u003c\/mathpr\u003e\u003c\/worddocument\u003e\n\u003c\/xml\u003e\u003c![endif]--\u003e\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":34134718541,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34134718605,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34134718669,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC329.jpg?v=1489578797"},{"product_id":"pasc314","title":"BEECHAM conducts Arnell, Berners, Delius (1950-55) - PASC314","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eARNELL \u003c\/b\u003ePunch and the Child - Ballet Music\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eDELIUS\u003c\/b\u003e  An Arabesque\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBERNERS\u003c\/b\u003e  The Triumph of Neptune - Suite\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 1950-55\u003cbr\u003eTotal duration: 59:16\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan class=\"body\"\u003eRoyal Philharmonic Orchestra\u003cbr\u003eEinar Nørby, \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003ebaritone \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003eThe Philadelphia Orchestra\u003cbr\u003eRobert Grooters, \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003ebaritone \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003eSir Thomas Beecham, \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003econductor\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fExcellent performances, aided by superlative transfers, and well worth your time578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThese are all classic Beecham: the Arnell from \n1950, Delius from 1955, and Berners from 1952. The Columbia Masterworks \nrelease of the Arnell and Berners was the first I ever heard of either \nwork, and somewhere in our basement, that LP remains. Since then, I’ve \nacquired other versions of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Triumph of Neptune\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (Marco Polo 8.223711) and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePunch and the Child\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (Dutton 7227), but good as each is, neither matches up to the magic \nthat was Beecham on the podium when at his best. Consider the Arnell: \nMartin Yates I’ve found a variable conductor, sometimes routine, \nsometimes very good indeed—and at the top of his form, a colorist who \nunderstands the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003esound\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e of an orchestra and its many textures like few others. So he does in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePunch and the Child\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e;\n but Beecham does this, too, with a better attention to momentum, as \nwell as an ability to cut loose in expressive attacks (in the Overture, \nfor instance) that Yates is not willing to pursue in his recording. \nConsequently, Yates brings out all the color and harmonic richness in \nthe ballet, while Beecham is willing to sacrifice some of each at times \nto better illustrate the work’s shifting character, and preserve a sense\n of the dance.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Delius suffers from a particularly hard and \nmonotonous baritone, Einar Norby, who nonetheless demonstrates fine \nphrasing. So does Beecham, whose gift for knowing just how to present \nthis music at its most confidently glowing was a touchstone throughout \nhis lengthy career. It wouldn’t do to miss mention of Robert Grooters, \nwhose brief interjections of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Last Rose of Summer\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e in “The Sailor’s Return” (\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Triumph of Neptune\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e)\n are well sung, and marvelously over the top—much as you’d expect from a\n drunken, maudlin sailor at the turn of the 20th century.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe sound is wonderfully rich and full-bodied: \nbrighter in the higher strings for both works with the Royal \nPhilharmonic, evincing that shining bite I’ve come to associate with the\n orchestra at that time. The Philadelphia’s rich strings (“Cloudland”) \nand characterful wind soloists are evident throughout the Berners; \nfrankly all three selections could pass for good recordings of a decade \nor more later, were it not for their mono signal. Which isn’t a call for\n electronic stereo—a curse that seems to have lifted from the land—but \nsimply a fact of life.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eFinally, I should mention that the liner notes reprint a 1974 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGramophone\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n review of the Arnell and Berners material. That critic quotes from an \nearlier one who stated of the Arnell in part that it had “a plethora of \nundeveloped notions,” to which the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGramophone\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n reviewer responds with glorious condescension, “speaking personally, I \nhave an affection for this score, short-breathed though its invention \nmay be.” Neither, I suspect, took notice of the small number of \ninterrelated motifs in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePunch and the Child\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, or that these are ingeniously transformed in each successive dance variation.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn short, these are excellent performances, aided by superlative transfers, and well worth your time. \u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBarry Brenesal  \u003c\/b\u003e\u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 35:5 (May\/June 2012) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC314.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003e\u003cem\u003eBeecham conducts rare British gems\u003c\/em\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eIn immensely vibrant, captivating sound quality\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eI was happy to have excellent pressings for all three of\n these works - two from a near-mint American Columbia Masterworks LP \n(Arnell and Berners) and the third from a similarly wekk-preserved \nPhilips LP (Delius). Unsure of the overall timings I had also prepared \nBeecham's 1952 Delius Appalachia recording, but this proved to be a \nminute or so too long for the present release. It was interesting to \ndiscover that both London recordings were of significantly higher \nquality than the US recording, but that's only really to say that the \nBerners was well-recorded and the Delius and Arnell even better.\u003c\/p\u003e\u003cp class=\"body\"\u003eGiven such promising material I was able to try out a \nnew addition to the XR repertoire of remastering techniques - a means of\n compensating for the lack of very deep, resonant bass in recordings of \nthis era, such as one might feel shaking the floor slightly in a modern \nrecording of similar material. This proved more successful than I'd \nhoped and the results can be heard especially well in the Arnell which, \napart from its mono centre, could surely pass for something several \ndecades more recent than 1950!\u003c\/p\u003e\u003cp class=\"body\"\u003eAll in all it was an astonishing result that exceeded all my expectations.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eARNELL \u003c\/strong\u003ePunch and the Child - Ballet Music\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 31 May 1950 Kingsway Hall, London\u003cbr\u003eSource: Columbia Masterworks ML4593 \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eDELIUS \u003c\/strong\u003eAn Arabesque\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 12 October 1955 Walthamshow Assembly Hall, London\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eSource: Fontana CFL1009 \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eRoyal Philharmonic \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eOrchestra\u003c\/strong\u003e \u003cbr\u003e\u003cstrong\u003eEinar Nørby\u003c\/strong\u003e baritone (Delius)\u003cbr\u003e\u003cstrong\u003eSir Thomas Beecham\u003c\/strong\u003e conductor\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eLORD BERNERS \u003c\/strong\u003eThe Triumph of Neptune - Suite\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 3 February 1952 Academy of Music, Philadelphia\u003cbr\u003eSource: Columbia Masterworks ML4593 \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eThe Philadelphia \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eOrchestra\u003c\/strong\u003e \u003cbr\u003e\u003cstrong\u003eRobert Grooters\u003c\/strong\u003e baritone\u003cbr\u003e\u003cstrong\u003eSir Thomas Beecham\u003c\/strong\u003e conductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, October 2011\u003cbr\u003eCover artwork based on a photograph of Sir Thomas Beecham\u003cbr\u003e\u003cbr\u003eTotal duration: 59:16\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC314.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC314.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003eThere seems to a revival of interest at \npresent in Lord Berners so that the appearance of this account of his \nchef d'oeuvre, the ballet suite, The Triumph of Neptune is as timely as \nit is welcome. I should perhaps stress that this is not the familiar 78 \nrpm version that Beecham made with the LPO (Columbia LX697-8, 2\/38) but \none new to this country, recorded with the Philadelphia Orchestra and \nthat it includes two movements omitted from the English set, \"Cloudland\"\n and \"The Frozen Forest\". Commissioned by Diaghilev for his second visit\n to London made at Beecham's invitation in 1926, The Triumph of Neptune \nhad the benefit of a libretto by Sacheverall Sitwell and choreography by\n Balanchine; Danilova, Lifar and Petrova danced the leading roles. \nBerners has been compared with Satie though with scant justification: \ntheir eccentricity is perhaps their only point of contact. In general \nBerners cannot be said to possess a strongly defined personality: he was\n a pasticheur of great accomplishment and an artist of versatile talent \n(he was also a painter and novelist). He certainly succeeded in this \ndelightful score in capturing the fragile period flavour of the \ntwenties; the musical invention is sustained and his wit and cleverness \nare telling. It would perhaps be a little too much to expect the \nPhiladelphia Orchestra to fully penetrate the highly idiosyncratic world\n the score evokes and those who know the LPO version will find accents \nheavier and rhythms less fleet of foot. Robert Grooters, who briefly \nappears as the singer practising The Last Rose of Summer in \"The \nSailor's Return\", is more heavy handed than Robert Alva in the pre-war \n78 rpm version.\u003cbr\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003eRichard Arnell's music is neglected these \ndays though his Fifth Symphony was recently broadcast. What little music\n of his that I have heard is often distinctive in utterance. In some \nrespects he seems to me not unlike Rawsthorne though there is little of \nthe darker, more searching quality one finds in the latter. Punch and \nthe Child dates from 1948 and given its balletic origins is episodic in \ncharacter. The Record Guide spoke of it as \"agreeable music but hardly \nstrong enough to hold the interest on repeated hearing\" without the \nstage action. Hubert Foss in these pages wrote: \"Idea after picturesque \nidea succeed each other in bewildering succession. First impressions \nwere: restlessness and excitability, a marked Prokofiev flavour, a \nplethora of undeveloped notions, a diatonic basis with a generous \nsprinkling of wrong notes to keep it up to date\". Some of this \nundoubtedly holds good today though speaking personally, I have an \naffection for this score short-breathed though its invention may be. \nSome of its ideas are highly memorable and fresh, there are moments of \npoetry and the score is full of vitality. Yet ideas are never really \nsustained long enough to satisfy the listener. I have periodically \nreturned to the 78 rpm originals over the years but shall do so no more \nsince this new transfer is of quite outstanding quality: indeed one \nwould scarcely suspect its origins so well focused is its sound. \nEverything is lively, fresh, and truthful in timbre; it is, I would have\n thought, exceptionally vivid for its period. (A friend guessed its date\n at 1962 or 63.) It derives from tape rather than 78 rpm masters, I am \nsure, since there is no trace of surface noise. The recording of the \nBerners is less distinguished but this does not inhibit a warm \nrecommendation for this most welcome and desirable reissue.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eR.L., Gramophone magazine,\u003c\/strong\u003e July 1974\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":34129306253,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34129306317,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34129306381,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34129306445,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC314.jpg?v=1489569631"},{"product_id":"pasc450","title":"BEECHAM conducts Delius (1950-56) - PASC450","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eDELIUS \u003c\/b\u003eAppalachia\u003cb\u003e\u003cbr\u003eDELIUS \u003c\/b\u003eIn a Summer Garden\u003cbr\u003e\u003cb\u003eDELIUS \u003c\/b\u003eOver the Hills and Far Away\u003cb\u003e\u003cbr\u003eDELIUS \u003c\/b\u003eOn Hearing the First Cuckoo in Spring\u003cbr\u003e\u003cb\u003eDELIUS \u003c\/b\u003eSummer Night on the River\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio recordings, 1950-1956  \u003cbr\u003eTotal duration: 78:44    \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cbr\u003eSir Thomas Beecham, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eRoyal Philharmonic Orchestra \u0026amp; Chorus\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fBeecham remains uniquely authoritative in Delius578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eProbably no other composer’s reputation\n has rested as exclusively on the work of a single interpreter as that \nof Frederick Delius with Thomas Beecham, at least for the 50-plus years \nthat Beecham advocated for Delius’s work. Here Pristine’s Andrew Rose \noffers his remasterings of five Beecham recordings from the 1950s, all \nremakes of prewar 78s. The first three are from 1950–52 mono English \nColumbia originals; \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOn Hearing the First Cuckoo in Spring\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSummer Night on the River\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n are stereo HMV recordings from 1956–57. Rose errs in ascribing both \nitems to an October 1956 session; the latter work was actually recorded \nfive months later. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI am probably in the minority in thinking that \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAppalachia\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is one piece in which John Barbirolli surpassed Beecham’s achievement. \nBarbirolli adds a minute and a half to Beecham’s duration, and his \nexpansiveness suits this longest of Delius’s orchestral scores. \n(Atypically, Beecham’s 1938 version is actually longer than this 1952 \nrecording.) Barbirolli’s stereo sound helps. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis version of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIn a Summer Garden\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is a relative rarity, at least on this side of the Atlantic: Of all of \nBeecham’s early 1950s English Columbia recordings of Delius, it is the \nlone item that never appeared on an American Columbia LP. They were all \nreissued in the 1990s on five UK Sony CDs, but those are all out of \nprint. Beecham remade \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOver the Hills and Far Away\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e in stereo in 1957. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eRose’s transfers are particularly \nsuccessful in the three mono items, an improvement on the somewhat \ndisappointing sound of the Sony CDs. In the stereo recordings the \nwoodwinds are lifelike, but there is a bit of an edge to the tone of the\n loudest violin passages. Of course, these recordings were first \navailable here on a wretched Seraphim LP, and if you still have that \nyou’ll be pleasantly surprised by the fullness of the sound. When CDs \nwere introduced one of the first things I set about doing was retiring \nall of my U.S. Angel and Seraphim LPs; even the earliest CDs—including a\n treasurable two-disc set of all of Beecham’s stereo Delius \nrecordings—were a vast improvement. I compared the EMI CD with Rose’s in\n the two stereo items, and the frequency response of the EMI is \nsmoother, without the harsh violins. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eMy misgivings about his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAppalachia\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n notwithstanding, Beecham remains uniquely authoritative in Delius, and \nRose’s ministrations freshen up the mono items nicely. Recommended. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eRichard A. Kaplan\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:4 (Mar\/Apr 2016) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC450.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSir Thomas Beecham's 1950s Delius recordings revived!\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Beecham\n remains uniquely authoritative in Delius, and Rose’s ministrations \nfreshen up the mono items nicely. Recommended\" - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eI had prepared \u003cem\u003eAppalachia\u003c\/em\u003e for release some four years ago \nonly to find it just too long to fit with the other works planned for \nthat release. Here I've returned to it with a fresh transfer and \nremastering, and coupled it with two other mono Delius recordings Sir \nThomas made in the early 1950s \u003cem\u003eIn A Summer Garden\u003c\/em\u003e and \u003cem\u003eOver the Hills and Far Away\u003c\/em\u003e. All of these have seen great tonal improvements in these XR remasters.\u003c\/p\u003e\u003cp\u003eBeecham returned to a number of earlier recordings and remade them \nwith the advent of stereo - the first two of these three mono recordings\n were not remade. \u003cem\u003eAppalachia\u003c\/em\u003e itself was a remake of his 1938 78rpm recording.\u003c\/p\u003e\u003cp\u003eThe final two recordings, from \u003cem\u003eTwo Pieces for Small Orchestra \u003c\/em\u003esee\n us entering the stereo era - they were recorded together in October \n1956. The results of this recording session were remarkably hissy, and a\n great deal of effort has gone into preserving the full orchestral tonal\n range whilst trying to minimise this hiss - something at least one \nother recent major-label reissue has tackled with such a heavy-handed \napproach to digital noise reduction that has had a quite destructive \neffect on the musical content. Hopefully this release puts the record \nstraight, so to speak!\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cb\u003e DELIUS \u003c\/b\u003e Appalachia (Variations on an old slave song)\u003cbr\u003eRecorded 29 October 1952\u003cbr\u003eIssued as Columbia 33CX1112\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eDELIUS\u003c\/b\u003e In A Summer Garden  (14:17)\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eDELIUS\u003c\/b\u003e Over the Hills and Far Away  (13:58)\u003cbr\u003eIn A Summer Garden: Recorded 27 October 1952\u003cbr\u003eOver the Hills and Far Away: Recorded 7 February 1950\u003cbr\u003eIssued as Columbia 33C1017\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eDELIUS \u003c\/b\u003e Two Pieces for Small Orchestra\u003cbr\u003e\n\u003cp class=\"bodybigblue\"\u003eRecorded 31 October 1956\u003cbr\u003eIssued as HMV ALP1586 (mono)\u003cbr\u003eand ASD357 (stereo)\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eRoyal Philharmonic Orchestra \u0026amp; Chorus\u003cbr\u003e\u003c\/b\u003eSir Thomas Beecham, conductor\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC450.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC450.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 and Ambient Stereo 24-bit FLAC","offer_id":31975218189,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo and Ambient Stereo 16-bit FLAC","offer_id":31975218317,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo and Ambient Stereo MP3","offer_id":31975218445,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC450_e3de1ecc-132a-45ef-b460-389178cae33d.jpg?v=1487681873"},{"product_id":"pasc409","title":"BEECHAM conducts Mozart, Volume 1 (1915-54) - PASC409","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\n\u003c\/ul\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMozart \u003c\/b\u003eSymphonies 31, 35, 36\u003cbr\u003e\u003cb\u003eMozart \u003c\/b\u003eComplete Beecham Acoustic Recordings, 1915-1917\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio recordings · 1915-1954\u003cbr\u003eTotal duration: 79:54\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\u003cb\u003eSir Thomas Beecham, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eBeecham Symphony Orchestra\u003c\/b\u003e\n\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fHere, then, is one of the great Mozarteans...578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis CD represents Volume One of the \nColumbia Mozart symphonies Thomas Beecham recorded in the studio with \nthe Royal Philharmonic between 1951 and 1954. It also contains the two \novertures and several snippets captured acoustically with the Beecham \nSymphony Orchestra in 1915—all restored at Pristine with Andrew Rose’s \ncustomary wizardry. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSir Thomas’ approach to Mozart lies well within memory of many \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n readers. Yet it reaches us now almost as a voice from an unrecoverable \npast. These are big, full-orchestra readings of Mozart, played with \nunashamed sentiment. Beecham seeks to ravish us in ways far beyond the \nclear-stream math of HIP revisionist thinking. Sixty or 70 years ago \nthat was the norm: Romantic Mozart delivered to us by the likes of Bruno\n Walter, Otto Klemperer, and Wilhelm Furtwangler. There is a tendency to\n flatten perspective on this vanished world over time, to regard “big \norchestra” Mozart as having been all of a piece in its day. But of \ncourse, it wasn’t. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eKlemperer’s approach, for instance, \nconveyed a powerful solidity. Bruno Walter, also nearly Brahmsian in \nMozart, was known for his “plastic phrasing.” And Furtwangler’s Mozart \ncould easily convince you that Wagner was just around the corner. But \nSir Thomas’s approach had a special quality of lightness and grace. He \nseemed to balance an orchestra from the top down. And it is no accident \nthat Beecham was famous for bringing out the subtleties of French music.\n His sheer deftness stands out. The music just skates along here, light \nas a feather. It conveys an airy, almost ecstatic exhilaration you won’t\n find elsewhere. Indeed, I’d say Beecham’s approach represents Mozart \nconducted as though it were Mendelssohn. With all the pretty cadence \nritards and delicate tempo adjustment, there is no heaviness. The \ntimpani-led punchiness of current-day Mozart is completely missing. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAndrew Rose is to be congratulated once\n again for bringing extra life to the never stellar-sounding original \nLPs. He has managed to include so much out-of-phase rear channel \nmaterial in his remastering that I mistook the performances for being in\n stereo at first. The result is extremely listenable. And his efforts \nwith the acoustic items are similar. There is, amazingly, real air and \nback channel surround to be found in the horn recordings. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMagic Flute \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture\n comes through especially well. Despite limitations, one can sense that \nthe Beecham Symphony Orchestra was very fine, indeed. The violin passage\n work is quite lovely, though the use of portamento, especially \nupward-swooping portamento, sounds a bit kitschy and “home sweet \nhome-ish.” But you recognize the same subtle traits in early Beecham as \nlater. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eHere, then, is one of the great \nMozarteans, brought to us at the beginning and near the end of his \ncareer. I, for one, am extremely appreciative. Windows on the past \naren’t made from today’s tempered glass. They inherently distort, \nrefract, and contain areas of opacity, just where you wish for clarity. \nBut Andrew Rose has done all that is humanly possible to polish the \nsurfaces. And his vision is now the effective catalyst to our own. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eSteven Kruger\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:2 (Nov\/Dec 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC409.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSir Thomas Beecham conducts Mozart Symphonies - the 1950s Columbia recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eFirst of three volumes, supplemented with his complete Columbia acoustic Mozart recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eAll but one of Beecham's early acoustic Mozart recordings was made \nfor Columbia, and it was to the American company of the same name that \nhe returned in the early 1950s to record a series of seven Mozart \nsymphonies with another of his \"own\" orchestras, the Royal Philharmonic.\n The symphonies have been in and out of print since then, and their \noriginal, somewhat harsh sound quality to an extent masked their \nexquisite brilliance. Despite this, they have always been highly \nregarded, and it can only be hoped that these new transfers and XR \nremastering will further enhance their reputation.\u003c\/p\u003e\u003cp\u003eBut that's not to overlook his earliest Mozart recordings (a single \nside cut for Odeon in 1912 will appear on a later volume here), made \nwith an orchestra that some rated as the finest he ever conducted. \nAgain, XR remastering has helped bring these primitive horn-based sound \nrecordings just a small step closer to the modern listener's \nappreciation - and very fine they are too.\u003c\/p\u003e\u003cp\u003eThe rare acoustic recordings were sourced from existing vinyl \ntransfers, including a \"private\" box set from the 1970s, WHS 102\/4. It \nis from notes enclosed here that the archive review for this release was\n derived - I could find no reviews when searching in the Gramophone and \nFanfare archives of any of Beecham's 1950s Columbia symphony recordings.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Symphony No. 31 \"Paris\"\u003cbr\u003eColumbia ML-4474\u003cbr\u003eRecorded Kingsway Hall, London, 9 March 1951\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Symphony No. 35 \"Haffner\"\u003cbr\u003eColumbia ML-5001\u003cbr\u003eRecorded Walthamstow Assembly Hall, 7 December 1953\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Symphony No. 36 \"Linz\"\u003cbr\u003eColumbia ML-5001\u003cbr\u003eRecorded Walthamstow Assembly Hall, 1 May 1954\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003cbr\u003e\u003c\/b\u003eSir Thomas Beecham, conductor\u003c\/p\u003e\n\u003cp class=\"bodybigblue\"\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e The Magic Flute: Overture\u003cbr\u003eColumbia L-1001\u003cbr\u003eMatrix Nos. 6559\/60, recorded 1915\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Divertimento in D major, K.131, 5th mvt. \u003cbr\u003eColumbia L-1132\u003cbr\u003eMatrix Nos. 6904, recorded 1916\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e The Marriage of Figaro: Overture \u003cbr\u003eColumbia L-1115\u003cbr\u003eMatrix Nos. 6908, recorded 1916\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e The Marriage of Figaro: Sarabande\u003cbr\u003eColumbia L-1227\u003cbr\u003eMatrix Nos. 76037, recorded 1917\u003cbr\u003eN.B. This is in fact the Fandango music from the end of Act 3 \u003c\/p\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eBeecham Symphony Orchestra\u003cbr\u003e\u003c\/b\u003eSir Thomas Beecham, conductor\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC409.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC409.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":31975220365,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975220429,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975220493,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975220557,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC409_8d1d4781-27a5-4351-9f70-63b8cbf92fcc.jpg?v=1487681876"},{"product_id":"pasc413","title":"BEECHAM conducts Mozart, Volume 2 (1950\/55) - PASC413","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMozart \u003c\/b\u003eSymphonies 38, 39\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMozart \u003c\/b\u003eDivertimento No. 2\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio recordings · 1950\/55\u003cbr\u003eTotal duration: 76:40\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eSir Thomas Beecham, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fAudiophile Audition review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fBeecham moves the rising and falling scales with bustling aplomb, the individual colors never once sacrificed while he maintains a luxurious fleetness of execution578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eAudio engineer and producer Andrew Rose resurrects a trio of classic \nBeecham renditions of Mozart the conductor inscribed for both Columbia \nand HMV, 1950 and 1955. Many a collector of the old CBS LPs will recall \nhis fondness for ML 4313 (rec. 18 April 1950), the “Prague” Symphony as \nled by a virile Beecham with the Royal Philharmonic, a full-blooded \naccount whose sound now has the benefit of having had its formerly \nsonorities softened enough for us to savor he wit and robust accents \nBeecham intended.  The Beecham approach to Mozart does not aim for its \nViennese charm, even if it be transposed to the Czech capital which \ngreeted Mozart in 1787 with unabashed affection.  Beecham’s opening \nmovement communicates – in the course of four \u003ci\u003ethemes\u003c\/i\u003e spread over 30 \u003ci\u003emeasures\u003c\/i\u003e\n – a regal pomp and ceremonial verve in its trumpets and drums, as \nthough the spirit of Haydn were nigh, with energetic resonance in the \nplastic \u003ci\u003esyncopations\u003c\/i\u003e and \u003ci\u003ecounterpoints.\u003c\/i\u003e Robustly fervent, a\n spirit of breathless invention and exalted buoyancy permeates the \nplaying, inspired and thrilling alert, at once.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe extraordinary \u003ci\u003eAndante \u003c\/i\u003edemands we attend the exotic colors and shadowy \u003ci\u003eharmonies\u003c\/i\u003e, especially in the RPO woodwinds as they progress over low strings. The \u003ci\u003echromatic line\u003c\/i\u003e of the strings has sinew and erotic beauty, the music sighing \u003ci\u003econtrapuntally\u003c\/i\u003e and then becoming decisively and even morbidly martial in spirit.  The vivid colloquy in the winds often moves into the \u003ci\u003eminor mode\u003c\/i\u003e\n with an almost Baroque sense of anguish, yet the effect remains \nelegantly noble. The hectic last movement challenges any ensemble for \nclarity and dexterity simultaneously; even Leopold Mozart admonished his\n son’s testing of the Prague players. The RPO bassoon has as much of a \nworkout as the more exposed, \u003ci\u003ehigher register\u003c\/i\u003e players. The \nexplosive and aerial acrobatics move with lithe grace under Beecham, \nplayful but always deftly athletic, a performance with meat!\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBeecham originally recorded the 1788 \u003ci\u003eSymphony No. 39\u003c\/i\u003e on 22 \nOctober 1955 for CBS (ML 5194). Mozart seems to have conceived the work \nas a constant fusion of polar energies, with melodies that often divide \nthe emergent line among various instruments, like the clarinet. The \ndotted rhythms and ceremonial splendors of the opening \u003ci\u003eAdagio – Allegro\u003c\/i\u003e yield to a series of plaintive melodies that indulge the violins’ E strings. The strings execute \u003ci\u003erocket figures\u003c\/i\u003e as well as \u003ci\u003epizzicato\u003c\/i\u003e magic, and the RPO horns have rarely sounded so opulent. The \u003ci\u003eA-flat Major Andante con moto \u003c\/i\u003eextends\n the stately gravitas of the opening of the first movement, offering a \ndarkly colored line that becomes mordant and emotionally troubled. When \nthe full body of strings exults in tandem with the woodwinds, the effect\n haunts the imagination.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eFew \u003ci\u003eMenuetto and Trio\u003c\/i\u003e movements communicate as much raw power \nas Mozart’s here in this work. Furtwaengler’s Berlin recording remains \nthe most potently tragic and militant reading I know, quite belying the \u003ci\u003elaendler \u003c\/i\u003echaracter\n of the original folk dance. Beecham’s realization enjoys a healthy \nswagger and estimable sense of bright purpose. The punctuated winds and \nhorns demand our admiration. The\u003ci\u003e Trio\u003c\/i\u003e adds a second \u003ci\u003echalumeau clarinet\u003c\/i\u003e to the texture, and over the pulsating strings Beecham injects an air of bucolic mystery. The 2\/4 \u003ci\u003eAllegro\u003c\/i\u003e\n finale proves another galloping example of Beecham’s virtuoso orchestra\n in delighted, delightful throttle, with exuberant chirps from bassoon \nand comrade woodwinds. Beecham moves the rising and falling \u003ci\u003escales\u003c\/i\u003e with bustling aplomb, the individual colors never once sacrificed while he maintains a luxurious fleetness of execution.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBeecham inscribed the 1772 \u003ci\u003eDivertimento No. 2\u003c\/i\u003e fro HMV on 22 December 1955.  The piece would qualify as a \u003ci\u003eserenade\u003c\/i\u003e,\n except it calls for four horns and possesses a ceremonial slow movement\n that may have been intended for a wedding. Beecham’s entire concept \nhere waxes frothy and bountiful of sound, especially in his wind, \nstring, and horn parts. The \u003ci\u003eAdagio\u003c\/i\u003e plays as a true love song.  \nEvery bar indulges itself in the finesse and stylish elegance of a \nrefined taste. As one reviewer for \u003ci\u003eThe Gramophone\u003c\/i\u003e stated in 1968:\n “Anyone who doesn’t delight in Beecham’s incomparably stylish way with \nit, as well as in the superb playing. . .well, I am sorry for him!”  So,\n save yourself the pity and purchase this exemplary restoration.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e—Gary Lemco\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"http:\/\/www.audaud.com\/beecham-conducts-mozart-symphonies-vol-2-mozart-symphony-no-38-in-d-major-prague-symphony-no-39-in-e-flat-major-divertimento-no-2-in-d-major-royal-philharmonic-o\/\" target=\"_blank\"\u003eAudiophile Audition\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC413.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSir Thomas Beecham conducts Mozart Symphonies - Volume 2\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e“These\n 1950s recordings remind us what a passionate Mozartian Beecham was. \nPristine has refreshed the sound expertly” - The Sunday Times, 2014\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe symphony recordings here were both made for US Columbia LP \nreleases. In both cases the works had been recorded with Beecham's \nprevious orchestra, the London Philharmonic, for EMI 78rpm release in \nMarch 1940, but in both cases these are the only studio recordings he \nmade to tape, and the only recordings made with the Royal Philharmonic \nof the two symphonies. Both were issued later in Europe on Philips and \nits subsidiary label, \u003cem\u003eFonata\u003c\/em\u003e, from which the present transfers \nwere drawn. Recording quality, post-XR remastering, turns out to have \nbeen remarkably and consistently good, albeit in mono for both \nrecordings - the originals prior to this remastering being somewhat \nharsh in reproduction, particularly the 1950 recording of the 38th \nSymphony.\u003c\/p\u003e\n\u003cp\u003eBy contrast the \u003cem\u003eDivertimento\u003c\/em\u003e, made by EMI in the most \ncontrolled conditions of Abbey Road studios required less XR adjustment \nto bring out its magic. The recording does, however, raise some \nquestions to which I, at the time of writing, can offer only speculative\n answers. The recording originally appeared on a mono LP, alongside a \n1957 recording of the \u003cem\u003eJupiter\u003c\/em\u003e Symphony. Its reissue in 1968 was, likewise, mono, but a recent CD issue on EMI is in full stereo.\u003c\/p\u003e\n\u003cp\u003eA careful examination of the mono and stereo issues reveals a number \nof differences, but at the same time a number of clear similarities. At \ntimes one is convinced they are the same recording - elsewhere the \nplaying is clearly different, if only slightly. I can only conclude that\n the recording sessions were captured both in mono and stereo separately\n (this being a time when stereo recording was still in an experimental \nstage). The mono tapes would have been edited for release, as is normal,\n but when EMI returned to the stereo tapes for their recent reissue, \neither by accident or by design they produced a different edit, using \nsome of the same and some alternate takes by comparison to the original \nmono master approved by Beecham, which appears here. A careful \nexamination will reveal considerable timing differences in some \nmovements between the two versions.\u003c\/p\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Symphony No. 38 in D, K.504, \"Prague\" \u003cbr\u003eColumbia ML-4313\u003cbr\u003eRecorded Kingsway Hall, London, 18 April 1950\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Symphony No. 39 in E flat, K.543 \u003cbr\u003eColumbia ML-5194\u003cbr\u003eRecorded Walthamstow Assembly Hall, 22 October 1955\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Divertimento No. 2 in D, K.131 \u003cbr\u003eHMV ALP.1536\u003cbr\u003eRecorded Abbey Road Studio 1, 22 December 1955\u003cbr\u003eOriginal mono edit (see programme notes)\u003cbr\u003eNB. Beecham omits the 3rd movement\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003cbr\u003e\u003c\/b\u003eSir Thomas Beecham, conductor\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC413.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC413.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":31975220685,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975220749,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975220813,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975220877,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC413_4a49b11a-df10-48ba-9c4d-3fef707550b9.jpg?v=1487681878"},{"product_id":"pasc415","title":"BEECHAM conducts Mozart, Volume 3 (1912-58) - PASC415","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMozart \u003c\/b\u003eSymphonies 40, 41\u003cb\u003e\u003cbr\u003eMozart \u003c\/b\u003eBassoon Concerto\u003cb\u003e\u003cbr\u003eMozart\u003c\/b\u003e The Marriage of Figaro: Overture\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio recordings · 1912-1958\u003cbr\u003eProducer and XR Remastering: Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Sir Thomas Beecham\u003cbr\u003eTotal duration: 75:28 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eSir Thomas Beecham, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eGwydion Brooke\u003c\/b\u003e, bassoon \u003cb\u003e\u003cbr\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIt always is vibrant and energizing, but never with a lack of feeling for color and nuance578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAt the lunch held for Thomas \nBeecham’s 70th birthday, congratulatory telegrams—including some from \ncomposers—were read to him. When the applause died down, Beecham asked \ngently, “Nothing from Mozart?” For all of Beecham’s renown as a \nconductor of Delius and Handel, Mozart was central to his repertory. \nIndeed, Beecham explored the heights and depths of Mozart, and Mozart in\n turn gave Beecham the most comprehensive avenue for displaying his \nartistry. Beecham said that Mozart introduced into music “an intimacy, a\n masculine tenderness, unique—something confiding, affectionate.” \nBeneath the conductor’s brilliant exterior, this was a quality Beecham \nshared with the composer, endearing him to his players and audiences. \nBeecham was one of the few conductors of his time to program large \namounts of Mozart’s orchestral music, and, of that time, he presented \nMozart with a full orchestra and a large sound, although never with \nsentimentality. He was noted for meticulously placing marks for \nexpression in his players’ parts, so it is not surprising that, \nparticularly in the two symphonies on this CD, one can hear an attention\n to detail rare in recordings of these works from any era. Beecham \nquipped that “a fine performance” required “the maximum of virility \ncoupled with the maximum of delicacy.” The bawdy overtone \nnotwithstanding, there is truth in this remark for Beecham’s Mozart. It \nalways is vibrant and energizing, but never with a lack of feeling for \ncolor and nuance. For better or worse, it sounds like no one else’s \nMozart. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBeecham starts the 40th Symphony at a \nquicker tempo than many of his contemporaries did. One immediately is \nstruck by the orchestral sound’s beauty, as is true throughout both \nsymphonies. A member of the Cleveland Orchestra commented on the \nsimplicity of Beecham’s gestures in Mozart, which must have contributed \nto the gorgeous tone. The urgency of the RPO’s playing helps accentuate \nthe first movement’s tragic sense. Beecham gives the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003emuch\n room to breathe. It is full of the “masculine tenderness” Beecham \ndescribes. In the third movement, the orchestra’s sound, with its tragic\n nature, has overtones of Gluck. The trio, to use Beecham’s term, is \n“confiding.” The final movement features despair matched with \nexhilaration. The “Jupiter” on this CD is Beecham’s 1950 mono version, \nnot his stereo remake. Its opening movement is lively, noble, and \nmajestic. The slow movement is truly \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ecantabile\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n with beautifully flowing, singing phrases. The whole has a domestic \nfeeling, as if depicting Wolfgang alone with Constanze. A mixture of \npomp and gentleness informs the third movement. The last movement is \noperatic in its scope and its multiplicity of gestures. It is of a piece\n with the ensemble that closes \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Giovanni\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. Beecham’s (and Mozart’s) zest for life is readily apparent. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThe bassoon concerto receives the only\n stereo recording on the CD. Gwydion Brooke is a rich-toned and nimble \nsoloist, with a distinctive sound. The uncredited cadenzas he uses play \nto the instrument’s gnomic quality. Beecham is a warm and sympathetic \ncolleague. The 1912 recording of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFigaro \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eoverture,\n featuring the legendary Beecham Symphony Orchestra, demonstrates that \nBeecham at age 33 already possessed the drive, wit, and elegance that \nwould characterize his whole career. Andrew Rose has done wonders \nremastering the two symphonies, which are in full-toned and beautifully \nbalanced mono, while his version of the concerto represents the Abbey \nRoad studio at its finest. He also has coaxed a highly listenable sound \nout of the 1912 acoustic overture. If you are looking for stereo CDs of \nthe two symphonies, I would recommend Jeffrey Tate and Yehudi Menuhin. \nBeecham, however, is a law unto himself and deeply inspired. Perhaps we \nshould give the conductor the last word. When Fritz Reiner came \nbackstage to congratulate the conductor “on a wonderful evening of \nBeecham and Mozart,” Beecham replied, “Why drag Mozart into it?” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDave Saemann\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:2 (Nov\/Dec 2014) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC415.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSir Thomas Beecham conducts Mozart Symphonies - the 1950s Columbia recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eThird of three volumes, plus the Bassoon Concerto and Beecham's very first, 1912 Mozart recording\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eAs with previous issues in this series, the symphony recordings here \nwere made for American releases on the US Columbia label, which had long\n since cut its ties with its British namesake. Yet, unlike several of \nthe Mozart symphony recordings Beecham made for US Columbia it was \nissued in the UK on EMI's Columbia subsidiary, which at the time was \nstill a 78rpm-only operation. It is one of the few of this series that \nBeecham returned to EMI's Abbey Road studios later that decade to \nremake, the Columbia recordings having taken place in London's Kingsway \nHall. The 1954 recording of the 40th Symphony, by contrast, found its \nBritish issue on the Philips label, two years after its recording. \nBeecham had previously recorded it with the London Philharmonic for EMI \nin 1937; this is his only other studio recording.\u003c\/p\u003e\n\u003cp\u003eThe two other recordings presented here almost serve to bookend the \nconductor's recorded career. The Bassoon Concerto was originally issued \nas a mono LP but was also recorded in stereo, and this is the version \npresented here from December 1958, and a very good hi-fi recording it is\n too; where the symphonies needed quite a lot of resurrecting, this was \ngenerally fine. By contrast, the 1912 recording of the overture to \nFigaro was his first outing with Mozart and from his second stint in the\n recording studio, having cut seven sides in 1910. This acoustic \nrecording has been significantly updated in this XR remastering.\u003c\/p\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eFull Track Listing\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Symphony No. 40 in G minor, K.550\u003cbr\u003eColumbia ML-5194\u003cbr\u003eRecorded Walthamstow Assembly Hall, 26 April 1954\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Symphony No. 41 in C major, K.551, \"Jupiter\"\u003cbr\u003eColumbia ML-4313\u003cbr\u003eRecorded Kingsway Hall, London, 22 February 1950\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Bassoon Concerto in B flat major, K.191\u003cbr\u003eHMV ALP.1768, ASD.322\u003cbr\u003eRecorded Abbey Road Studio 1, 18 December 1958\u003cbr\u003eA stereo recording\u003cbr\u003e\u003cb\u003eGwydion Brooke\u003c\/b\u003e, bassoon \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003cbr\u003e\u003c\/b\u003eSir Thomas Beecham, conductor\u003c\/p\u003e\n\u003cp class=\"bodybigblue\"\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e The Marriage of Figaro: Overture\u003cbr\u003eOdeon X-84\u003cbr\u003eMatrix number 76212, Lxx 3677\u003cbr\u003eRecorded c. 1912\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBeecham Symphony Orchestra\u003cbr\u003e\u003c\/b\u003eSir Thomas Beecham, conductor\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC415.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC415.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":31975223373,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975223437,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975223501,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC415_00e0988e-95e8-4da2-8bb3-01349df0febe.jpg?v=1487681881"},{"product_id":"paco129","title":"BEECHAM Handel: Messiah (1927) - PACO129","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cb\u003eHANDEL \u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003eMessiah\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio recording, 1927\u003cbr\u003eTotal duration: 2hr 4:04\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eDora Labbette\u003c\/b\u003e soprano\u003cb\u003e\u003cbr\u003eMuriel Brunskill\u003c\/b\u003e contralto\u003cb\u003e\u003cbr\u003eHubert Eisdell\u003c\/b\u003e tenor\u003cb\u003e\u003cbr\u003eHarold Williams\u003c\/b\u003e bass\u003cb\u003e\u003cbr\u003eOrchestra and BBC Choir\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eSir Thomas Beecham\u003c\/b\u003e conductor\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fAs an extraordinary glimpse into the performance history of one of the seminal works in Western music, it is a release of immense importance578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThomas Beecham made three important recordings of Handel’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMessiah\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n This was the first (and the first relatively complete electrical \nrecording), made in 1927. In 1947 he made a more complete version, \nbriefly issued on CD by Pearl, and then in 1959 he produced for RCA the \nspectacularly reorchestrated version (there is some question as to how \nmuch of that reorchestration is Beecham and how much is Goossens). In \nthe \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eArchive\n you can find two really perceptive reviews of the other two Beecham \nreleases by John Bauman (who shares with me a guilty love for the \nover-the-top 1959 recording, complete with cymbals, French horns, and \nLord knows what else). \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn all three, Beecham demonstrates a \ndeep love for the score, and a passion and energy that is clearly aimed \nat removing any stuffiness that may have accumulated. Contemporary \naccounts of this 1927 recording indicate that Beecham’s tempos were \nquicker, his rhythms sharper, and the energy level higher than was the \ncustom at the time. Mark Obert-Thorn has done his typically superb work \nin cleaning up the sound, and providing a richness of balance and color \nthat one would not have expected from these originals. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe performance uses the then-standard \nProut edition of the score, based on Mozart’s reorchestration of \nHandel’s original, and employs some traditional cuts. The later \nrecordings are both more complete, 1947 being the most complete of the \nthree. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIt would be impossible to recommend this recording to anyone looking for a basic \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMessiah\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, or even a Beecham \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMessiah\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n I wouldn’t want to be without the large-scaled 1959 performance, and \nperhaps even the 1947 version as well. But for anyone interested in the \nhistory of performance style, this is an extremely important recording. \nPrior to this the work was performed by large Victorian choirs and \nweighed down with slow tempos and heavy rhythms. Singers involved with \nthis recording, and observers at the time, commented strikingly on the \nconductor’s lightening of the texture, and the addition of energy and \ntautness to the score. The contralto soloist in this recording is quoted\n as having said: “His tempi for this work, which now are taken for \ngranted, were revolutionary; he entirely revitalized it, the old slow \nprogress was gone forever. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMessiah \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewas reborn.” \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThere are a few oddities about this \nrecording. Although the “Pastoral Symphony” was originally recorded, it \nwas not included in the 78-rpm set (perhaps because it made for an odd \nside). When Pearl reissued this performance (in much thinner sound) they\n did not include the “Pastoral Symphony,” probably because they were \nunaware that it had been recorded. Pristine has included it—and what a \nwonderfully phrased bit of beautiful playing it is (yes, with plenty of \nvibrato). More confounding is that the original recording did not \ninclude the final “Amen.” There is no known explanation, and one is \nshocked that Beecham permitted this, as the work concludes on the \ndominant! Pristine, after a tasteful pause, adds “Amen” from Beecham’s \n1947 recording. It doesn’t quite fit in terms of performance style and \nsound world, but it is better than leaving that shoe undropped. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThe soloists are better in both of \nBeecham’s later recordings, though alto Muriel Brunskill and tenor \nHubert Eisdell acquit themselves well enough here. Again, this cannot be\n thought of as anyone’s basic \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMessiah\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n recording. But as an extraordinary glimpse into the performance history\n of one of the seminal works in Western music, it is a release of \nimmense importance, and produced by Pristine at the highest possible \nlevel. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:5 (May\/June 2016) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO129.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSir Thomas Beecham's \"revolutionary\" 1927 recording of the Messiah\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e“A performance that has great nervous energy, and that gives us all the strength ... that lies in the best parts of the music” \u003cbr\u003e- The Gramophone, 1928\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eSir Thomas Beecham’s 1927 recording of Handel’s Messiah has often \nsuffered in comparison with his two later versions of the work. It is \nthe least complete of the three (the 1947 set wins in that regard, if \nonly by the inclusion of the “B” sections of two da capo arias not found\n in the 1959 stereo remake), and is in the most primitive sound. \nAdditionally, the soloists and chorus were arguably bettered in the \nlater versions. Nevertheless, it is valuable to hear, not only as a \ndocument of performance practice in transition from the huge choirs and \nslower tempi of the Victorian era, but also of the development of \nBeecham as a Handel interpreter. As contralto soloist Muriel Brunskill \nlater recalled, “His tempi for this work, which now are taken for \ngranted, were revolutionary; he entirely revitalized it, the old slow \nprogress was gone forever. Messiah was reborn.”\u003cp\u003eFor this first extended recording of the electrical era, Beecham used\n the then-standard Ebenezer Prout edition with its customary cuts and \nsimplified orchestration based on Mozart’s arrangement. Most curiously, \nthe final “Amen” was not recorded, which left the performance ending in \nthe dominant. For those who find this like “waiting for the other shoe \nto drop”, I have included as an appendix the finale taken from Beecham’s\n 1947 remake, although I have not joined it to the earlier recording so \nas not to falsify it. Also missing from the original set but presented \nhere was the “Pastoral Symphony.” Though recorded during the Messiah \nsessions, it was not included because it would have been an odd side. It\n was instead released on a single disc with another coupling. (One \nwonders why Columbia didn’t record the “Amen” and include it with the \n“Pastoral Symphony” to fill out the set without any odd sides. Perhaps \nit was thought that an 18 disc set was already enough of a challenge for\n collectors to afford.)\u003c\/p\u003e\u003cp\u003eAlthough EMI brought out an LP of excerpts, the present recording has\n only had one complete extended-play reissue, a Pearl CD set from 1990 \nwhich left out the “Pastoral Symphony” because the producers were \nunaware that it existed. The problems inherent in the original recording\n might have something to do with the paucity of reissues. Although the \nwarm acoustic of Central Hall, Westminster is well caught and the \nbalances between soloists, chorus and orchestra are good, the original \ndiscs sound muffled and bass-heavy. In order to bring out detail, I had \nto boost the upper frequencies a good deal, which also brought along a \nheavier-than-usual amount of surface noise. In addition to this, each \nside had a good amount of pitch drift, which Andrew Rose has \nsuccessfully managed with the aid of Capstan software. The frequent, \nalmost random volume level fluctuations during some of the choruses, \nhowever, proved to be an intractable problem.\u003c\/p\u003e\u003cp\u003eThe sources for the transfers were exceptionally quiet American \nColumbia “Full-Range” and “microphone” label pressings, except for the \n“Pastoral Symphony” side, which came from a first-edition laminated \nEnglish Columbia disc.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHANDEL \u003c\/b\u003e\u003cspan\u003eMessiah\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eCD 1   (61:03)\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003ePart I\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e1          \u003cb\u003eOverture\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 9 July 1927 ∙ Matrix: WAX 2959-1 (Columbia L 2018)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e2          Recit: \u003cb\u003eComfort ye, my people\u003c\/b\u003e \u003cem\u003e(Tenor)\u003c\/em\u003e*\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 8 October 1927 ∙ Matrix: WAX 3093-2 (Columbia L 2018)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e3          Air: \u003cb\u003eEv'ry valley shall be exalted\u003c\/b\u003e \u003cem\u003e(Tenor)\u003c\/em\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 9 July 1927 ∙ Matrix: WAX 2958-1 (Columbia L 2019)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e4          Chorus: \u003cb\u003eAnd the glory of the Lord  \u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 27 June 1927 ∙ Matrix: WAX 2890-6 (Columbia L 2019)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e5          Recit: \u003cb\u003eThus saith the Lord\u003c\/b\u003e \u003cem\u003e(Bass)\u003c\/em\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 1 July 1927 ∙ Matrix: WAX 2933-4 (Columbia L 2020)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e6          Air: \u003cb\u003eBut who may abide\u003c\/b\u003e \u003cem\u003e(Bass)\u003c\/em\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 1 July 1927 ∙ Matrices: WAX 2933-4 \u0026amp; 2938-4 (Columbia L 2020)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e7          Chorus: \u003cb\u003eAnd He shall purify  \u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 24 June 1927 ∙ Matrix: WAX 2893-3 (Columbia L 2021)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e8          Recit: \u003cb\u003eBehold, a virgin shall conceive\u003c\/b\u003e; Air \u0026amp; Chorus: \u003cb\u003eO thou that tellest good tidings\u003c\/b\u003e \u003cem\u003e(Contralto)\u003cbr\u003e\u003c\/em\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 30 June 1927 ∙ Matrices: WAX 2928-2 \u0026amp; 2927-2 (Columbia L 2021\/2)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e9          Recit: \u003cb\u003eFor behold, darkness shall cover\u003c\/b\u003e \u003cem\u003e(Bass)\u003cbr\u003e\u003c\/em\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 1 July 1927 ∙ Matrix: WAX 2934-2 (Columbia L 2022)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e10        Air: \u003cb\u003eThe people that walked in darkness\u003c\/b\u003e \u003cem\u003e(Bass)\u003c\/em\u003e  \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 1 July 1927 ∙ Matrices: WAX 2934-2 \u0026amp; 2937-4 (Columbia L 2022\/3)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e11        Chorus: \u003cb\u003eFor unto us a child is born\u003c\/b\u003e  \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 27 June 1927 ∙ Matrix: WAX 2891-4 (Columbia L 2023)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e12        \u003cb\u003ePastoral Symphony\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 2 July 1927 ∙ Matrix: WAX 2941-3 (Columbia L 2345)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e13        Recit: \u003cb\u003eThere were shepherds abiding in the fields\u003c\/b\u003e \u003cem\u003e(Soprano)\u003c\/em\u003e  \u003cbr\u003e14        Chorus: \u003cb\u003eGlory to God in the highest\u003c\/b\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 28 June 1927 ∙ Matrix: WAX 2904-1 (Columbia L 2024)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e15        Air: \u003cb\u003eRejoice greatly, O daughter\u003c\/b\u003e \u003cem\u003e(Soprano)\u003c\/em\u003e  \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 7 July 1927 ∙ Matrix: WAX 2950-3 (Columbia L 2024)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e16        Recit: \u003cb\u003eThen shall the eyes; Air: He shall feed his flock\u003c\/b\u003e \u003cem\u003e(Contralto \u0026amp; \u003c\/em\u003e\u003cem\u003eSoprano)\u003c\/em\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 7 July 1927 ∙ Matrices: WAX 2947-4 \u0026amp; 2948-4 (Columbia L 2025)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e17        Chorus: \u003cb\u003eHis yoke is easy\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 30 June 1927 ∙ Matrix: WAX 2924-4 (Columbia L 2026)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eCD 2   (63:05)\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: small;\"\u003ePart II\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e1          Chorus: \u003cb\u003eBehold the Lamb of God\u003c\/b\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 27 June 1927 ∙ Matrix: WAX 2899-1 (Columbia L 2026)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e2          Air: \u003cb\u003eHe was despised\u003c\/b\u003e \u003cem\u003e(Contralto)\u003c\/em\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 1 July 1927 ∙ Matrices: WAX 2935-2 \u0026amp; 2936-3 (Columbia L 2027)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e3          Chorus: \u003cb\u003eSurely, He hath borne our griefs\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 27 June 1927 ∙ Matrix: WAX 2900-2 (Columbia L 2028)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e4          Chorus: \u003cb\u003eAnd with His stripes we are healed\u003c\/b\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 27 June 1927 ∙ Matrix: WAX 2901-1 (Columbia L 2028)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e5          Chorus: \u003cb\u003eAll we like sheep have gone astray\u003c\/b\u003e  \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 27 June 1927 ∙ Matrix: WAX 2898-2 (Columbia L 2029)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e6          Recit: \u003cb\u003eAll they that see him\u003c\/b\u003e \u003cem\u003e(Tenor)\u003c\/em\u003e; Chorus: \u003cb\u003eHe trusted in God\u003c\/b\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 28 June 1927 ∙ Matrix: WAX 2902-2 (Columbia L 2029)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e7          Recit: \u003cb\u003eThy rebuke hath broken His heart; Air: Behold, and see\u003c\/b\u003e \u003cem\u003e(Tenor)\u003cbr\u003e\u003c\/em\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 2 July 1927 ∙ Matrix: WAX 2939-2 (Columbia L 2030)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e8          Recit: \u003cb\u003eHe was cut off out of the land\u003c\/b\u003e; Air: \u003cb\u003eBut Thou didst not leave\u003c\/b\u003e \u003cem\u003e(Tenor)\u003c\/em\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 2 July 1927 ∙ Matrix: WAX 2940-3 (Columbia L 2030)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e9          Chorus: \u003cb\u003eLift up your heads\u003c\/b\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 24 June 1927 ∙ Matrix: WAX 2892-3 (Columbia L 2031)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e10        Air: \u003cb\u003eHow beautiful are the feet\u003c\/b\u003e \u003cem\u003e(Soprano)\u003c\/em\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 9 July 1927 ∙ Matrix: WAX 2956-2 (Columbia L 2031)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e11        Air: \u003cb\u003eWhy do the nations so furiously rage\u003c\/b\u003e \u003cem\u003e(Bass)\u003c\/em\u003e \u003cbr\u003e12        Chorus: \u003cb\u003eLet us break their bonds\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 30 June 1927 ∙ Matrix: WAX 2925-5 (Columbia L 2032)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e13        Recit: \u003cb\u003eHe that dwelleth in heaven\u003c\/b\u003e; Air: \u003cb\u003eThou shalt break them\u003c\/b\u003e \u003cem\u003e(Tenor)\u003c\/em\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 9 July 1927 ∙ Matrix: WAX 2955-2 (Columbia L 2032)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e14        Chorus: \u003cb\u003eHallelujah!\u003c\/b\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 28 June 1927 ∙ Matrix: WAX 2905-2 (Columbia L 2033)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003ePart III\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e15        Air: \u003cb\u003eI know that my Redeemer liveth\u003c\/b\u003e \u003cem\u003e(Soprano)\u003c\/em\u003e  \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 11 July 1927 ∙ Matrices: WAX 2969-2 \u0026amp; 2970-1 (Columbia L 2033\/4)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e16        Quartet \u0026amp; Chorus: \u003cb\u003eSince by man came death\u003c\/b\u003e*  \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 8 October 1927 ∙ Matrix: WAX 3092-2 (Columbia L 2034)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e17        Recit: \u003cb\u003eBehold, I tell you a mystery\u003c\/b\u003e; Air: \u003cb\u003eThe trumpet shall sound\u003c\/b\u003e (Bass)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 7 July 1927 ∙ Matrix: WAX 2949-4 (Columbia L 2035)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e18        Chorus: \u003cb\u003eWorthy is the Lamb\u003c\/b\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 28 June 1927 ∙ Matrix: WAX 2903-3 (Columbia L 2035)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cb style=\"font-size: small;\"\u003eAppendix from Beecham’s 1947 Recording:\u003c\/b\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e19        Chorus: \u003cb\u003eAmen\u003c\/b\u003e**    \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 8 July 1947 ∙ Matrix: 2EA 11915-4 (RCA Victor 12-0117 in album M-1195)\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eDora Labbette \u003c\/b\u003esoprano\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003cb\u003eMuriel Brunskill \u003c\/b\u003econtralto\u003cbr\u003e*\u003cb\u003eNellie Walker\u003c\/b\u003e, contralto\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003cb\u003eHubert Eisdell \u003c\/b\u003etenor\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003cb\u003eHarold Williams \u003c\/b\u003ebass\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eOrchestra and BBC Choir\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cb\u003e**Luton Choral Society and Special Choir\u003cbr\u003e\u003c\/b\u003e\u003cb\u003e**Herbert Dawson, organ\u003cbr\u003e\u003c\/b\u003e\u003cb\u003e**Royal Philharmonic Orchestra\u003c\/b\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSir Thomas Beecham \u003c\/b\u003econductor\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded in the Central Hall, Westminster, London\u003cbr\u003e*The Portman Rooms, London \u003cbr\u003e**Abbey Road Studio No. 1, London\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO129.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO129.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":31975224013,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31975224077,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO129_6f654814-4979-4de5-8efe-a0cf11e072cd.jpg?v=1487681884"},{"product_id":"paco045","title":"BEECHAM Mozart: Die Zauberflöte (1937-38) - PACO045","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e \u003cspan data_liveedit_tagid=\"000000000D771840\"\u003eDie Zauberflöte (The Magic Flute)\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio recording from 1937-8\u003cbr\u003eTotal duration: 2hr 10:01\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eBerlin Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eFavres Solisten Vereinigung\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003econducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003e Sir Thomas Beecham\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fWhat I had forgotten was the weightiness of Beecham’s reading. The powerful first chord rings out with almost Wagnerian solemnity578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eWe have come to expect impressive sound from Andrew Rose’s \n                  XR re-mastering and he has ensured both clarity and dynamic \n                  power. I haven’t listened to this set for quite some time \n                  - not since the LP era in fact although I have heard some re-mastered \n                  excerpts, but I wasn’t prepared for such ‘modern’ \n                  sound. Without knowing the origin I would have guessed it was \n                  a good mono recording from the 1950s. So on these grounds alone \n                  this set can be heartily recommended to all lovers of \u003ci\u003eDie \n                  Zauberflöte\u003c\/i\u003e. Keep in mind, though, that it was recorded \n                  without the spoken dialogue. This means that the individual \n                  numbers come in quick succession, very much as they wound do \n                  on a highlights disc. \u003cbr\u003e\n                    \u003cbr\u003e\n                  What I had forgotten was the weightiness of Beecham’s \n                  reading. The powerful first chord rings out with almost Wagnerian \n                  solemnity and this is an impression that prevails throughout \n                  the overture. Even the quick second half has more dramatic weight \n                  than Singspiel jollity. \u003cbr\u003e\n                    \u003cbr\u003e\n                  This impression is reinforced when we are confronted with Helge \n                  Roswaenge’s Tamino. Roswaenge was known more for his brilliant \n                  top notes and dramatic heft than lyrical flexibility and elegance. \n                  Here one associates the results more readily with Wagnerian \n                  effortfulness than Mozartean warmth. He is closer in approach \n                  to Siegfried than to Tamino. I must qualify this verdict to \n                  some extent. In \u003ci\u003eDies Bildnis ist bezaubernd schön\u003c\/i\u003e \n                  he is more nuanced and actually quite lovable. Maybe he was \n                  inspired by Gerhard Hüsch’s famous reading of Papageno \n                  and his interpretation of \u003ci\u003eDer Vogelfänger bin ich ja\u003c\/i\u003e, \n                  which was heard just before the Tamino aria. Listening closely \n                  to Hüsch I have to admit that there are baritones from \n                  more modern times who have imbued the aria with greater spirit \n                  and\/or elegance. Dietrich Fischer-Dieskau and Walter Berry are \n                  two singers who, in their contrasting ways, have come closer \n                  to the character. Hüsch feels ‘every-day-penny-plain’. \n                  He is much better later on in the opera and in particular in \n                  \u003ci\u003eEin Mädchen oder Weibchen\u003c\/i\u003e, where his Lieder singer \n                  experience and care for words is a great asset. And the suicide \n                  scene is deeply moving. \u003cbr\u003e\n                    \u003cbr\u003e\n                  Erna Berger was also a quite successful Lieder singer towards \n                  the end of her career in the 1950s. I still treasure a couple \n                  of Deutsche Grammophon LPs with her. More than fifteen years \n                  before that she was a brilliant Queen of the Night. In her first \n                  aria she also displays a warmth that makes ‘die sternflammende \n                  Königin’ more human. Her runs are occasionally smudged \n                  and a couple of her top notes are slightly out of pitch. This \n                  is however a worthy reading of this exacting aria and \u003ci\u003eDer \n                  Hölle Rache\u003c\/i\u003e in the second act is sung with awesome \n                  accuracy. \u003cbr\u003e\n                    \u003cbr\u003e\n                  Tiana Lemnitz is a lovely Pamina, some scooping apart. The duet \n                  with Papageno\u003ci\u003eBei Männern\u003c\/i\u003e is one of the highlights \n                  of the recording and her aria \u003ci\u003eAch, ich fühl’s\u003c\/i\u003e \n                  is lovely and sensitive. Wilhelm Strientz is a lightweight Sarastro \n                  but sings with great warmth and has the required low notes. \n                  Both his arias are good. His legato in \u003ci\u003eIn diesen heil’gen \n                  Hallen\u003c\/i\u003e is admirable - and so is his diction. Walter Grossmann \n                  is a warm and fatherly Speaker and in the musically remarkable \n                  confrontation scene between him and Tamino, Roswaenge is at \n                  his most heroic with biting defiance. Heinrich Tessmer is a \n                  splendid Monostatos. \u003cbr\u003e\n                    \u003cbr\u003e\n                  I find that Pamina and Tamino are a curiously mismatched couple \n                  - especially in the \u003ci\u003eDer, welche wandelt\u003c\/i\u003e scene: she delightful \n                  as a lily, he knotty as an oak-tree. \u003cbr\u003e\n                    \u003cbr\u003e\n                  In spite of some misgivings this is still a desirable recording. \n                  When it was new, more than seventy years ago, it must have been \n                  a revelation to many. Berger, Lemnitz and Hüsch can stand \n                  comparison with some of the best singers on modern sets and \n                  most of the others are more than acceptable. \u003cbr\u003e\n                    \u003cbr\u003e\n                  For a comparable modern recording without spoken dialogue, Klemperer \n                  is a first recommendation with Gundula Janowith (Pamina), Lucia \n                  Popp (Queen of the Night) in her first recording, Nicolai Gedda \n                  (Tamino), Walter Berry (Papageno) and Gottlob Frick (Sarastro). \n                  Elisabeth Schwarzkopf and Christa Ludwig are luxury casting \n                  as First and Second Ladies. For complete recordings with dialogue \n                  Karl Böhm’s DG set, roughly contemporaneous with \n                  Klemperer, is still my favourite: Fritz Wunderlich (Tamino), \n                  Dietrich Fischer-Dieskau (Papageno), Franz Crass (Sarastro) \n                  and Hans Hotter (Speaker) are top contenders. Evelyn Lear (Pamina) \n                  and Roberta Peters (Queen of the Night) are not quite in their \n                  league. I also have a soft spot for the Wolfgang Sawallisch \n                  version. With remarkably refurbished sound this Beecham set \n                  should find an honoured place as an historic alternative in \n                  many a collection. \u003cbr\u003e\n                    \u003cbr\u003e\n                  \u003cb\u003e\u003ci\u003eGöran Forsling\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO045.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBeecham's original and - for some - still the best Zauberflöte\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eNow in superb XR-remastered sound quality in this new transfer\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003e\u003cspan class=\"body\"\u003eThis, the first 'full' recording of Mozart's \u003cem\u003eDie Zauberflöte\u003c\/em\u003e,\n was originally planned as a Glyndebourne recording under Fritz Busch, \nas with the previous three instalments of HMV's Mozart Opera Society \nseries. When the recording, planned for summer 1937, was abruptly \ncancelled, there was some surprise in the Glydebourne camp – surprise \nwhich must have turned to considerable annoyance when the reason became \nclear: producer Walter Legge had lined up Sir Thomas Beecham and a \ntop-line cast and orchestra in Berlin instead. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eGlyndebourne's loss, however, was our gain, and this \nproduction continues to set a benchmark to this day. It's no surprise, \ntherefore, that of the commercial recordings of the era it's been one of\n the most-requested for the Pristine XR treatment, despite its continued\n availability on a number of other releases and transfers.\u003c\/p\u003e\u003cp class=\"body\"\u003eHow does this transfer stack up against the competition?\n Well I admit I've not heard them all - and of course I'm biased (which \nis why there's a lengthy sample on this page). By comparison to the EMI \nCD issue the sound is much fuller, immediate and open - the slightly \nlower background noise from the EMI issue can be at least partially \naccounted for by the myriad missing frequencies. The Nimbus issue - on \nthe basis of the one track I've compared - is distant, almost \nacoustic-sounding, and dreadfully crackly, as if from an entirely \ndifferent era. I actually used Mark Obert-Thorn's 2001 Naxos transfer as\n a tming reference for side changes and make no apologies for \nshamelessly stealing his track mark points. But the last decade has seen\n dramatic strides forward in remastering technology, and he'd be the \nfirst to expect some improvement over what was possible when his \ntransfer was carried out:\u003c\/p\u003e\u003cp class=\"body\"\u003eXR remastering has done much both to bring more \nimmediacy and realism to the orchestra and singers, and to open out the \nupper end harmonics previously rolled off into the noise of the \nrecording as was the case with all commercial issues of the period. \nLower overall noise levels have been achieved, too, though I've used as \nlight a touch as I could with noise reduction in order to preserve as \nmuch fine musical detail as possible. Pushing the noise reduction any \nfurther began to suck life out of the recording – including the life \nwhich had only just been restored to it.\u003c\/p\u003e\u003cp class=\"body\"\u003eI used two sets of discs to put this together, both in \nnear-mint condition. The second set stood in where transportation and \nstorage had caused irreparable damage to the shellac of the primary set \n(a snapped disc is a snapped disc...) – both sets delivered excellent \ntransfers. Swish was evident through a good number of the 37 sides but \nhas generally been straightforward to treat.\u003c\/p\u003e\u003cp class=\"body\"\u003eIn 1938 the Gramophone reviewer characterised the \noriginal release as being well worth waiting for - \"better late than \nnever\" was the headline. For those who wrote asking for me to restore \nthis recording, I hope the same can be said of this issue today. Take a \nlisten to our extended sample and hear for yourself – I think it's all \ncome out rather well.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eMOZART \u003c\/b\u003e- Die Zauberflöte, K620\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cb\u003eHelge Roswaenge\u003c\/b\u003e (tenor) - Tamino\u003cbr\u003e \u003cb\u003eTiana Lemnitz\u003c\/b\u003e (soprano) - Pamina\u003cbr\u003e \u003cb\u003eGerhard Hüsch\u003c\/b\u003e (baritone) - Papageno\u003cbr\u003e \u003cb\u003eIrma Beilke\u003c\/b\u003e (soprano) - Papagena\/Old Woman\/First Boy\u003cbr\u003e \u003cb\u003eWilhelm Strienz \u003c\/b\u003e(bass) - Sarastro\u003cbr\u003e \u003cb\u003eErna Berger \u003c\/b\u003e(soprano) - Queen of the Night\u003cbr\u003e \u003cb\u003eHeinrich Tessmer \u003c\/b\u003e(tenor) - Monostatos the Moor\/First Man in Armour\u003cbr\u003e \u003cb\u003eHilde Scheppan\u003c\/b\u003e (soprano) - First Lady\u003cbr\u003e \u003cb\u003eElfriede Marherr\u003c\/b\u003e (soprano) - Second Lady\u003cbr\u003e \u003cb\u003eRut Berglund \u003c\/b\u003e(contralto) - Third Lady\/Third Boy\u003cbr\u003e \u003cb\u003eCarla Spletter \u003c\/b\u003e(soprano) - Second Boy\u003cbr\u003e \u003cb\u003eWalter Grossman\u003c\/b\u003e (bass) - Speaker\/Second Man in Armour\u003cbr\u003e \u003cb\u003eErnst Fabbry\u003c\/b\u003e (tenor) - Priest\u003cbr\u003e \u003cbr\u003e \u003cbr\u003e \u003cb\u003eFavres Solisten Vereinigung \u003cbr\u003e Berlin Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e conducted by \u003cb\u003eSir Thomas Beecham\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eSource information:\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded Beethovensaal, Berlin, 8-10, 12, 13, 15 November 1937 \u0026amp; 24 February, 2, 8 March, 1938. \u003cbr\u003e Original HMV recording produced by Walter Legge, engineered by Robert Beckett.\u003cbr\u003e Transfers from HMV Mozart Opera Society 78rpm discs in the Pristine Audio collection by Andrew Rose.\u003cbr\u003e Catalogue numbers: DB.8475-8493 Matrix numbers 2RA2416-2439; 2447-2459\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_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\/PACO045.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO045.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\"Technically, the recordings leave little or \nnothing to be desired the former high standard is maintained. Voices are\n well-balanced against each other and against the orchestra and details \nare commendably clear....\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eThe Queen of Night requires a faultless \ncoloratura technique combined with the vocal gifts of a dramatic \nsoprano. This dual qualification makes it difficult to find really \nsatisfactory artists for the part. Erna Berger is a success....\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eOf the male artists, Gerhard Hüsch stands out as \nan admirable Papagcno, giving due weight to the meaning of every phrase \nhe utters and maintaining a uniformly high vocal standard....\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eThe excellence of the duets and ensembles is very\n gratifying and calls for praise not only for the major principals, but \nfor the artists who undertook the parts of the three ladies, the three \nboys, the men in armour, etc.\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eThat The Magic Flute is extremely popular is \nevident from the large number of advance orders received for this \nrecording of it. Those who have an affection for the work need have no \nhesitation in subscribing for these records. The latest issue of The \nMozart Society is a worthy recording of a worthy performance and one \nthat does credit to all concerned in its production.\"\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eFrom first review in \u003cb\u003eThe Gramophone\u003c\/b\u003e, July 1938, by H. F. V. L.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":39082748493,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":39082748557,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":39082748621,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":39082748685,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO045_ff50a791-c126-4319-a080-1fe4df075ec3.jpg?v=1496844594"},{"product_id":"paco076","title":"BEECHAM Mozart: Requiem; Schubert: Symphony No. 5 (1954-59) - PACO076","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003eRequiem in D minor, K.626\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cbr\u003eSCHUBERT \u003c\/b\u003eSymphony No. 5 in B flat major, D485\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio recordings, 1954-1959\u003cbr\u003eTotal duration: 77:52\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003eElsie Morison \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003esoprano\u003c\/span\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003e \u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eMonica Sinclair \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003econtralto\u003c\/span\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003e \u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eAlexander Young \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003etenor\u003c\/span\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003e \u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eMarian Nowakowski \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003ebass\u003c\/span\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003e \u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eBBC Chorus, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003edir.\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e Leslie Woodgate\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eRoyal\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e Philharmonic Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eSir Thomas Beecham, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003econductor \u003c\/span\u003e\u003cspan style=\"font-size: 14px;\"\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe Schubert is one of those works that brought out the charm in Sir Thomas’s music-making; the Mozart shows his serious side, as well as his willingness to tinker with a score578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHere are two Beecham classics from the \n1950s: the mono Mozart Requiem of 1954–56 and the early stereo Schubert \nFifth from 1958–59. The Mozart is transferred from a copy of the English\n Fontana LP, the Schubert from the stereo LP on HMV Concert Classics, a \nbudget reissue line. (Fontana, which reissue producer Andrew Rose \ninsists on spelling “Fonata,” was a low-priced imprint of English \nPhilips, which had the U.K. rights to the recordings Beecham made for \nAmerican Columbia.) The Schubert is one of those works that brought out \nthe charm in Sir Thomas’s music-making; the Mozart shows his serious \nside, as well as his willingness to tinker with a score, although so \nmuch is speculative regarding what some like to call “the text” of this \nwork that this is not the heretical act it might be in, say, the \n“Jupiter” Symphony. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSince these recordings are well known \nto Beecham collectors, I will direct most of my observations to the \nsound of this reissue. I compared Rose’s transfer of the Mozart with my \ncopy of the original Columbia LP. As Rose claims in his “Transfer \nNotes,” his XR process (about the technical workings of which I admit my\n ignorance) brings out the sound of the chorus in a satisfying way. I am\n less taken with what it does to the solo voices, which have an \nartificial-sounding reverberance to them and seem somehow changed in \ncolor. Overall the transfer sounds quite decent, although I continue \nmarginally to prefer the LP. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Schubert is another matter. I was \nable to do A\/B comparisons with not only Concert Classics SXLP-30204 but\n also the original issue on ASD-345, as well as the currently available \nEMI CD. Rose has boosted the highs of his Concert Classics LP, but \nattenuated the bass. Moreover, since this LP reissue was weak in high \nfrequencies to begin with, his boost doesn’t really restore what has \nbeen removed, but rather creates a peak in the upper midrange that is \nquite apparent on A\/B listening. Even more telling is a comparison with \nthe original LP edition (on a “white and gold” pressing, highly prized \nby audiophiles): The violins are bright and clear here as opposed to \nbeing muffled on the SXLP version and edgy on Rose’s transfer. The \nwoodwinds’ instrumental signatures are clearer as well, and while the \nbass is somewhat deficient, the sound overall is far more natural than \non either reissue. The EMI CD is a bit strident but otherwise more \nhonest to the original timbres. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eMine seems to be the lone dissonant voice amid \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare’s\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n chorus of praise for Andrew Rose’s transfers. I believe that reviewing \nhistorical CDs should involve A\/B comparisons wherever possible, since \nthe middle-frequency-rich sound Rose produces, like that of Michael \nDutton, can be seductive if heard out of context. I further believe Rose\n should have used a superior source for the Schubert in particular. For \nthat matter, since EMI’s own CD clearly benefited from the use of master\n tapes superior to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eany\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e LP incarnation, one wonders why Rose bothered to issue it at all. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eRose clearly falls into the \ninterventionist school of transfer engineers. It seems to me that his \ntransfers are successful in inverse proportion to the quality of the \noriginal; the Mozart here is far more satisfactory than the Schubert, \nand he worked wonders with the several-generation dubs of Beecham’s \nSeattle Symphony broadcasts. Perhaps he can be persuaded to concentrate \nmore on such arcane material, or at least to use the best possible \nsource material for the recordings he does issue, rather than what may \nhappen to be on hand. Recommended, qualifiedly, for the Requiem. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eRichard A. Kaplan\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 36:1 (Sept\/Oct 2012) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO076.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eA fabulous Mozart Requiem is revealed in these new XR remasters\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eBeecham's brilliance heard here as never before, with sterling performances throughout\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThis recording of Mozart's \u003cem\u003eRequiem \u003c\/em\u003eis one of \nthose happy instances which demonstrates the merits of Pristine Audio's \n32-bit XR remastering system at its best, lifting what was a \ndull-sounding and indistinct choir into a degree of brilliance and \nclarity one would never have suspected from the original recording. \nIndeed, the entire recording has been transformed to an extent one can \nonly really appreciate by hearing \"before\" and \"after\" side-by-side - \nespecially in the Ambient Stereo version I wholeheartedly recommend \nhere.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe later Schubert recording was far more successful in \nits original incarnation, but this, too, has been brought into even \nfiner focus by the XR process, with additional use of phase-alignment \nsoftware helping to produce a more sharply-defined stereo soundstage \nthan before.\u003c\/p\u003e\u003cp class=\"body\"\u003eTogether they're a superb-sounding record of Beecham at his very best.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eRequiem Mass in D minor, K626 (rev. Beecham)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded 13-14 December 1954 and 29 May 1956, Walthamstow Assembly Hall, London\u003cbr\u003e First issued on Columbia ML-5160 \u003cbr\u003e Transfer from Fonata CFL 1000\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eElsie Morison \u003c\/b\u003esoprano\u003cb\u003e \u003cbr\u003e Monica Sinclair \u003c\/b\u003econtralto\u003cb\u003e \u003cbr\u003e Alexander Young \u003c\/b\u003etenor\u003cb\u003e \u003cbr\u003e Marian Nowakowski \u003c\/b\u003ebass\u003cb\u003e \u003cbr\u003e BBC Chorus \u003c\/b\u003edir. \u003cb\u003eLeslie Woodgate\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003eSymphony No. 5 in B flat major, D485 \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded 14\/16 May 1958 Salle Wagram, Paris\u003cbr\u003e and 18 December 1958 \u0026amp; 7 May 1959, Abbey Road Studio 1, London \u003cbr\u003e First issued on EMI ASD345\/ALP1743\u003cbr\u003e Transfer from EMI SXLP 30204\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e Sir Thomas Beecham \u003c\/b\u003econductor \u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003eStudio recordings, 1954-1959\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, April 2012\u003cbr\u003e Cover artwork based on a photograph of Sir Thomas Beecham\u003cbr\u003eTotal duration: 77:52\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO076.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO076.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":33844632333,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":33844632525,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":33844632653,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":33844632781,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO076.jpg?v=1489155842"},{"product_id":"pasc410","title":"BEECHAM R. Strauss: Don Quixote; Bloch: Violin Concerto (1932\/39) - PASC410","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cb\u003eR. Strauss\u003c\/b\u003e Don Quixote\u003cb\u003e\u003cbr\u003eBloch\u003c\/b\u003e Violin Concerto\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cbr style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio and live recordings · 1932\/1939\u003cbr\u003eTotal duration: 73:32\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eSir Thomas Beecham, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eAlfred Wallenstein, \u003c\/b\u003ecello\u003cb\u003e\u003cbr\u003eJoseph Szigeti,\u003c\/b\u003e violin\u003cb\u003e\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eLondon Philharmonic Orchestra\u003c\/b\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fA new transfer of Beecham’s 1932 recording which, apparently, was the very first recording of the work...578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eSir Thomas Beecham made a celebrated studio recording of \u003cem\u003eDon Quixote\u003c\/em\u003e\n in 1947\/8 for HMV when his cellist was Paul Tortelier. I believe that \nthe latest incarnation of that recording is as part of a substantial \nBeecham box that David Bennett \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2011\/June11\/Beecham_Later_9186112.htm\"\u003ereviewed\u003c\/a\u003e\n in 2011. When I was offered the chance to review a new transfer by \nPristine Audio of a Beecham performance of the work I assumed I would be\n getting a copy of that recording; that would have given me the chance \nto compare the Pristine transfer with the EMI transfer that I already \nown, which is in the Great Recordings of the Century series. I mean no \ndisrespect whatsoever to Paul Tortelier when I say that what arrived \nthrough my letterbox was something even more interesting. For what \nPristine offer here is a new transfer of Beecham’s 1932 recording which,\n apparently, was the very first recording of the work.\u003cbr\u003e  \u003cbr\u003e At the \ntime he made the 1947 recording Paul Tortelier was just emerging from an\n orchestral career and was seeking to establish himself as a solo \ncellist – the booklet note in my copy of the EMI CD, written by the late\n Lyndon Jenkins, relates the amusing and typically Beechamesque cavalier\n fashion in which he came to be engaged to play the work for Beecham’s \n1947 Strauss festival in London. However, even though Tortelier was not,\n in 1947, an established international soloist it seems clear that \nBeecham engaged him as a concerto-like soloist rather than using \nprincipals from the orchestra, as Strauss intended. In 1932 matters were\n arranged rather differently: this recording followed the composer’s \npreference for the use of orchestral principals. So Beecham had the \nservices of Alfred Wallenstein (1898-1983) who later became a conductor \nbut who was at that time – since 1929 – the principal cellist of the \nPhilharmonic Symphony Orchestra of New York. Joining Wallenstein on the \nsoloists’ roster were Michel (Mishel) Piastro (1891-1970), the \norchestra’s concertmaster from 1931 to 1943, and René Pollain who was, I\n believe, the principal violist at this time.\u003cbr\u003e  \u003cbr\u003e In this \nrecording you won’t hear Wallenstein balanced as an up-front soloist and\n Mark Obert-Thorn, who has made the transfer, suggests that he may have \nbeen seated in his customary place in the orchestra. That seems entirely\n plausible but nonetheless you can hear Wallenstein perfectly clearly \nand a fine soloist he makes. Beecham’s contribution is a distinguished \none too and he – and the recording engineers of the time – make sure \nthat plenty of detail is audible in the often-complex textures of the \nIntroduction. Beecham seems to me to characterise the music well, often \nwith a twinkle in his eye. For instance, the sheep graze placidly in \nVariation II until Quixote panics them and they scatter in confusion. \nThe recording can’t really do justice to ‘The Ride through the Air’ – \none longs for the amplitude of modern sound – but it’s still possible to\n hear the washes of sound that Beecham gets from the orchestra, the \ntrumpets and horns well to the fore.\u003cbr\u003e  \u003cbr\u003e As well as a very good \nDon Quixote the performance benefits from an equally good Sancho Panza \nand both Wallenstein and Pollain are heard to good effect in Variation \nIII, ‘Dialogue of Knight and Squire’. Wallenstein plays eloquently in \nVariation V, ‘The Knight’s Vigil’ and towards the end, as the Don is \ndying I feel that Wallenstein conveys the world-weariness of the Don and\n the pathos of the scene pretty well. Hereabouts there’s a nice \nsimplicity of utterance to his playing and he and Beecham bring off the \nending very successfully.\u003cbr\u003e  \u003cbr\u003e Mark Obert-Thorn has made a very \ngood job of the transfers. The original recording was made on \nexperimental 33 1\/3 rpm discs, each side of which was the equivalent of \ntwo 78 rpm sides, and these have been the source material used. I’m very\n glad to have heard this historic performance.\u003cbr\u003e  \u003cbr\u003e I wish I could \nbe as enthusiastic about the Bloch Violin Concerto but I’m afraid that \nI’ve listened to this a couple of times and it really doesn’t engage my \nsympathies. That’s not the fault of the performers. Szigeti is superb \nand, since he’s well to the fore in the recording it’s possible to \nappreciate his virtuosity in a demanding solo role. Even more admirable \nis the singing purity of his tone. A prime example of that comes in an \nextended slow, reflective passage in the first movement (5:52-8:50). \nSzigeti’s poetic side is also strongly in evidence in the rather \nhaunting slow movement. I liked this movement the best – perhaps in part\n because it’s the shortest movement. The first movement, however, at \n18:10, is nearly three times as long and I think it’s too extended for \nits own good. In particular the cadenza (12:48-15:25) just seems to go \non and on – and to no great purpose. The opening tutti in the finale \nsounds brash – how much, I wonder, is that down to the recording rather \nthan the music; the recording can’t really cope with the volume of this \npassage and, indeed, sonically this is the most problematic movement in \nthe concerto. Here, as elsewhere, all the performers demonstrate \ncommitment to the music.\u003cbr\u003e  \u003cbr\u003e Unfortunately, despite the best \nefforts of Andrew Rose there are issues with the sound in this concerto.\n There’s a good deal of surface noise; in loud passages the orchestra \ncan sound strident; and the sound often crumbles in loud passages. \nNaturally, one must make allowances given the provenance of the \nrecording, which was captured – off air? – from a live performance in \n1939, which was the UK première of the work. Later that same month \nSzigeti made a studio recording with Charles Munch. We learn from the \nnotes that the present recording was found to have four gaps in it, each\n of about 30 seconds. Prior to the only previous release of the \nrecording, on a 1973 LP from the American Beecham Society, these gaps \nwere filled by splicing in the relevant passages from the Munch \nrecording. That editing was done pretty seamlessly, it seems. Andrew \nRose has used the 1973 release for his transfer.\u003cbr\u003e  \u003cbr\u003e Summing up, \nthis release from Pristine will be of considerable interest to Beecham’s\n many admirers. The Bloch is not a piece with which one would have \nassociated him – did he ever return to it, I wonder? So this is an \nimportant addition to his CD\/download discography, especially for \nlisteners who warm to the work more than I do. The Strauss is especially\n significant, I suggest, not least because this was the work’s first \nrecording and it’s a very good one. I’m very glad to have it sitting on \nmy shelves next to Beecham’s 1947 recording.\u003cbr\u003e  \u003cbr\u003e \u003cb\u003eJohn Quinn\u003c\/b\u003e\u003cbr\u003eMusicWeb International, August 2014\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC410.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSir Thomas Beecham conducts Strauss and Bloch - world première recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eRare recorded outings of Beecham conducting his contemporaries\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003erelease brings together two world première recordings of \nconcertante works made by Sir Thomas Beecham in the 1930s. The studio \nrecording of Don Quixote has an interesting pedigree. Recorded by Victor\n at the behest of EMI in 1932 and issued on that label in the USA, it \nwas released on Columbia in Europe, perhaps the only recording to appear\n simultaneously on these two rival imprints. This was most likely a \nresult of the then-recent merger of English Columbia and HMV, Victor’s \nBritish affiliate, into EMI. Beecham was a Columbia artist, so the \napparent reasoning was that he had to continue to appear on that label \nin the UK. Within a few years, however, his name was on both labels \ninterchangeably.\u003cp\u003eBeecham is heard here conducting the Philharmonic-Symphony Orchestra \nof New York, an ensemble with which he had first appeared four years \nearlier along with another debutant, Vladimir Horowitz, in a notorious \nperformance of the Tchaikovsky B-flat minor concerto which saw the two \ntaking divergent interpretive paths. Apparently, he had no similar \ndifficulties working with the orchestra’s first desk players, which \nincluded future conductor Alfred Wallenstein handling the pivotal cello \npart. The recording is rather curiously balanced, with the brass and \nwinds seeming to overpower the strings, and Wallenstein sounding rather \nrecessed – probably playing in his usual place in the orchestra rather \nthan up front. This recording was simultaneously made for Victor’s \nProgram Transcription series, an early attempt at long-playing records. \nEach 33 1\/3 rpm side was the equivalent of two 78 rpm sides, which \naccounts for the skipped number every third matrix.\u003c\/p\u003e\u003cp\u003eWhile Beecham would go on to re-record the Strauss with his own Royal\n Philharmonic and Paul Tortelier as soloist fifteen years later, he \nnever re-recorded (or indeed made an official studio recording) of the \nBloch Violin Concerto, even though he had already made three classic \nconcerto recordings with the soloist, Joseph Szigeti. Szigeti premièred \nthe Bloch in Cleveland under Mitropoulos in December, 1938. The present \nrecording of the first British performance with Beecham dates from the \nfollowing March. Later that month, he performed and recorded it in Paris\n with Munch, and followed up with a further broadcast under Mengelberg \nin Amsterdam that November.\u003c\/p\u003e\u003cp\u003eWhile the Munch recording and Mengelberg broadcast have been reissued\n several times on CD, the Beecham performance has curiously been \nunavailable since a single American Beecham Society LP release in 1973. \nThat transfer, which was the basis for what Andrew Rose used for his \npresent XR restoration, filled in four gaps in the original acetates \n(two in the first movement, and one each in the others), each lasting \nabout 30 seconds, with the Munch studio recording. A slight difference \nin sound demarcates each patch. Although some disc noise and distortion \nremain and the first note of the third movement is clipped, the \nrecording is valuable not only in preserving a historic collaboration, \nbut also in presenting an infrequent recorded instance of Sir Thomas \nconducting contemporary music.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Don Quixote (Fantastic Variations on a Theme of Knightly Character), Op. 35 \u003cbr\u003eRecorded 7 April 1932 in Carnegie Hall, New York\u003cbr\u003eMatrix nos.: CSHQ 71658-1, 71659-1, 71661-2, 71663-1, 71665-2, 71666-2, 71668-1, 71669-1, 71671-1 and 71672-2\u003cbr\u003eFirst issued as Victor 7589\/93 in album M-144 (USA) and as Columbia LX 186\/90 (UK)\u003cbr\u003eTransfer and remastering by Mark Obert-Thorn\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAlfred Wallenstein\u003c\/b\u003e, cello\u003cb\u003e\u003cbr\u003eRené Pollain\u003c\/b\u003e, viola\u003cb\u003e\u003cbr\u003eMichel Piastro\u003c\/b\u003e, violin\u003cb\u003e\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003e \u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eBLOCH\u003c\/b\u003e Violin Concerto\u003cbr\u003eLive recording, 9 March 1939 in Queen’s Hall, London\u003cbr\u003eFirst issued on The Sir Thomas Beecham Society (USA) LP WSA-5\u003cbr\u003eXR remastered in Ambient Stereo by Andrew Rose\u003cbr\u003e\u003cb\u003e\u003cbr\u003eJoseph Szigeti, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eLondon Philharmonic Orchestra\u003cbr\u003e\u003cbr\u003eSir Thomas Beecham\u003c\/b\u003e, conductor\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC410.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC410.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":31975228557,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31975228621,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC410_41e61815-3135-4b8b-89f1-960cd999e376.jpg?v=1487681888"},{"product_id":"pasc461","title":"BEECHAM The ABC Blue Network Concerts, Volume 1 (1945) - PASC461","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003eNICOLAI\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"ARIALbi\"\u003eThe Merry Wives of Windsor: \u003c\/span\u003e\u003cspan class=\"ARIAL\"\u003eOverture\u003c\/span\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003e\u003cbr\u003eELGAR\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"ARIALb\"\u003eSerenade for Strings\u003c\/span\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003e\u003cbr\u003eHANDEL-BEECHAM\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"ARIALbi\"\u003eLove in Bath: \u003c\/span\u003e\u003cspan class=\"ARIALi\"\u003eThe Great Elopement\u003c\/span\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003e\u003cbr\u003eDELIUS\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"ARIALbi\"\u003eThe Walk to the Paradise Garden\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"BLACKb\"\u003e\u003cbr\u003eJ. STRAUSS II \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"ARIALbi\"\u003eVoices of Spring \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eLive broadcast on ABC\/Blue Network, 4pm, 7 April 1945\u003cbr\u003eTotal duration: 54:43 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eSir Thomas Beecham, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eBlue Network Symphony Orchestra\u003c\/b\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fDelius’s The Walk to the Paradise Garden erupts with considerably more heart-on-sleeve pathos than in the conductor’s commercial recording578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eDuring the Second World War Thomas \nBeecham made few friends in Britain by spending its four most dangerous \nyears living abroad. He sailed for Australia in the spring of 1940, then\n moved to the United States. He became the music director of the then \ndistinctly low-powered Seattle Symphony in 1941, joining the staff of \nthe Metropolitan Opera in the following year. In all, the per­ipatetic \nBart conducted nearly 20 orchestras during his stay in the New World, \nincluding the orchestra of NBC’s Blue Network, which thanks to an FCC \nruling declaring that no single entity could own more than one radio \nnetwork eventually became the American Broadcasting Company—today’s ABC.\n In New York for concerts with the Rochester Philharmonic during the \nfirst week of April 1945, Beecham conducted a Blue Network afternoon \nbroadcast on April 7, and this is the result. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe sparkling performance of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Merry Wives of Windsor \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture\n with which the program began illuminates one of the central truths of \nBeecham’s career: Namely, that in spite of one of the most eccentric \nstick techniques in the history of conducting—to say nothing of a \nrehearsal technique that was even more mysterious—Beecham had the \nuncanny ability to make any orchestra sound better than it was. (A few \nyears earlier he conducted a series of near-legendary concerts with the \nNew York City Symphony, an orchestra made up of unemployed musicians \norganized as a pet project of the music-loving Mayor Fiorello La Guardia\n with funds from the WPA.) Possibly made up of members of the New York \nPhilharmonic, NBC Symphony, and various freelancers—its actual \ncomposition at this stage remains a mystery—the Blue Network Symphony \nhad at most a couple of rehearsals prior to the broadcast, and yet from \nthe opening bars play like men possessed. The opening radiates the \nunique Beecham mischievousness and wit—could anyone make woodwinds chirp\n as delightfully as he did?—while the Overture’s big tune sings with the\n kind of soaring grace befitting one of the great opera conductors of \nhis time. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eBilled as the “radio premiere” of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Great Elopement, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eBeecham’s pick-up band plays this delightful confection—including the celebrated hornpipe which quotes Thomas Augustin Arne’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRule, Britannia\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e—as though it had been in their collective repertoire for years, while Delius’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Walk to the Paradise Garden\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e—another\n Beecham house specialty—erupts with considerably more heart-on-sleeve \npathos than in the conductor’s commercial recording. Alas, the mid-1940s\n aircheck sound breaks up badly in the climaxes. If Beecham’s version of\n \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFrühlingsstimmen \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis not exactly \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eecht-\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eViennese—\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTales from St. John’s Wood\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n would be a closer approximation—then it’s nonetheless suitably robust \nand joyous and brings a wonderfully entertaining album to a close. The \nincomparable Milton Cross’s spoken contributions only further enhance \nthe period charm.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJim Svejda\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:6 (July\/Aug 2016) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC461.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFirst of four newly-discovered broadcast concerts by Beecham at the nascent ABC in 1945\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Robust and joyous ... a wonderfully entertaining album\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eAs indicated in our additional notes here, ABC, the American \nBroadcasting Company, had a somewhat unusual and protracted birth. The \ncompany and, in particular, its radio network, were still in a state of \ntransition when, in April 1945, it acquired the services of Sir Thomas \nBeecham to conduct a series of four concerts with a little-known \norchestra billed on air as the \"Blue Network Symphony Orchestra\", and \nmore prosaically in the New York Times radio listings as simply \"Sir \nThomas Beecham, conducting a Symphonic Orchestra\".\u003c\/p\u003e\u003cp\u003eQuite from where the members of this orchestra were drawn is open to \nsome guesswork: the members of the New York Philharmonic were engaged on\n the morning of the first broadcast in an 11am youth concert at Carnegie\n Hall - could some of these players also have made it to the 4pm live \nbroadcast for ABC? Toscanini had no engagements with his NBC Symphony \nOrchestra that month - might some of them moonlighted on the very same \nBlue Network which had traditionally been their home when it was under \nthe NBC umbrella? Beecham, meanwhile, was in New York to conduct the \nRochester Orchestra in two concerts at Carnegie Hall in March and a \nthird (a ballet) on 6th April 1945, at the Met. Might he have run \nthrough with them the twenty various shorter items which made up these \nfour broadcasts? And would the players go on to form the same \"ABC \nSymphony Orchestra\" that composer Roy Harris conducted in his own music \nthree years later? Maybe answers will be unearthed as this series \ncontinues.\u003c\/p\u003e\u003cp\u003eAnd it's certainly an interesting collection of music, including \n\"radio premières\" of music credited to Handel-Beecham, one of which \nfeatures the then Lady Beecham, Betty Humby, on piano. Of particular \nhistoric interest is the second in the series, which was hastily \nconverted into a memorial concert for the late President Franklin D. \nRoosevelt, whose funeral service was taking place at the White House as \nthe broadcast proceeded, something which entailed leaving the Unfinished\n Symphony literally unfinished as the station cut to a live commentator \non the event.\u003c\/p\u003e\u003cp\u003eSonically the recordings are more than adequate for AM radio \nbroadcasts of the era, if largely lacking in the upper frequencies one \nmight wish for in a hi-fi recording. They were preserved on 33rpm \nacetate discs from which these restorations were drawn.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eNICOLAI\u003c\/b\u003e The Merry Wives of Windsor - Overture\u003cbr\u003e\u003cb\u003eELGAR \u003c\/b\u003e Serenade for Strings in E minor, Op. 20\u003cbr\u003e\u003cb\u003eHANDEL-BEECHAM\u003c\/b\u003e The Great Elopement - Selections\u003cbr\u003e\u003cb\u003eDELIUS\u003c\/b\u003e The Walk to the Paradise Garden \u003cbr\u003e\u003cb\u003eJ STRAUSS II\u003c\/b\u003e Frühlingsstimmen (Voices of Spring Waltz) Op. 410 \u003cbr\u003e\u003cbr\u003eLive broadcast on ABC\/Blue Network, 4pm, 7 April 1945\u003cbr\u003eAnnouncer: Milton Cross\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBlue Network Symphony Orchestra \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Thomas Beecham\u003c\/b\u003e, conductor\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC461.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC461.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eNBC expanded so rapidly that by 1927 it found itself with an excess of \naffiliates in the same cities, so it split its programming into two \nseparate networks, called the Red and the Blue networks. After the \nFederal Communications Commission (FCC) declared in 1941 that no company\n could own more than one radio network, NBC in 1943 sold the \nless-lucrative Blue Network to Edward J. Noble, the millionaire maker of\n Life Savers candy, who initially renamed it the American Broadcasting \nSystem before settling on the name the American Broadcasting Company, \nInc. (ABC). ABC was the smallest of the major radio networks and \ndistinguished itself by hiring popular singer Bing Crosby to perform on a\n weekly variety series. As a precondition for his employment, Crosby \nrequired that he be allowed to prerecord the program for later \nbroadcast; as a result, ABC became a pioneer in the field of magnetic \nrecording.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eEncyclopaedia Britannica\u003c\/b\u003e  notes on the birth of the American Broadcasting Company\u003cbr\u003e\u003cbr\u003eA\n major priority of the Blue Network was to form a new identity, one that\n would mark a break with the past. In December, 1945 [sic], the FCC \napproved the transfer of The Blue Network, Inc.'s broadcast licenses to \nAmerican Broadcasting Company. Beginning on January 22, 1945, the \nnetwork's opening and closing announcements changed to \"The Blue Network\n of the American Broadcasting Company\"; starting February 18, the same \nwording was instituted as the network outcue for station breaks. On June\n 15, 1945, the Blue Network formally changed its name to the American \nBroadcasting Company. They were not alone in desiring this catchy \nacronym. Two prior claimants were bought out prior to June 1945, and in \nnegotiations with the Associated Broadcasting Corp. in December 1945, it\n acquired the rights to the name \"ABC\" from yet a third party. From June\n 1945 forward, the entity has been known generally as the American \nBroadcasting Company.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eWikipedia \u003c\/b\u003e notes on the birth of the American Broadcasting Company\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":31975228749,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975228813,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975228877,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC461_f73f3c15-f3f4-4674-bec5-00079d2aaf81.jpg?v=1487681891"},{"product_id":"pasc470","title":"BEECHAM The ABC Blue Network Concerts, Volume 2 (1945) - PASC470","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"ARIALbi\"\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e \u003c\/span\u003eGötterdämmerung: \u003cspan class=\"ARIALi\"\u003eSiegfried’s Funeral March\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003eSIBELIUS\u003c\/b\u003e \u003c\/span\u003ePelléas et Mélisande Suite: \u003cspan class=\"ARIALi\"\u003eThe Death of Mélisande\u003c\/span\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003e\u003cbr\u003eMOZART\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"ARIALb\"\u003eDivertimento, \u003c\/span\u003e\u003cspan class=\"ARIAL\"\u003eK 131: \u003c\/span\u003e\u003cspan class=\"ARIALi\"\u003eAdagio\u003c\/span\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003e\u003cbr\u003eSCHUBERT\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"ARIALb\"\u003eSymphony No. 8, \u003c\/span\u003e\u003cspan class=\"ARIAL\"\u003e“Unfinished.”\u003c\/span\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003e\u003cbr\u003eTCHAIKOVSKY\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"ARIALb\"\u003eSerenade in C: \u003c\/span\u003e\u003cspan class=\"ARIALi\"\u003eElegie\u003c\/span\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003e\u003cbr\u003eBERLIOZ\u003c\/b\u003e \u003c\/span\u003eLes Troyens: \u003cspan class=\"ARIALi\"\u003eTrojan March \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"ARIALbi\"\u003e\u003cspan class=\"ARIALi\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eLive broadcast on ABC\/Blue Network, 4pm, 14 April 1945\u003cbr\u003eTotal duration: 57:50\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eSir Thomas Beecham, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eBlue Network Symphony Orchestra\u003c\/b\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp class=\"bodybigblue\" data_liveedit_tagid=\"000000000D776290\"\u003e \u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: MusicWeb International \u0026amp; Audiophile Audition578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe heart-rending, diaphanous Elegie from Tchaikovsky’s C Major Serenade for Strings, a work Beecham never committed to commercial issue...578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe second in the series of Blue Network concerts in New York on 14 April 1945 (see \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2016\/Apr\/Beecham_ABC_PASC461.htm\"\u003eVolume 1\u003c\/a\u003e\n for further details) saw a tribute concert in memory of President \nRoosevelt who had died just two days before. The programme had to be \nchanged to reflect the sombre nature of the occasion which was \ninterrupted for a funeral report from the White House. A few salient \ndetails need to be borne in mind. After the introduction by Milton Cross\n there was a minute’s silence – one can hear cross-station interference –\n that producer Andrew Rose has wisely truncated. 50 seconds of music is \nmissing from the Sibelius, which he has patched from another recording –\n he doesn’t say which. A shorter patch was necessary in the Schubert \nwhich is ended early in any case by a live report.\u003cbr\u003e \u003cbr\u003e Almost \neverything here is familiar from Beecham’s extant discography, though \nnot everything will be familiar from on-the-wing live performances such \nas these. Siegfried’s Funeral March starts slightly awkwardly and \nensemble is less blended than in his 1953 RPO studio performance. \nNevertheless, the cumulative charge of the music-making is very strong \nindeed. Something should be said about Pristine’s tracking details which\n list track 3 as \u003cem\u003eThe Death of Mélisande\u003c\/em\u003e from Sibelius’s Op.46 suite. In fact, there are, to be precise, three movements from the suite; \u003cem\u003eMélisande\u003c\/em\u003e (No.2), \u003cem\u003ePastorale\u003c\/em\u003e (No.5) and finally, and most appropriately, \u003cem\u003eThe Death of Mélisande\u003c\/em\u003e\n itself. This offers a more wide-ranging mini-suite in which playful \narabesques lighten the commemorative and grieving elements enshrined in \nthe bulk of Beecham’s programme. His 1955 RPO performance may be more \ntightly played but this New York one has great gravity – his vocal \nexhortations during this last tableau will be familiar to those who know\n his similarly live BBC Second Symphony recording. The inclusion of the \nAdagio from Mozart’s Divertimento in D, K131, is apt.\u003cbr\u003e \u003cbr\u003e The surface hiss level is at its most intrusive in the second movement of Schubert’s \u003cem\u003eUnfinished.\u003c\/em\u003e\n But the brass is trenchant and the strings taut and memories will stir \nof his pre-war reading with the LPO just as much as the 1951 RPO. By a \nquirk of reportage therefore, given that the concert relay is halted \nbefore the end of the work, we have a doubly-unfinished symphony. The \nreal bonus for Beecham aficionados is the inclusion of Tchaikovsky’s \u003cem\u003eElegie\u003c\/em\u003e from the Serenade for Strings, which he never recorded commercially. Milton Cross announces this as Berlioz’s \u003cem\u003eIntermezzo and Serenade\u003c\/em\u003e,\n a clue perhaps to the original concert line-up. This is a tremendous \nreading - fluctuating, brimming, teeming with ardent lyricism, and a \nfulsome example of Beecham’s art. The concert ends with the \u003cem\u003eMarche Troyenne -\u003c\/em\u003e a noble way in which to end this near-hour long salute to the departed leader.\u003cbr\u003e \u003cbr\u003e\n This sequence of continuing discs leads me to hope that aural evidence \nhas survived of Beecham’s coast-to-coast tour of the US with the RPO in \n1950.\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cem\u003eJonathan Woolf\u003cbr\u003e\u003c\/em\u003e\u003c\/b\u003eMusicWeb International\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eA national moment of silence precedes the broadcast concert of the \nBlue Network Orchestra led by Sir Thomas Beecham – the 14 April 1945 \nconcert coincides with the funeral service for President Franklin Delano\n Roosevelt – and the program Beecham leads reflects the spirit of \nvalediction. The famous \u003ci\u003eSiegfried Funeral March\u003c\/i\u003e from \u003ci\u003eThe Twilight of the Gods\u003c\/i\u003e\n receives a potent, albeit direct, realization from Beecham’s responsive\n players, a linear approach we might ascribe to Toscanini.  Even more \npathos-ridden, the English horn solo and strings that constitute the \nfirst section of \u003ci\u003eThe Death of Melisande\u003c\/i\u003e (1905) makes a lachrymose\n impression that remains special, even in the extensive Beecham canon of\n Sibelius. After a relatively genial, nostalgic middle section, the \nreturn of the somber strings leaves us emotionally drained.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe \u003ci\u003eAdagio\u003c\/i\u003e from Mozart’s second divertimento for strings, that in \u003ci\u003eD Major, K.131\u003c\/i\u003e,\n adds a distinct element of old-world grace to the occasion.  The \ndiaphanous strings trills assume a hue, an intimation of mortality.  The\n second period in the music, with its sudden \u003ci\u003eff\u003c\/i\u003e, expresses a \nlevel of otherwise understated anguish in musical moment that approaches\n Handel for exquisite, melodic fervor. The major work, Schubert’s \u003ci\u003eUnfinished Symphony\u003c\/i\u003e, assumes an air of guarded mystery and often aggressive fire in the opening \u003ci\u003eAllegro moderato\u003c\/i\u003e.\n Beecham subdues the brass parts to allow the famous string melody \nresonant primacy. But this music of solace breaks off and enters an \nabysmal realm of profound grief which Beecham invests with demonic \npower. We sense that, had Beecham the benefit of sound enhanced beyond \nthe monaural resources of AM radio, the effect would have been truly \noverpowering. The \u003ci\u003eE Major Andante con moto\u003c\/i\u003e communicates a \npoignant dignity, solemnly martial, enhanced by the colors from the \nclarinet, oboe, French horn, and distant tympani.  An announcement \ninterrupts the broadcast of this movement; then the music resumes – \nhaving missed the Delius component – with the heart-rending, diaphanous \u003ci\u003eElegie\u003c\/i\u003e from Tchaikovsky’s \u003ci\u003eC Major Serenade for Strings\u003c\/i\u003e, a work Beecham never committed to commercial issue.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe program concludes on a more stoical note – the \u003ci\u003eTrojan March\u003c\/i\u003e of Berlioz – and even the spoken introduction by Milton Cross conveys an air of uplifted resolve.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e—Gary Lemco\u003cbr\u003e\u003ca href=\"https:\/\/www.audaud.com\/beecham-the-abc-blue-network-concerts-volume-2-a-tribute-concert-in-memory-of-president-roosevelt-works-f-wagner-sibelius-schubert-berlioz-tcaikovsky-mozart-blue-network-sym-beecham-pr\/\" target=\"_blank\"\u003eAudiophile Audition\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC470.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSecond of four newly-discovered broadcast concerts - Beecham's Roosevelt Tribute Concert\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"The\n concert ends with the Marche Troyenne - a noble way in which to end \nthis near-hour long salute to the departed leader\" - MusicWeb \nInternational\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eSir Thomas Beecham's second of four scheduled live concert broadcasts\n with ABC's \"Blue Network Symphony Orchestra\" must have given the new \nstation's controllers any number of headaches, primarily because of the \nsudden death in office of President Roosevelt two days before the \nconcert, scheduled to coincide with the funeral service at the White \nHouse. We do not know what music Beecham had planned for that concert, \nbut one assumes it would have been considerably different to the more \nsolemn affair delivered on the day.\u003c\/p\u003e\u003cp\u003eIn preparing this previously-unreleased broadcast for issue I've had \nto make several unusual interventions. The broadcast began with a \nminute's silence, which I've faded. A section of about 50 seconds of \nmusic was missing from the Sibelius - this I've patched in from another \nrecording which I've \"aged\" to match the Beecham. A much shorter section\n in the Schubert had to be similarly patched.\u003c\/p\u003e\u003cp\u003eThe latter, interrupted by the broadcaster for a live report from the\n White House (audio of which doesn't apparently survive) is quite \nliterally unfinished - but we have most of it. Thereafter the concert is\n complete, though the announcement of a Berlioz Intermezzo and Serenade \nlead into a faded-in Tchaikovsky \u003cem\u003eElegie\u003c\/em\u003e, indicating that the concert, before a largely silent audience, continued without a break.\u003c\/p\u003e\u003cp\u003eIt's a remarkably historic document with some fabulous playing. Sound\n quality again is good AM radio; I've been able to deal largely with \nsome interference from other radio stations, whilst some disc surface \nnoise is occasionally audible.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eWAGNER \u003c\/b\u003eGötterdämmerung, WWV 86D - Siegfried's Funeral March\u003cbr\u003e\u003cb\u003eSIBELIUS\u003c\/b\u003e Pelléas et Mélisande, Suite, Op. 46 - 9. The Death of Mélisande\u003cbr\u003e\u003cb\u003eMOZART\u003c\/b\u003e Divertimento in D, K.131 - 2nd mvt. - Adagio\u003cbr\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003e Symphony No. 8 in B minor, D.759 \"Unfinished\"\u003cbr\u003eABC Radio - Interruption for White House funeral report\u003cbr\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Serenade for Strings, Op. 48 - 3rd mvt. - Elegie\u003cbr\u003e\u003cb\u003eBERLIOZ\u003c\/b\u003e The Trojans, H.133 - Marche Troyenne\u003cbr\u003e\u003cbr\u003eLive broadcast on ABC\/Blue Network, 4pm, 14 April 1945\u003cbr\u003eRitz Theater, W. 48th Street,  New York City\u003cbr\u003eAnnouncer: Milton Cross\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBlue Network Symphony Orchestra \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Thomas Beecham\u003c\/b\u003e, conductor\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC470.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC470.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":31975230029,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975230093,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975230157,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC470_a6a41065-f1f1-45c1-b4d4-0855600e8ba5.jpg?v=1487681893"},{"product_id":"pasc477","title":"BEECHAM The ABC Blue Network Concerts, Volume 3 (1945) - PASC477","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"ARIAL\"\u003e\u003cb\u003eMOZART  \u003c\/b\u003eSymphony No. 31\u003c\/span\u003e\u003cspan class=\"ARIALb\"\u003e\u003cb\u003e\u003cbr\u003eHANDEL-BEECHAM \u003c\/b\u003e Piano Concerto\u003c\/span\u003e\u003cspan class=\"ARIALi\"\u003e\u003cb\u003e\u003cbr\u003eCHABRIER\u003c\/b\u003e España\u003c\/span\u003e\u003cspan class=\"ARIALbi\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eLive broadcast on ABC\/Blue Network, 4pm, 21 April 1945\u003cbr\u003eTotal duration: 53:13\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003c\/p\u003e\u003cb\u003eSir Thomas Beecham, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eBlue Network Symphony Orchestra\u003c\/b\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: MusicWeb International \u0026amp; Audiophile Audition578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f At the fiery conclusion, the audience roar clearly expresses their recognition of a true “lollipop”578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe third volume of this series (\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2016\/Apr\/Beecham_ABC_PASC461.htm\"\u003eVolume 1\u003c\/a\u003e ~ \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2016\/Aug\/Beecham_ABC_v2_PASC470.htm\"\u003eVolume 2\u003c\/a\u003e)\n traces a congenial concert of Mozart, Handel and Chabrier that is all \nover well within the hour. The central work is that hyphenated and \nhyperbolic construction, the Handel-Beecham Piano Concerto. In this the \nBart has ransacked some memorable themes to stitch together a concerto \nof sorts, a vehicle for his new wife Betty Humby who here gives the work\n its first radio broadcast. The premiere had been given a little \nearlier, on 15 March 1944, again in New York. As Andrew Rose notes, \nBeecham and Humby recorded it in London the following year but he is not\n quite right in his dating. Most of the recording comes from January \n1945 but the \u003cem\u003eRomanza\u003c\/em\u003e was set down successfully in October of \nthat year (the then unpublished performance can now be found on Somm). \nThere are no huge interpretative differences in as slight a piece as \nthis, but it is noticeable that the very stately opening was tightened \nup a few months later in the London studio inscription. This charming \nwork, full of rococo trills and burnished romance, is graced by \nexcellent string playing – fully \u003cem\u003eaffetuoso\u003c\/em\u003e when called for - an\n especially fine first flautist, and a few minor digital derailments \nfrom Humby. As picked up by the microphone, her piano tone isn’t quite \ncentred in the balance; it tends to be a bit recessive.\u003cbr\u003e \u003cbr\u003e Beecham\n was still in his early-mid period approach to Mozart’s symphonies. \nHowever beautifully shaped some later recordings were, there was \nsometimes a hint of too-manicured phrase tapering. Here he takes the \u003cem\u003eParis\u003c\/em\u003e\n with all his accustomed vitality. His earlier LPO recording, which can \nbe found on Dutton and elsewhere, is full of the kind of swagger and \ndriving intensity that can be heard in this New York reading. The lower \nstrings shine, the forward tuttis register powerfully, and the elegant \nand Andante never drags. Elegance and trenchancy are held in perfect \nequipoise. As a bonus we hear one of his encore favourites, a piece he \nloved playing and recording – Chabrier’s \u003cem\u003eEspaña\u003c\/em\u003e. Deftly \nrhythmic and virtuosic it elicits voracious, applause which bulks up the\n playing time to precisely the 6:30 or so he took in his RCA reading. In\n New York he whipped up a quite different and more kinetic kind of \nstorm.\u003cbr\u003e \u003cbr\u003e On my review copy rogue discographic information \nrelating to a Rudolf Kempe disc has migrated to the back of the jewel \ncase, though this is presumably easy to correct. The engineering is fine\n and it’s always good to hear announcer Milton Cross adding period \nflavour to the proceedings.\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cem\u003eJonathan Woolf\u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003eMusicWeb International\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe concert by Sir Thomas Beecham and the “Blue Network Symphony \nOrchestra” of 21 April 1945 certainly assumes a more optimistic tone \nthan that which occurred as President Franklin Roosevelt had been laid \nto rest. The high energy of the occasion bursts forth immediately, with \nMozart’s 1778 \u003ci\u003eD Major “Paris” Symphony\u003c\/i\u003e, expressly conceived to parody the musical conceits of the day, such as the so-called \u003ci\u003epremier coup d’archet\u003c\/i\u003e,\n or the Parisian version of unison Mannheim rocket figures at a \nsymphonic opening. The addition of trumpets and tympani – and the \nclarinets – increases the often ceremonial pomp of the performance. \nThroughout the performance, Beecham emphasizes the suave grandeur Mozart\n controls in this, his largest symphonic structure in his oeuvre at the \ntime. The virtuoso syncopations of the last movement move with a lithe \nsuppleness that makes this rendition a worthy companion to Beecham’s \ncommercial endeavor with the Royal Philharmonic Orchestra.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBeecham himself arranged various Handel melodies and tropes to create the four-movement \u003ci\u003ePiano Concerto in A,\u003c\/i\u003e\n expressly for his new wife, Betty Humby. Handel emerges as a Romantic, \nhis textures lush and flavored by all sorts of nice touches between the \nkeyboard and the woodwinds, especially in the middle movement \u003ci\u003eRomanza\u003c\/i\u003e. The first movement \u003ci\u003eChaconne\u003c\/i\u003e exploits a bass pattern we know from Edwin Fischer’s early recording.  The \u003ci\u003eMenuet\u003c\/i\u003e movement, staid and\u003ci\u003e galant\u003c\/i\u003e,\n embodies the soul of aristocratic elegance. Despite the “popular media”\n version of Handel proffered by the Beechams, the effect has its moments\n of intimacy and elated fervor.  With the Finale’s glad spirits, we have\n a \u003ci\u003econcertante\u003c\/i\u003e pastiche of Handel pleasantry. Humby performs with\n a speed and lithe grace that suggest she would have been a natural \nacolyte of the Mendelssohn concertos.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBeecham called Chabrier’s \u003ci\u003eEspana\u003c\/i\u003e “the best of quasi-Spanish \nmusic yet written.” In one Leonard Bernstein’s Harvard lectures, he \npointed out the “poetic,” architectural and symmetrical features in \nChabrier’s brilliant scoring for this “Rhapsodie.” The Blue Network \nhorns and winds, as they had been in the Mozart, project a brisk, alert \nsonority, fresh and vivid, as tends to be Chabrier’s wont. At the fiery \nconclusion, the audience roar clearly expresses their recognition of a \ntrue “lollipop.” The restored sound by Andrew Rose raises the level of \nsonority well above anything like AM radio.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e—Gary Lemco\u003cbr\u003e\u003ca href=\"http:\/\/www.audaud.com\/beecham-abc-blue-network-concerts-vol-3-mozart-symphony-no-31-handel-piano-concerto-in-a-major-chabrier-espana-betty-humby-p-blue-network-sym-orch-sir-thomas-beecham-pristine-audi\/\" target=\"_blank\"\u003eAudiophile Audition\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC477.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThird of four newly-discovered broadcast concerts by Beecham at the nascent ABC in 1945\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"In New York he whipped up a quite different and more kinetic kind of storm\" \u003cbr\u003e- MusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eFollowing the hastily-arranged and sombre affair of Beecham's second \nBlue Network Symphony Orchestra concert (PASC470), his third engagement \nsaw something of a return to normal service, and some far more upbeat \ncommentary from Milton Cross than was heard at the Roosevelt Memorial \nConcert of Volume Two.\u003c\/p\u003e\u003cp\u003eOnce again we have a \"Handel-Beecham\" radio première, following on in\n this respect from the first concert (PASC461). This time the work was a\n Piano Concerto in A, with the soloist one Betty Humby, who two years \npreviously had become Lady Beecham when she married the conductor, some \n29 years her senior, before a police justice in Manhattan. Described by a\n reviewer as \"a straightforward arrangement of themes with the typical \nBeecham touch\", the musical duo had already made a studio recording of \nthe concerto in the January of 1945 with the London Philharmonic, one of\n a number of recordings Beecham made at the time which remained unissued\n for contractual reasons until copyright expired in the 1990s.\u003c\/p\u003e\u003cp\u003eAs with the previous volumes, sound quality from these 33rpm \ntranscription discs is on a par with good AM broadcasts, greatly \nassisted by XR remastering.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eMOZART \u003c\/b\u003e Symphony No. 31 in D major, \"Paris\", K297\u003cbr\u003e\u003cb\u003eHANDEL-BEECHAM \u003c\/b\u003e Piano Concerto in A major\u003cbr\u003e\u003cb\u003eCHABRIER\u003c\/b\u003e España, Rhapsodie pour orchestre \u003cbr\u003e\u003cbr\u003eLive broadcast on ABC\/Blue Network, 4pm, 21 April 1945\u003cbr\u003eRitz Theater, W. 48th Street,  New York City\u003cbr\u003eAnnouncer: Milton Cross\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBetty Humby, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eBlue Network Symphony Orchestra \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Thomas Beecham\u003c\/b\u003e, conductor\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC477.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC477.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":31975385421,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975385485,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975385549,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC477_186bcf9e-c83b-4ead-9796-e8e327f7438d.jpg?v=1487681896"},{"product_id":"pasc480","title":"BEECHAM The ABC Blue Network Concerts, Volume 4 (1945) - PASC480","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"ARIAL\"\u003e\u003cb\u003eHAYDN \u003c\/b\u003eSymphony No. 102\u003cbr\u003e\u003cb\u003eMOZART \u003c\/b\u003eThe Impressario - Overture\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"ARIAL\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"ARIALb\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"ARIALb\"\u003e\u003cb\u003eSAINT-SAENS\u003c\/b\u003e Omphale’s Spinning Wheel\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"ARIALi\"\u003e\u003cb\u003eBERLIOZ \u003c\/b\u003eThe Trojans - Royal Hunt and Storm\u003cbr\u003e\u003cb\u003eBERLIOZ\u003c\/b\u003e Hungarian March\u003c\/span\u003e\u003cspan class=\"ARIALbi\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast on ABC\/Blue Network, 4pm, 28 April 1945\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 53:37\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eSir Thomas Beecham, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eBlue Network Symphony Orchestra\u003c\/b\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: MusicWeb International \u0026amp; Audiophile Audition578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe Hungarian March from La damnation de Faust serves as a marvelous rabble-rouser, as if the New York audience were not sufficiently beside themselves with Beecham fever578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThe fourth and last in this series of broadcasts from 1945 features a\n programme close to the heart of Thomas Beecham; Mozart, Haydn, \nSaint-Saëns and Berlioz (reviews of \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2016\/Apr\/Beecham_ABC_PASC461.htm\"\u003eVolume 1\u003c\/a\u003e ~ \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2016\/Aug\/Beecham_ABC_v2_PASC470.htm\"\u003eVolume 2\u003c\/a\u003e ~ \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2016\/Oct\/Beecham_ABC_v3_PASC477.htm\"\u003eVolume 3\u003c\/a\u003e).\u003cbr\u003e \u003cbr\u003e\n The Mozart is the overture to The Impresario, a perfect example of \nBeecham’s mid-period energy in this repertoire. His jaw-jutting joie de \nvivre infects his forces through wind arabesques and litheness of the \nstring choirs. The performance fizzes by in 3:44, the remaining half \nminute being given over to applause. \u003cem\u003eRouet d’Omphale\u003c\/em\u003e was a \nlong-standing favourite, and one he seemed to enjoy taking to North \nAmerica. WHRA’s Beecham box has a Toronto performance from 1960 which is\n somewhat slower – inevitably perhaps given his age – than this New York\n one. His NY forces are in splendid form here, the coagulant tone of the\n lower strings being especially notable, as is the fine brass playing.\u003cbr\u003e \u003cbr\u003e\n The centrepiece is Haydn’s Symphony No.102 which differs somewhat in \nproportion to the 1958-59 LP performance that formed part of his famous \nlate Haydn sequence. The opening Largo is splendidly sustained – one \nwonders how much rehearsal time Beecham had with his forces before these\n live broadcasts – which then leads into a combatively argued Vivace. \nThe precisely chorded accents are accompanied by bonhomonious vigour, \nBeecham’s Haydn being the opposite of ascetic. He must have been \nagreeably amused by the applause that greets the end of the first \nmovement. The slow movement is taken at a good, sustainable tempo, \nvested by those little touches of Beechamesque romance that lead, \ninevitably, to renewed applause. There’s a gutsy quality to the Minuet \nbut the tempo is in no way slower than that taken by modern \npractitioners and there’s evidence of the Baronet’s foot stamping in the\n finale, which is suitably exciting, witty, and sweeping.\u003cbr\u003e \u003cbr\u003e He \nends the programme with two staples from his Berlioz armoury. The Royal \nHunt and Storm compares favourably to his other recordings, except \nperhaps in absolute fidelity of sound quality whilst the \u003cem\u003eMarche Hongroise\u003c\/em\u003e makes its inevitable and indeed indelible impression in this galvanizing reading. He’s certainly up to tempo here.\u003cbr\u003e \u003cbr\u003e It’s always good to hear announcer Milton Cross in this series, as he adds period ballast to the proceedings.\u003cbr\u003e \u003cbr\u003e\n These four CDs, whilst not offering much by the way of repertoire \nnovelty, have certainly surprised by virtue of their existence at all. \nIt’s been a pleasure to get acquainted with them and I renew my appeal \nto trace examples of Beecham’s North American tours with his RPO in the \nearly 1950s. Here’s one of my reasons: I want to hear Beecham’s leader, \nDavid McCallum, playing the Delius Concerto.\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cem\u003eJonathan Woolf\u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003eMusicWeb International\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe Haydn 1795 \u003ci\u003eSymphony No. 102 in B-flat Major\u003c\/i\u003e provides the \ncenterpiece for this high-energy concert from 28 April 1945, the fourth \nand last of Sir Thomas Beecham’s concerts sponsored through the ABC \nnetwork. The onrush of musical dynamism begins earlier, with Beecham’s \nthoroughly spontaneous approach to Mozart’s 1786 \u003ci\u003esingspiel\u003c\/i\u003e \u003ci\u003eThe Impraesario\u003c\/i\u003e, whose \u003ci\u003eOverture\u003c\/i\u003e\n permits all sorts of interior colors as well as witty rhythmic \nsubtleties not lost on our engaged conductor.  Even narrator Milton \nCross seems delighted to announce it as his prelude to the Saint-Saens \nsymphonic poem that depicts the Lydian queen’s “humiliation” of the \nGreek hero Hercules – for the fatal fall of Iphitos – in the form of \n“women’s work.” A brilliant piece of orchestration – set as a mounting \ncrescendo and then a fading away of the \u003ci\u003eostinato\u003c\/i\u003e drudgery with a brief \u003ci\u003escherzando\u003c\/i\u003e at the coda – the work confirms Beecham’s innate affection for this composer, whose various dances from \u003ci\u003eSamson et Dalihah\u003c\/i\u003e always shone under Beecham’s direction as superb “lollipops.”\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eA slow introduction – a unison \u003ci\u003eB-flat\u003c\/i\u003e followed by a five-note phrase – sets the Haydn \u003ci\u003eSymphony No. 102\u003c\/i\u003e in motion, and the rather dreamy phrase suddenly bursts forth \u003ci\u003eVivace \u003c\/i\u003ein\n a manner – rife with accents that refuse the beat – worthy of a certain\n rising composer from Bonn. When the music finally lands on a cadence, \nthe manic energy does not yield to a gentle counter-theme but works the \nsyncopation into a three-voice canon. The music modulates to an alien \u003ci\u003eC Major\u003c\/i\u003e\n before the flute announces a false respite, one whose tempests continue\n through chromatic shifts until Beecham can bring the coda to a \nresounding halt. The\u003ci\u003e Adagio\u003c\/i\u003e proves no less commanding, a lyrical transformation of an\u003ci\u003e f-sharp minor Piano Trio \u003c\/i\u003etheme.\n Brief but superlatively colored, the movement, like its predecessor, \nbrings applause by a moved audience. Beecham always finds snappy dash in\n Haydn \u003ci\u003eMenuets\u003c\/i\u003e, especially in this whose stamping three-note \nfigure imbues the music with an earth-bound, peasant wisdom. Haydn’s \ninnovative use of dissonance makes the \u003ci\u003ePresto \u003c\/i\u003efinale no less \nelastic, and Beecham reminds us how many debts Beethoven owes to this \nimaginative masterpiece, especially given his own \u003ci\u003eFourth Symphony\u003c\/i\u003e in the same key.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe two Berlioz works confirm Beecham’s spirited espousal of this \ncomposer’s music, especially any episode from the composer’s 1858 grand \nopera \u003ci\u003eLes Troyens\u003c\/i\u003e, which the conductor championed in its revival in 1957. The \u003ci\u003eRoyal Hunt and Storm\u003c\/i\u003e\n figures from Act IV, a ballet-pantomime in which Dido and Aeneas wait \nout a storm in a cave. A specter of the gods urges Aeneas on to Italy, \nwhere his fate awaits. Exquisite pandemonium! In his commercial recoding\n for EMI, Beecham had the serene advantage of Dennis Brain in the horn \npart. The \u003ci\u003eHungarian March\u003c\/i\u003e from \u003ci\u003eLa damnation de Faust\u003c\/i\u003e serves as a marvelous rabble-rouser, as if the New York audience were not sufficiently beside themselves with Beecham fever.\u003c\/p\u003e\u003cp\u003e\n—Gary Lemco\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.audaud.com\/beecham-abc-vol-4-pristine-audio\/\" target=\"_blank\"\u003eAudiophile Audition\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC480.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFinal of four newly-discovered broadcast concerts by Beecham at the nascent ABC in 1945\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"His\n NY forces are in splendid form here, the coagulant tone of the lower \nstrings being especially notable, as is the fine brass playing\" \u003cbr\u003e- MusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eInformation concerning Sir Thomas Beecham's four concerts on the \nnascent ABC radio network in April 1945 is scant, but a small notice in \nthe New York Times of 15 April suggests that not only had the Saturday \nconcerts been quickly deemed a success, but that plans were already \nafoot to take the idea forward.\u003c\/p\u003e\u003cp\u003eExpecting to follow in Sir Thomas's footsteps were Max Goberman, \nNikolai Beresowski and Paul Whiteman (for a Gershwin memorial concert on\n June 30). Furthermore it was stated that \"\u003cem\u003ewhile there has been no \nofficial announcement of such a plan, it is reported that the orchestra \nmay become a permanent symphony ensemble for the network\u003c\/em\u003e\". \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBeecham's final concert was once again centred around a classical \nsymphony - this time from Haydn - coupled with a handful of popular \nshorter works.Our source this time lacked an introduction or sign-off \nfrom Milton Cross, and quality varies somewhat across the sides, but \ngenerally we find decent audio quality and, once again, some sterling \nmusicianship from Sir Thomas and his ensemble.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eMOZART\u003c\/b\u003e Der Schauspieldirektor, K.486 - Overture\u003cbr\u003e\u003cb\u003eSAINT-SAËNS\u003c\/b\u003e Le Rouet d'Omphale, Op. 31\u003cbr\u003e\u003cb\u003eHAYDN \u003c\/b\u003e Symphony No. 102 in B flat major, Hob. I:102\u003cbr\u003e\u003cb\u003eBERLIOZ\u003c\/b\u003e Les Troyens, H133 - Chasse royale et Orage\u003cbr\u003e\u003cb\u003eBERLIOZ\u003c\/b\u003e La damnation de Faust, H 111 - Marche Hongroise \u003cbr\u003e\u003cbr\u003e\u003cb\u003eBlue Network Symphony Orchestra \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Thomas Beecham,\u003c\/b\u003e conductor\u003cbr\u003e\u003cbr\u003eLive broadcast on ABC\/Blue Network, 4pm, 28 April 1945\u003cbr\u003eRitz Theater, W. 48th Street,  New York City\u003cbr\u003eAnnouncer: Milton Cross\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC480.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC480.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":3146931372058,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":3146931404826,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":3146931437594,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC480.jpg?v=1512384327"},{"product_id":"paco132","title":"DAVIES Delius: A Village Romeo and Juliet (1962, Sadler's Wells) - PACO132","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003eDELIUS \u003c\/b\u003eA Village Romeo and Juliet\u003cb\u003e\u003cbr\u003eDELIUS \u003c\/b\u003eThe Walk to the Paradise Garden (bonus track)*\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eLive performance broadcast, 1962\u003cbr\u003e*Live radio broadcast, 1945\u003cbr\u003eTotal duration: 1hr 49:33 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003eSali\u003cb\u003e – John Wakefield\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003eVrenchen\u003cb\u003e – Elsie Morison\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003eThe Dark Fiddler\u003cb\u003e – Neil Easton\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003eManz\u003cb\u003e - Lawrence Felley\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003eMarti\u003cb\u003e - Donald McIntyre\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eMeredith Davies, \u003c\/b\u003econductor\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eSoloists, Chorus and Orchestra of Sadler's Wells Opera\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e*Sir Thomas Beecham, \u003c\/b\u003econductor\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e*Blue Network Symphony Orchestra \u003c\/b\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThere is a real sense of magic in this performance which is most attractive578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eTowards the end of last year, when \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2015\/Dec\/Delius_Romeo_4750442.htm\"\u003ereviewing\u003c\/a\u003e\n the reissue of Mackerras’s recording of this opera, I mentioned in \npassing a pirated set of LPs conducted by Meredith Davies deriving from a\n live performance at the Alhambra Theatre in Bradford. At first glance I\n assumed that this new set from Pristine was a straightforward transfer \nof that recording to CD; but, although the performing forces are \nidentical with those IGS discs, they are heard here in a BBC broadcast \nrelay from Sadler’s Wells’s own theatre in London. I have never heard \nthe IGS set, but in his review of the LPs in Volume Three of \u003cem\u003eOpera on Record\u003c\/em\u003e\n John Steane remarks that the “audience seems to pick on all the \nquietest, loveliest passages for their coughing spasms.” That problem is\n less in evidence here, although the close of \u003cem\u003eThe walk to the Paradise Garden\u003c\/em\u003e\n and the very final bar of the opera are both disturbed by bronchial \ncontributions from the public, who are however considerate in reserving \ntheir applause until the music has actually ceased and are generally \ninoffensively quiet elsewhere. The broadcast sound too is clean and \nwell-balanced, unlike the Alhambra recording which was described by \nSteane as “restricted in spaciousness and clarity”. Indeed, apart from \noccasional moments of overloading and some evidence of rapid and \npanic-stricken adjustment of the volume control, the sound is very good \nmono of its period. Nor does the live performance suffer from any of the\n orchestral slips one might expect in such a densely woven score, with \nonly a couple of minor fluffs from the horns and some overly rebarbative\n low woodwind to cause any concern.\u003cbr\u003e \u003cbr\u003e And the casting here is \nvery good, too. In his review John Steane comments that “its lovers are \ntruly suited to their roles” and commends both Elsie Morison and John \nWakefield as the best exponents of them on disc (he was writing before \nthe appearance of the Mackerras set with Helen Field and Arthur Davies).\n I still have a particular liking for Elisabeth Harwood on the later \ncommercial EMI set conducted by Meredith Davies – nobody else can quite \napproach the sense of calm stillness that she achieves at the beginning \nof Scene Four – but like Arthur Davies, John Wakefield is young and \neager as Sali in a way that eludes Robert Tear on EMI. John Steane was \nfairly rude about Neil Easton as the Dark Fiddler, describing him as \nhaving “some character but not really enough voice”; what struck me was a\n lack of substance in the lower register but a ringing top which \ncompensated to a considerable degree, but I have to admit that either \nJohn Shirley-Quirk (on the later Davies set) or Thomas Hampson (for \nMackerras) have more sense of presence in the enigmatic role. Steane \nalso described the Marti (incorrectly identified as Manz) of the young \nDonald McIntyre (long before his days as Wotan) as “excessively \nrough-sounding”; but I welcomed his solidity of tone is a role that is \nafter all pretty unpleasant.\u003cbr\u003e \u003cbr\u003e In my previous review I commented \nthat the later Davies recording on EMI employed a revised version of the\n libretto by Tom Hammond which I assumed had been commissioned for that \nperformance; but here ten years earlier we are given the same revisions,\n which do much to overcome the unidiomatic translation originally \nprovided by Delius’s wife Jelka Rosen. When reviewing the EMI set for \nthe \u003cem\u003eGramophone\u003c\/em\u003e, Deryck Cooke had complained about alterations \nof the rhythms to accommodate this revised text, commenting in \nparticular on Harwood’s delivery of the line “what that woman said is \ntrue”; here Elsie Morison gives us the same line with the exact rhythm \nof Delius’s score, which may sound slightly less natural as a setting of\n the words but which preserves the sense of solemnity which Cooke missed\n with Harwood. Indeed, the precision of the singing throughout, with the\n exception of the rather blowsy chorus, is exceptional and for much of \nthe time there is no need to have recourse to a printed text (which is \njust as well, since none is provided).\u003cbr\u003e \u003cbr\u003e In my review of the \nMackerras set I lamented the rather prosaic treatment of the closing \nscene with the bargemen on the river, where his Austrian singers lacked \nthe sort of magic that would convincingly enable Vreli to confuse their \nvoices with those of angels. On his EMI studio set Davies scored \nstrongly with the voices of such singers as John Noble and Ian Partridge\n as well as a real sense of enchantment; and miraculously he manages to \nachieve the same effect here with much less well-known singers. \nElsewhere he has a tendency to be somewhat brisk with Delius’s writing \n(notably in the dream sequence of Scene Four), no doubt with dramatic \nconsiderations in mind, and it has to be admitted that the decidedly \nboxy acoustic of the old Sadler’s Wells theatre cannot begin to compete \nwith the studio sound provided for Davies by EMI, or for Mackerras by \nArgo. Nevertheless, for those who love this score as much as I do, there\n is a real sense of magic in this performance which is most attractive; \nand for those who already own either of the studio sets, this might well\n be regarded as a valuable adjunct. As I mentioned last year, the later \nDavies recording remains unavailable separately; so for those wanting \nthe complete opera by itself in a modern recording, choice is restricted\n to Mackerras (now on a mid-price Decca reissue available from Presto \nClassical).\u003cbr\u003e \u003cbr\u003e The second disc concludes with a 1945 recording of the interlude \u003cem\u003eThe walk to the Paradise Garden\u003c\/em\u003e\n conducted with an American orchestra by Beecham, but this is not really\n competitive with either of Beecham’s recordings of the complete opera \nwith the BBC Symphony Orchestra or the Royal Philharmonic, and some of \nBeecham’s adjustments of the tempo sound excessive by modern standards \n(although I have no doubt that Delius, always willing to accept \nBeecham’s adjustments of his scores, would have approved). The recording\n has been well served by its remastering, but the dynamic range has been\n severely restricted even by comparison with the theatre performance \nearlier on this same disc. Tracking on the discs is limited to \nindividual scenes, with separate cues provided only for the dream \nsequence and the \u003cem\u003eParadise Garden\u003c\/em\u003e interlude.\u003cbr\u003e \u003cbr\u003e In conclusion may I once again put in a plea for someone to reissue the BBC tapes of the early Delius operas \u003cem\u003eIrmelin, The magic fountain\u003c\/em\u003e and \u003cem\u003eMargot le rouge,\u003c\/em\u003e\n once available on Artium CDs but long since deleted? Amazon currently \nlists sets of the latter two at prices ranging from £48.74 upwards, with\n two copies of \u003cem\u003eIrmelin\u003c\/em\u003e quoted at a whopping £175.00 and £196.00. Who on earth would be willing to pay such sums, no matter how desirable the issues?\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cem\u003ePaul Corfield Godfrey\u003cbr\u003e\u003c\/em\u003e\u003c\/b\u003eMusicWeb International, July 2016\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO132.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe brilliant 1962 Sadler's Wells production of Delius' rarely-recorded opera\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"A work of indisputable beauty and dramatic validity, outstandingly well conducted by Meredith Davies\" - The Spectator, 1962\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThis live broadcast was transmitted from the Sadler's Wells Theatre \nin London on the BBC's Third Programme on the evening of Tuesday 10th \nApril, 1962, and preserved excellently from the FM broadcast on \nopen-reel tapes from which this release was drawn. This marks only the \nsixth full recording of the opera to be issued, though of course The \nWalk to the Paradise Garden is a highly popular orchestral piece, drawn \nfrom the opera's penultimate act.\u003c\/p\u003e\u003cp\u003eThe tapes were in excellent condition. There was some intrusive \nelectrical hum, which was easily removed, and two very short patches \nwere required to cover tape turns. Sound quality from the original BBC \ntransmission was exemplary, with a generally very quiet audience. Alas \nthis was broadcast just five months before the start of experimental \nstereo broadcasts by the BBC, though the application here of our Ambient\n Stereo processing does go some way to giving a little breathing space \naround the mono sound image.\u003c\/p\u003e\u003cp\u003eDue to the opera's short length when spanned across two CDs I've \nadded a rare bonus recording of Sir Thomas Beecham conducting the \"Blue \nNetwork Symphony Orchestra\", an ensemble of top rank New York orchestral\n players assembled for four radio concerts Beecham gave on the nascent \nABC radio network in the spring of 1945. His performance of \u003cem\u003eThe Walk to the Paradise Garden \u003c\/em\u003eformed part of the concert broadcast on 7 April 1945, which can be heard in full on PASC461.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew 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Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eDELIUS\u003c\/b\u003e  \u003cspan\u003eA Village Romeo and Juliet\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eBroadcast from Sadler's Wells Theatre\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eBBC Third Programme, Tuesday 11 April, 1962\u003cbr\u003e\u003c\/span\u003eSoloists (see cast list)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: small;\"\u003eSadler’s Wells Chorus\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: small;\"\u003eSadler’s Wells Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003eConductor – Meredith Davies\u003c\/span\u003e\u003cbr\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eDELIUS\u003c\/b\u003e The Walk to the Paradise Garden (bonus track)\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003eSir Thomas Beecham, conductor\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: small;\"\u003eBlue Network Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eAn ABC radio broadcast 7 April, 1945\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eLive from the Ritz Theater, New York City\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eAlso appears on PASC461 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Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO132.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO132.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eDELIUS \u003c\/b\u003e A Village Romeo and Juliet \u003cbr\u003eBroadcast from Sadler's Wells Theatre\u003cbr\u003eBBC Third Programme, Tuesday 11 April, 1962\u003cbr\u003e\u003cbr\u003eSali\u003cb\u003e – John Wakefield\u003c\/b\u003e\u003cbr\u003eVrenchen\u003cb\u003e – Elsie Morison\u003c\/b\u003e\u003cbr\u003eThe Dark Fiddler\u003cb\u003e – Neil Easton\u003c\/b\u003e\u003cbr\u003eManz\u003cb\u003e - Lawrence Felley\u003c\/b\u003e\u003cbr\u003eMarti\u003cb\u003e - Donald McIntyre\u003c\/b\u003e\u003cbr\u003eSali as a child\u003cb\u003e – Soo Bee Lee\u003c\/b\u003e\u003cbr\u003eVrenchen as a child\u003cb\u003e – Sheila Amit\u003c\/b\u003e\u003cbr\u003eThe Slim Girl\u003cb\u003e – Margaret Gale\u003c\/b\u003e\u003cbr\u003eThe Wild Girl\u003cb\u003e – Shirley Chapman\u003c\/b\u003e\u003cbr\u003eThe Poor Horn Player\u003cb\u003e – John Chorley\u003c\/b\u003e\u003cbr\u003eThe Hunchbacked Bass-Fiddler\u003cb\u003e – Donald McIntyre\u003c\/b\u003e\u003cbr\u003eFirst Peasant\u003cb\u003e – Cecil Lloyd\u003c\/b\u003e\u003cbr\u003eSecond Peasant\u003cb\u003e – William Davies\u003c\/b\u003e\u003cbr\u003eFirst Woman\u003cb\u003e – Gwynneth Jenkins\u003c\/b\u003e\u003cbr\u003eSecond Woman\u003cb\u003e – Dilys Davies\u003c\/b\u003e\u003cbr\u003eThird Woman\u003cb\u003e – Ruth Roberts\u003c\/b\u003e\u003cbr\u003eWheel-of-Fortune Woman\u003cb\u003e – Angela Wheeldon\u003c\/b\u003e\u003cbr\u003eCheap Jewellery Woman\u003cb\u003e – Joan Clarkson \u003c\/b\u003e\u003cbr\u003eGingerbread Woman\u003cb\u003e – Joan Davies\u003c\/b\u003e\u003cbr\u003eShowman\u003cb\u003e – Tom Swift\u003c\/b\u003e\u003cbr\u003eMerry-go-Round Man\u003cb\u003e – Kenneth Fawcett\u003c\/b\u003e\u003cbr\u003eShooting-Gallery Man\u003cb\u003e – Charles 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PASC329 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD with case \u0026 artwork (+MP3)","offer_id":40478142669,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2CD only in plastic sleeve (+MP3)","offer_id":40478142733,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC329_138318e1-c8eb-4081-ab42-d6bfb801e0bc.jpg?v=1658307801"},{"product_id":"pasc366","title":"The Columbia Beethoven Centennial Symphony Series, Volume 1 (1926\/27) - PASC366","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 1\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 2\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eLeonore Overture No. 3\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"bodymidarial\" style=\"font-size: 10px;\"\u003eStudio recordings, 1926\/27\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 66:56\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eSir George Henschel • Royal Philharmonic Orchestra\u003cbr\u003eSir Thomas Beecham • London Symphony Orchestra \u003cbr\u003eSir Henry J. Wood • New Queen’s Hall Orchestra\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fTruly deserving of the designation “historic” and I look forward to the rest of the series578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn 1927, the British Columbia recording company marked the Beethoven centennial by issuing the first \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eelectrical\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n recordings of his nine symphonies. In another 14 years, these \nrecordings will have been recorded as close to the year of Beethoven’s \ndeath as they are to us. Pristine Audio will eventually reissue new \ntransfers of all these historic recordings. These were not, however, the\n first recordings of Beethoven symphonies. Quite a few go back even \nfurther. According to Mark Obert-Thorn, who is responsible for these \nexcellent transfers, “All of the Beethoven symphonies were recorded \nmultiple times complete, acoustically. Claude G. Arnold’s discography of\n acoustic orchestral recordings (The Orchestra on Record, 1896-1926) \nlists nine pages of them...Frieder Weissmann came closest to doing a \ncomplete cycle; his lacked only the Seventh and the final movement of \nthe Ninth (which was recorded with Eduard Mörike conducting the Ode to \nJoy).” Appropriately enough, the first CD in Pristine’s reissue contains\n Beethoven’s first two symphonies, which still carry traces of the 18th \ncentury with them. Malcolm Sargent once suggested that, if Beethoven’s \nsymphonies had come down to us without numbers or dates, one could \nprobably place the First, Second, and Ninth Symphonies in their proper \nplaces but putting the rest in sequence would be difficult. It seems to \nbe generally assumed that musical performances were more “expressive” \nand “free-wheeling” or just plain eccentric a century ago. There is, to \nbe sure, some recorded evidence of this, but my guess would be “it \ndepends.” Some conductors undoubtedly were more individualistic and \nself-indulgent than those we are accustomed to hearing but you may be \nsure that there were many virtuous straight-arrows who were less willing\n to inflict their personalities on the music. There were also, no doubt,\n a considerable number of hacks.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eGeorg (later “George”) Henschel was born in \nGermany but lived most of his career in the English-speaking world and \nwas eventually knighted. Oddly, for a conductor, his principal \ninstrument was his baritone voice but he could play the piano well \nenough to accompany himself and did, on several recordings. He was a \nfriend of Brahms and wrote a memoir of his friendship with the composer.\n When Henschel was born, in 1854, Brahms was 20 years old and Beethoven \nhad been dead for only 27 years. Can you remember events that took place\n 27 years ago, in 1986? Chernobyl? Iran–Contra? The space-shuttle \nChallenger exploding? Bill Buckner’s unfortunate misadventure? Is it \nreally \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethat\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e long \nago? It is possible that Henschel was the oldest conductor of any \ncelebrity to make an electrical recording. His contemporaries, Robert \nKajanus (1856-1933), Max Fiedler (1859-1939), and Karl Muck (1859-1940) \nalso made some. Artur Nikisch (1855-1922) only lived long enough to make\n some acousticals. Interestingly, three of them, Nikisch, Fiedler, and \nMuck, eventually followed Henschel as music directors of the Boston \nSymphony Orchestra, of which he was the very first one. A photograph of \nHenschel and the orchestra reveals a peculiarity of the seating \narrangement: the basses and cellos are divided, with half on the \norchestra’s extreme left, behind the violins, and half on the extreme \nright. Brahms reputedly approved of this setup.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHenschel’s performance of the First Symphony is a fairly leisurely one; he doesn’t feel a need for urgency in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro con brio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n first movement but the tempo is a comfortable one and what I assume to \nbe a smaller-than-usual orchestra mitigates any feeling of heaviness. \nLikewise, he observes the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante cantabile\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e of the second movement but minimizes the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003econ moto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n The effect is quite pleasant; in fact, the whole performance has a \nrelaxed lightness that I found quite enjoyable. The Minuet is \nmore-or-less conventional, and perhaps his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro molto e vivace \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\n fast enough but not particularly urgent and the orchestra certainly \nplays well enough. Can we infer anything about 19th-century performance \npractices from this recording? I doubt it. Incidentally, he observes all\n the repeats, which did not always happen on 78s, whether for musical or\n practical reasons. Unhappily, this is his only recording as a conductor\n though he lived until 1934. I wonder how he would have done a Brahms \nsymphony.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eOn the other hand, Thomas Beecham, while he \nadheres to convention in the Second Symphony’s Scherzo, ignores the \nfirst movement’s exposition repeat. Beecham’s moderately paced \nintroduction leaves one unprepared for the way he takes off at the \noutset of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro con brio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n I think I can say with the utmost sobriety that this is the fastest \nperformance of the movement you are likely to hear. As Obert-Thorn \nwrites, the performance “threatens to go off the rails.” The playing of \nthe strings is astonishingly accurate and nearly unanimous though, \ninevitably, some of the fast passagework is a bit blurred. He dispatches\n the movement in 7:28! The rest of the performance, at least, resembles \nhis two very good subsequent ones from 1936 and 1957. Was he trying to \nsqueeze the first movement onto two sides? Given that the original “78” \nrpm recording (it was actually recorded at a speed of 84.4 rpm!) uses \nfour discs, I don’t see the necessity. Perhaps it was merely a momentary\n eccentricity, like the pauses he makes before and after the Trio in the\n Scherzo. Henry Wood’s supple and intense \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLeonore Overture\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n No. 3 serves as a nice bonus. Given the age of these pioneering \nrecordings, I was pleasantly surprised at how good they sounded.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI once lived next to a switching yard with the \noccasional rumble and squeal of train wheels going on all day; the only \ntime I would notice it was when I had a visitor who would ask something \nto the effect of “How can you stand all that noise?” The rest of the \ntime I was oblivious to it. Although the producer issues a warning that \nthese early electricals were inherently noisy, it’s no big deal. I had \nno problem with it at all and found myself quite absorbed in the \nperformances. Obviously, they do not compete with the best modern ones \n(though I really enjoyed Henschel’s First Symphony), but they are truly \ndeserving of the designation “historic” and I look forward to the rest \nof the series, which will line up as follows: No. 3 (Henry Wood), No. 4 \n(Hamilton Harty), and the rest (Felix Weingartner). \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 36:5 (May\/June 2013) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC366.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 1\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eGroundbreaking Symphonic series first issued in 1927 begins here in new Obert-Thorn transfers\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThis volume is the first of five which will reissue, for the first time in one series, the complete symphony cycle which English Columbia commissioned to commemorate the centennial of Beethoven’s death in 1927.  It was a bold move for the label, perennially in the shadow of its larger competitor, HMV, to embark on such a project at a time when no other company had recorded all nine symphonies using the relatively new electrical process.  Indeed, HMV and Polydor would not complete their cycles until several years after the centennial had passed.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe first four symphonies were assigned to British conductors (Henschel, Beecham, Wood and the Northern Irish Harty) while the remainder were given to Weingartner, already generally acknowledged as a Beethoven specialist.  The German-born Sir George Henschel (1850–1934) was equally noted for his appearances as a baritone recitalist as he was for his conducting.  He was the first music director of the Boston Symphony Orchestra, and this Beethoven First Symphony is his only recording as a conductor.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eBeecham’s recording of the Second Symphony was the first of three he would make (the others were in 1936 with the LPO and 1956\/7 with “his” RPO).  While all share an exuberant approach to the main theme of the first movement, the present performance threatens to go off the rails with tempi that are just short of humanly impossible to play.  The \u003cem\u003eLuftpausen\u003c\/em\u003e just before and after the Trio in the Scherzo were an interpretive indulgence Beecham did not repeat in his later versions.  It has never been reissued on CD before, perhaps in part due to the unusually high playback speed required (84.4 rpm at A4 = 440Hz, quite the fastest speed I’ve ever encountered for an electrical recording).  Henry Wood’s contemporaneously-recorded \u003cem\u003eLeonore\u003c\/em\u003e Overture, although not part of the Centennial Symphonies series, has been included to fill out the short program, as a sort of preview for his \u003cem\u003eEroica\u003c\/em\u003e on Volume 2.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe sources for the transfers were first edition American Columbia “Viva-Tonal” pressings.  Multiple copies of each were assembled, and the best sides were chosen for transfer, although it must be kept in mind that these early electrics are inherently rather noisy.  The Henschel set was plagued by pitch fluctuation throughout each side, which has been corrected in this transfer.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Symphony No. 1 in C, Op. 21\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 14 and 21 December 1926 and 4 February 1927 in the Scala Theatre, London\u003cbr\u003eMatrix nos.: WRAX 2284-1, 2285-1, 2286-2, 2287-6, 2303-6, 2304-2, 2305-1 and 2306-2\u003cbr\u003eFirst issued on Columbia L 1889 through 1892\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eRoyal Philharmonic Orchestra\u003cbr\u003eSir George Henschel\u003c\/strong\u003e conductor\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Symphony No. 2 in D, Op. 36\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 9 - 10 November 1926 in the Scala Theatre, London\u003cbr\u003eMatrix nos.: WRAX 2142-2, 2143-2, 2144-2, 2145-2, 2149-3, 2150-2, 2151-2 and 2152-2\u003cbr\u003eFirst issued on Columbia L 1864 through 1867\u003cbr\u003eAdditional pitch stabilisation: Andrew Rose\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eLondon Symphony Orchestra\u003cbr\u003eSir Thomas Beecham \u003c\/strong\u003econductor\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Leonore Overture No. 3, Op. 72b\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 28 February 1927 in London\u003cbr\u003eMatrix nos.: WRAX 2467-2, 2468-1, 2469-1 and 2470-1\u003cbr\u003eFirst issued on Columbia L 1978 and 1979\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eNew Queen's Hall Orchestra\u003cbr\u003eSir Henry Wood\u003c\/strong\u003e conductor\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eCover artwork based on a photograph of Sir Thomas Beecham\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTotal duration: 66:56\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC366.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC366.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":40386198989,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":40386199053,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC366_47c3ac40-022a-44d7-aecb-6b67da8ed9e2.jpg?v=1499771278"},{"product_id":"pasc366-cd","title":"The Columbia Beethoven Centennial Symphony Series, Volume 1 (1926\/27) - PASC366 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478161741,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478161805,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC366.jpg?v=1658308869"},{"product_id":"pasc496","title":"STRAVINSKY Rarities (1916-1938) - PASC496","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eSTRAVINSKY  \u003c\/b\u003eThe Firebird\u003cbr\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003ePetrushka\u003cbr\u003e\u003cb\u003eSTRAVINSKY  \u003c\/b\u003eThe Rite of Spring\u003cbr\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003ePiano Music\u003cbr\u003e\u003cb\u003eMOZART  \u003c\/b\u003eFugue in C minor\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eStudio recordings, 1916-1938\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 77:57\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eBeecham Symphony Orchestra ∙ Sir Thomas Beecham\u003cbr\u003eRoyal Albert Hall Orchestra ∙ Sir Eugene Goossens\u003cbr\u003eBerlin State Opera Orchestra ∙ Oskar Fried\u003cbr\u003eThe Philadelphia Orchestra ∙ Leopold Stokowski\u003cbr\u003eIgor Stravinsky, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eSoulima Stravinsky, \u003c\/b\u003epiano\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC496.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv align=\"center\"\u003e\u003ci\u003e\u003cspan style=\"font-size: 24px;\"\u003eRare and Previously Unissued recordings of and by Stravinsky\u003c\/span\u003e\u003c\/i\u003e\u003c\/div\u003e\u003cdiv align=\"center\"\u003e\u003ci\u003e\u003cspan style=\"font-size: 18px;\"\u003eA remarkable archive of recordings in fabulous new transfers\u003c\/span\u003e\u003c\/i\u003e\u003c\/div\u003e\u003cdiv align=\"center\"\u003e\u003cbr\u003e\u003c\/div\u003e\u003cp\u003e\n    The present program brings together several première recordings of works by\n    Stravinsky as well as some first releases, including the composer’s\nearliest extant discs and the first attempt to record    \u003cem\u003eThe Rite of Spring\u003c\/em\u003e. Along with other recordings which have already\n    appeared on Pristine, this release also completes the reissue of all\n    acoustically-recorded Stravinsky orchestral works.\n\u003c\/p\u003e\u003cp\u003e\n    Early in his career, Sir Thomas Beecham was noted for his championing of\n    such cutting-edge music as Strauss’ \u003cem\u003eSalome\u003c\/em\u003e. It is not surprising\nin this context that he recorded excerpts from Stravinsky’s    \u003cem\u003eFirebird\u003c\/em\u003e a mere six years after its première. As in all of the\n    acoustic recordings presented here, the reduced forces and balance dictated\n    by distance from the recording horn allow us to hear, intentionally or not,\n    inner voices that are not generally noticeable. The sound on the original\n    disc has a remarkable amount of detail for a recording that is now over a\n    century old.\n\u003c\/p\u003e\u003cp\u003e\n    At a time when even major symphonies were still being recorded in heavily\ncut versions, it is remarkable that Eugene Goossens was allowed to record    \u003cem\u003ePetrushka\u003c\/em\u003e complete. The sequence of matrix numbers suggests that\n    originally, only four sides comprising Tableaux 1 and 4, concluding with\n    the concert ending, were contemplated, but that another four were added to\n    complete the set a month after the initial session.\n\u003c\/p\u003e\u003cp\u003e\n    Further acoustic versions of the \u003cem\u003eFirebird\u003c\/em\u003e Suite followed Beecham’s\n    – first, from Albert Coates (of the 1911 arrangement, on PASC 303), then\n    from Leopold Stokowski (the familiar 1919 version, on PASC 192). Oskar\n    Fried’s late acoustic version from 1925 differs from his electrical remake\n    of three years later (PASC 392) by a much faster tempo taken in the\n    Introduction – a choice not dictated by 78 rpm side timing limitations, as\n    the final side, running over four and a half minutes, proves.\n\u003c\/p\u003e\u003cp\u003e\n    Philip Stuart’s Stravinsky discography mentions that the composer’s first\n    recording was of his Octet, made privately in 1923; it was never released,\n    an all test pressings are lost. His next attempt was made for the Brunswick\n    company two years later during an American tour. Four sides were recorded\n    of Stravinsky playing his solo piano works; but, coming at the very end of\n    the acoustic era, they were never released.\n\u003c\/p\u003e\u003cp\u003e\n    Stravinsky kept his test pressings, and a tape copy of them has circulated\n    which was the basis of this restoration. Some of the originals are in\n    fairly good condition, but others are dire, indeed (particularly Side 3).\n    The fourth side must have had a chip broken off affecting half of the disc;\n    it fades up on the second of three selections. They are presented for the\n    sake of archival completeness. Brunswick allotted a separate matrix number\n    for each take; and since we do not know the take used for each transfer,\n    all of them have been listed here.\n\u003c\/p\u003e\u003cp\u003e\n    Stokowski made the first attempt at recording \u003cem\u003eThe Rite of Spring\u003c\/em\u003e\n    in April, 1927. Three sides were taken down, and the recording ledgers\n    indicate these were done for test purposes only and not intended to be\n    released. The differences with his 1929\/30 issued recording are striking,\n    with much faster tempos being favored here.\n\u003c\/p\u003e\u003cp\u003e\n    The final selection shows Stravinsky in a rare role as interpreter of\n    another composer’s music. This Mozart duet with his son, Soulima, the\n    filler side to their set of Stravinsky’s Concerto for Two Solo Pianos, was\n    recorded in 1938 but not released until 1951 and never “officially”\n    reissued on CD.\n\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\n    Mark Obert-Thorn\u003c\/i\u003e\n\u003c\/p\u003e\u003cdiv align=\"left\"\u003e\n\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003cstrong\u003e The Firebird – Suite (1911 version – excerpts)\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    1 Dance of the Firebird (1:07)\n\u003c\/p\u003e\u003cp\u003e\n    2 Game of the Princesses with the Golden Apples (2:28)\n\u003c\/p\u003e\u003cp\u003e\n    3 Infernal Dance of all Kaschei’s Subjects (3:47)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eBeecham Symphony Orchestra ∙ Sir Thomas Beecham\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded April or May, 1916 in the Columbia Petty France Studios, London\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    Matrix nos.: 6797-1 \u0026amp; 6799-1 (Columbia L 1040)\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003ePetrushka\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    4 First Tableau: The Shrovetide Fair (8:18)\n\u003c\/p\u003e\u003cp\u003e\n    5 Second Tableau: Petrushka’s Room (3:30)\n\u003c\/p\u003e\u003cp\u003e\n    6 Third Tableau: The Moor’s Room (6:19)\n\u003c\/p\u003e\u003cp\u003e\n    7 Fourth Tableau: The Shrovetide Fair (Toward Evening) (12:10)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eRoyal Albert Hall Orchestra ∙ Sir Eugene Goossens\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 21 December 1923 \u0026amp; 15 January 1924 in Rooms 1 \u0026amp; 2, HMV\n    Studios, Hayes\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    Matrix nos.: Cc 4013-1, 4014-4, 4077-2, 4078-1, 4079-3, 4015-2, 4016-2\n    \u0026amp; 4080-2\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    (HMV D 853\/6)\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eThe Firebird – Suite (1919 version)\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    8 Introduction (2:07)\n\u003c\/p\u003e\u003cp\u003e\n    9 Dance of the Firebird (1:06)\n\u003c\/p\u003e\u003cp\u003e\n    10 Round Dance of the Princesses (4:09)\n\u003c\/p\u003e\u003cp\u003e\n    11 Infernal Dance of all Kaschei’s Subjects (3:45)\n\u003c\/p\u003e\u003cp\u003e\n    12 Lullaby of the Firebird (Berceuse) (2:34)\n\u003c\/p\u003e\u003cp\u003e\n    13 Finale (2:12)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eBerlin State Opera Orchestra ∙ Oskar Fried\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 1925 in Berlin\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    Matrix nos.: 1917 ½ as, 1930 ½ as, 1931 as \u0026amp; 1938 ½ as\n    (Grammophon\/Polydor 6977\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e6\/7)\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    14 \u003cstrong\u003eAndantino (No. 1 from Les cinq doigts)\u003c\/strong\u003e (0:52)\n\u003c\/p\u003e\u003cp\u003e\n    15 \u003cstrong\u003eModerato (No. 5 from Les cinq doigts)\u003c\/strong\u003e (0:44)\n\u003c\/p\u003e\u003cp\u003e\n    16 \u003cstrong\u003eAllegro (No. 2 from Les cinq doigts)\u003c\/strong\u003e (1:14)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 11 March 1925 in Brunswick Studio No. 2, New York City\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    Matrix no.: 15131 or 15132 or 15133 (Previously unpublished)\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    17 \u003cstrong\u003eLarghetto (No. 4 from Les cinq doigts)\u003c\/strong\u003e (1:25)\n\u003c\/p\u003e\u003cp\u003e\n    18 \u003cstrong\u003eLento (No. 6 from Les cinq doigts)\u003c\/strong\u003e (0:52)\n\u003c\/p\u003e\u003cp\u003e\n    19 \u003cstrong\u003eVivo (No. 7 from Les cinq doigts)\u003c\/strong\u003e (0:53)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 11 March 1925 in Brunswick Studio No. 2, New York City\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    Matrix no.: 15134 or 15135 or 15136 (Previously unpublished)\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    20 \u003cstrong\u003ePesante (No. 8 from Les cinq doigts)\u003c\/strong\u003e (1:13)\n\u003c\/p\u003e\u003cp\u003e\n    21 \u003cstrong\u003eValse (No. 2 from Three Easy Pieces)\u003c\/strong\u003e (1:44)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 March 1925 in Brunswick Studio No. 2, New York City\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    Matrix no.: 15137 or 15138 or 15139 (Previously unpublished)\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    22 \u003cstrong\u003eValse pour les enfants (fragment)\u003c\/strong\u003e (0:26)\n\u003c\/p\u003e\u003cp\u003e\n    23 \u003cstrong\u003ePolka (No. 3 from Three Easy Pieces)\u003c\/strong\u003e (1:01)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 March 1925 in Brunswick Studio No. 2, New York City\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    Matrix no.: 15140 or 15141 or 15142 or 15143 (Previously unpublished)\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eIgor Stravinsky (piano)\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eThe Rite of Spring\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    24 Part I: The Adoration of the Earth (beginning) (9:22)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eThe Philadelphia Orchestra ∙ Leopold Stokowski\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 7 April 1927 in the Academy of Music, Philadelphia\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    Matrix nos.: CVE 37471-1, 37472-1 \u0026amp; 37473-1 (Previously unpublished)\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    25 \u003cstrong\u003eMOZART: Fugue in C minor, K426\u003c\/strong\u003e (4:39)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e Igor Stravinsky and Soulima Stravinsky (pianos)\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 16 February 1938 in the Pathé-Marconi Studios, Paris\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    Matrix no.: CLX 2043-1 (Columbia LFX 953)\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    Producer and Audio Restoration Engineer: Mark Obert-Thorn\n\u003c\/p\u003e\u003cp\u003e\n    Special thanks to Peter Bay, Michael Gartz, Edward Johnson, Richard Kaplan\n    and David Schmutz for providing source material\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    Total Timing: 77:57\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC496.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC496.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":542563696666,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":542563729434,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC496_480c3bdb-460e-499e-aefb-a644db7fa7c0.jpg?v=1504091343"},{"product_id":"pasc496-cd","title":"STRAVINSKY Rarities (1916-1938) - PASC496 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478171149,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478171213,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC496.jpg?v=1658744282"},{"product_id":"pasc204","title":"BEECHAM, HEWARD, KAJANUS, KOUSSEVITZKY, ORMANDY conduct Sibelius (1930-41) - PASC204","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSIBELIUS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eA C\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003eollection of Shorter Works\u003c\/span\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"bodymidarial\" style=\"font-size: 10px;\"\u003eRecorded 1930-41\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 73:44 \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cspan class=\"body\"\u003eFeaturing various orchestras conducted by: \u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e Beecham, Heward, Kajanus, Koussevitzky, Ormandy \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003eplus chamber music recordings featuring: \u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e Emil Telmanyi \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003eand \u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003eLouis Jensen\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC204.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eA fascinating collection of shorter works from the 78rpm era\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eFeaturing some of the finest conductors, orchestras and performers\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThis anthology of recordings was entirely drawn from a single album compiled by the late professor of music at a UK university whose extensive collection of 78s was acquired by Pristine Audio some years ago. It supplemented the Sibelius Society collection of some six volumes, and together with a handful of other recordings, represents a pretty successful attempt to bring together just about all of the recordings of Sibelius available to the British record buyer in the 1930s and early 1940s from the two major record companies.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eI have kept very closely to the professor's order of discs, merely reversing the two recordings made by Emil Telmanyi and Gerald Moore from their order on a single disc side in order to bring together the two Danses Champêtres. Alas two discs arrived broken - the perpetual peril in shipping shellac discs, and thus we do not have Beecham's RPO Tapiola. However, the rest of the discs survived in remarkably good condition, with very few scratches indeed, and almost no evidence of wear. All possessed the typical 'bacon frying' crackle of British pressings, all replayed well, and swish was remarkable by its general absence. Although there is some difference in sound quality between the earlier and later recordings, all have responded exceptionally well to XR remastering, and sound quality is generally excellent.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eKarelia Suite\u003c\/strong\u003e, Op.11\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003e\u003cstrong\u003e1. Intermezzo \u003cbr\u003e 3. Alla marcia\u003c\/strong\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eThe Royal Philharmonic Society's Orchestra*\u003c\/strong\u003e\u003cbr\u003e conducted by \u003cstrong\u003eRobert Kajanus\u003c\/strong\u003e, \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003eMay 1930\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e UK Columbia DX307, Matrices WYX19-20, 1st takes\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eRakastava\u003c\/strong\u003e (The Lover), Op. 14\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eKing Christian II\u003c\/strong\u003e, Suite Op.27 \u003c\/span\u003e\u003cbr\u003e \u003cstrong\u003e2.Elegie \u003c\/strong\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eThe Leslie Heward String Orchestra**\u003c\/strong\u003e\u003cbr\u003e (Drawn from the City of Birmingham Orchestra's string section)\u003cbr\u003e conducted by \u003cstrong\u003eLeslie Heward\u003c\/strong\u003e, \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003eFebruary 14, 1941\u003c\/span\u003e\u003cbr\u003e UK Columbia DX.1004-5, Matrices CAX 8834-7, 1st takes\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eThe Swan of Tuonela\u003c\/strong\u003e, Op.22, No.2\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eThe Philadelphia Orchestra\u003c\/strong\u003e\u003cbr\u003e conducted by \u003cstrong\u003eEugene Ormandy\u003c\/strong\u003e, \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003eOctober 20, 1940\u003c\/span\u003e\u003cbr\u003e HMV DB.5832, Matrices 2A.047823-4\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eScenes Historiques\u003c\/strong\u003e, Op. 25 \u003c\/span\u003e\u003cbr\u003e \u003cstrong\u003e3. Festivo (Tempo di Bolero)\u003c\/strong\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eLondon Philharmonic Orchestra\u003c\/strong\u003e\u003cbr\u003e conducted by \u003cstrong\u003eSir Thomas Beecham\u003c\/strong\u003e, \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003eDecember 14, 1935\u003c\/span\u003e\u003cbr\u003e UK Columbia LX.501, Matrices CAX 7769-70, 1st takes\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBelshazzar's Feast\u003c\/strong\u003e, Op. 51\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eLondon Symphony Orchestra\u003c\/strong\u003e\u003cbr\u003e conducted by \u003cstrong\u003eRobert Kajanus\u003c\/strong\u003e, \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003eJune 24 \u0026amp; 29, 1932\u003c\/span\u003e\u003cbr\u003e HMV DB.3937-8, Matrices 2B.2943-5 \u0026amp; 2960 Takes 1, 2, 1, 1\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSwanwhite\u003c\/strong\u003e, Op. 54 \u003c\/span\u003e\u003cbr\u003e \u003cstrong\u003e3. The Maidens with Roses\u003c\/strong\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eBoston Symphony Orchestra\u003c\/strong\u003e\u003cbr\u003e conducted by \u003cstrong\u003eSerge Koussevitzky\u003c\/strong\u003e, \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003eDecember 12, 1936\u003c\/span\u003e\u003cbr\u003e HMV DB.3171, Matrix 2A.03175\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eDanses Champêtres\u003c\/strong\u003e, Op. 106\u003c\/span\u003e\u003cbr\u003e \u003cstrong\u003e1. Largamente assai\u003cbr\u003e 2. Alla polacca\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eRomance in F major\u003c\/strong\u003e, Op.78, No.2\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eEmil Telmanyi\u003c\/strong\u003e, violin\u003cbr\u003e \u003cstrong\u003eGeorg Vasarhelyi\u003c\/strong\u003e, piano \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e(Op106\/1), March 3, 1936\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cstrong\u003eGerald Moore\u003c\/strong\u003e, piano \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e(Op106\/2, Op78\/2), March 28, 1935\u003c\/span\u003e\u003cbr\u003e HMV DB.2893, Matrices 2RA.1042, 2EA.1348, Takes 1,3\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMalinconia\u003c\/strong\u003e, Op. 20\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eLouis Jensen\u003c\/strong\u003e, cello\u003cbr\u003e \u003cstrong\u003eGalina Werschenskaya\u003c\/strong\u003e, piano, \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003eAugust 26, 1936\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e HMV DB.5223, Matrices 2CS.955-6, 2nd takes \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003e*\u003c\/strong\u003eThis recording is sometimes ascribed \nto the London Symphony Orchestra. However, the orchestra's discography, \ncompiled by Philip Stuart, states: \"\u003cem\u003eKajanus’ recordings of the first\n two symphonies were made in May 30 with an anonymous orchestra, \nsometimes labelled as the LSO, but\u003c\/em\u003e \u003cem\u003enow identified as the Royal Philharmonic Society’s orchestra\"\u003c\/em\u003e\n - likewise this recording does not appear in the LSO discography, was \nrecorded at the same time, and is simply labelled \"Symphony Orchestra\"\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003e**\u003c\/strong\u003eAlthough labelled as \"The Leslie \nHeward String Orchestra\", it was in fact the string section of the City \nof Birmingham Orchestra, now the CBSO. This was confirmed in an e-mail \nfrom the CBSO's current archivist, Beresford King-Smith: \"\u003cem\u003eI can \nconfirm that the information you have about that 1941 Sibelius recording\n is absolutely correct - the players were members of the City of \nBirmingham Orchestra, but Walter Legge (who always had his own nefarious\n reasons for what he decided to do !) opted to use the 'Leslie Heward \nString Orchestra' formula, instead. The recording took place on 14th \nFebruary 1941, in Birmingham Town Hall.\u003c\/em\u003e\"\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTransfers and XR remastering by Andrew Rose at Pristine Audio, November 2009 \u003cbr\u003e All disc information taken from transfers used for this compilation \u003cbr\u003e Cover artwork based on a photograph of Jean Sibelius\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 73:44 \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC204.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC204.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":34452003597,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34452003661,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34452003725,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34452003789,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC204_5d6d73c5-e8d4-4ebd-ad35-fe443da6aad4.jpg?v=1490032238"},{"product_id":"pasc204-cd","title":"BEECHAM, HEWARD, KAJANUS, KOUSSEVITZKY, ORMANDY conduct Sibelius (1930-41) - PASC204 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478188237,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478188301,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC204_5044f945-f6b2-435e-a31b-2530a6cec282.jpg?v=1658243740"},{"product_id":"pasc212","title":"BEECHAM in Seattle, Volume 1: Delius, Elgar, Wagner (1943) - PASC212","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWAGNER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e \u003c\/b\u003eDie Meistersinger von Nürnberg - Prelude to Act III \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eELGAR\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e \u003c\/b\u003eVariations on an Original Theme ('Enigma'), Op.36 \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWAGNER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e \u003c\/b\u003eDie Meistersinger von Nürnberg - Overture\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eELGAR\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e \u003c\/b\u003eSerenade for String Orchestra, Op. 20 - 2. Larghetto\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWAGNER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e \u003c\/b\u003eDer fliegende Holländer - Overture\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDELIUS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e \u003c\/b\u003eOn Hearing the First Cuckoo in Spring\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"bodymidarial\" style=\"font-size: 10px;\"\u003eRecorded 1943\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 67:00\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eSeattle Symphony\u003cbr\u003econducted by Sir Thomas Beecham\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThere are probably few collectors who remember—if \nthey ever knew—that Sir Thomas Beecham spent about two years as music \ndirector of the Seattle Symphony. It was during World War II, and \nBeecham had left England, doubtless because musical activities there \nwere so severely curtailed. (His memorable explanation: “I was informed \nthere was an emergency, so I emerged.”) Beecham’s tempestuous tenure in \nSeattle, during which he battled fiercely and publicly with local \ncritics, ended abruptly in late 1943 following a colossal blow-up; it \nalso coincided with the so-called Petrillo ban, a strike by the American\n Federation of Musicians against the recording companies, so there were \nno commercial recordings. (Not that it’s likely that there would have \nbeen, even without the strike; with the exception of Victor’s recordings\n of the San Francisco Symphony, the major American record companies \nshowed little or no interest in musical activities on the West Coast, \nand any expansion during wartime would have been difficult.)  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eJudging by the notes by Pristine producer Andrew \nRose, it is a small miracle that any documents of Beecham’s Seattle \nyears survive at all; he reports that all he had to work with were \nthird-generation cassette dubs from the original acetate discs, which no\n longer exist. Given that, the sound he has been able to extract from \nthese tapes is impressively full, especially in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMeistersinger\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e act III Prelude that opens this disc. But more about technical matters in due course.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eBeecham recorded all of the music on the present disc commercially, twice in the case of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFlying Dutchman \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture and no fewer than three times for the Delius miniature. (EMI also issued a 1959 concert performance of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMeistersinger\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Prelude, currently available on an ArkivCD.) So, it is reasonable to \nask whether the present recordings are of more than documentary \ninterest. On the one hand, even though Beecham was one of the first \nconductors to embrace and make truly effective use of the phonographic \nmedium, his live performances often feature a level of energy and \nexcitement that far surpasses even that of his finest studio recordings.\n But—and it is only fair to complicate the equation with this \nqualifier—there are other live versions of most of these items already \navailable, in sound quite superior to anything Pristine can offer here: \nthe \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFlying Dutchman\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e Overture and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEnigma Variations\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, both from a November 1954 concert, are on SOMM BEECHAM 20 (\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e 31:3) and 22 (32: 2), respectively; the Prelude to act III of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDie Meistersinger\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, from one of the Royal Philharmonic’s first concerts in 1946, is on BEECHAM 19 (31:6).  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eRegarding the performances given here, the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMeistersinger\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n act III prelude is as broad as, and probably more fluid than, the 1946 \nLondon version; the act I prelude is typically energetic, with a notable\n \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epiù mosso\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e in the coda. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEnigma Variations\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is a study in contrasts, the theme and variation 1 (“C.A.E.,” the \ncomposer’s wife) quite slow, the second, fourth, and particularly \nseventh variations (“Troyte”) very fast. The playing is scrappy at \ntimes, but “Troyte” makes what Beecham would have called “a grand \nracket.” The famous ninth variation, “Nimrod,” is wonderfully hushed \n(the effect unfortunately undermined by heavy surface noise), but not as\n broad and noble as the 1954 version. Beecham really whips up the \nfinale, his shouts of exhortation to the orchestra quite audible at a \ncouple points. The excerpt from the E-Minor Serenade is tender and \nsympathetic, its allusion to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDie Meistersinger\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e the more evident because of its placement on the disc! The overture to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Flying Dutchman\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is the weakest orchestral performance, with several instances of less-than-polished ensemble.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eGiven Rose’s description of his source materials, \nit is a wonder that any of these recordings are listenable, but for the \nmost part he does make them sound quite tolerable. There are some \ndropouts in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMeistersinger\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e act I Prelude, and the sound of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDutchman\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e Overture is awfully thin. The biggest problems, unfortunately, are in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEnigma Variations\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e;\n starting around the opening of “Nimrod,” worn and damaged acetates \ncause a great deal of surface noise and blasting. As Rose also notes, \nthe Elgar Serenade and the Delius are missing their opening bars; he \ndoes not mention the fact that in the variations, “Dorabella” (variation\n 10) is missing its first 18 or so measures as well.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAll of this material comes from Beecham’s abortive\n third season in Seattle; according to Rose, two additional CDs’ worth \nof material exist, and presumably he will issue these in due course. We \ncan hope that they include items new to the Beecham discography; this \nfirst volume, by virtue of duplicating repertoire available elsewhere in\n better performances and sound quality, is primarily for collectors with\n a special interest in the Seattle Symphony or who, like your reviewer, \nmust have every note Beecham recorded. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eRichard A. Kaplan  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:1 (Sept\/Oct 2010) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC212.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eBeecham in Seattle - the unheard live recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 20px;\"\u003e\"I was informed there was an emergency, so I emerged...\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eWe are lucky to have any recordings whatsoever of Beecham in Seattle - union disputes precluded any commerical recordings during Beecham's time with the orchestra. To the best of our knowledge there remain three CDs-worth of live material, captured at the start of the 1943 season and preserved first on acetate discs (since melted down), then open-reel tape (since lost), backed up onto more open reel tape (now almost unplayable) and cassette tape. Thus the humble cassette proves the best remaining source of these historic recordings, and it is from excellent transfers of these, supplied by a collector who wishes to remain anonymous, that I have worked.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eHowever it was not the cassette medium which has caused most trouble here - although some of the acetates survived well prior to transfer, others were worn and damaged, and some of that will be audible in places. I also had to merge in approximately 4 seconds of a suitably \"digitally aged\" modern recording into the \u003cem\u003eMeistersinger\u003c\/em\u003e Overture to patch a skipped record groove. The result, hopefully undetectable, starts at about 3'12\".\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003col\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eWAGNER\u003c\/strong\u003e Die Meistersinger von Nürnberg - Prelude to Act III \u003cspan class=\"bodymidarial\"\u003e[\u003ca href=\"http:\/\/en.wikipedia.org\/wiki\/Die_Meistersinger_von_N%C3%BCrnberg\" target=\"_blank\"\u003enotes\u003c\/a\u003e \/ \u003ca href=\"http:\/\/imslp.org\/wiki\/Die_Meistersinger_von_N%C3%BCrnberg,_WWV_96_%28Wagner,_Richard%29\" target=\"_blank\"\u003escore\u003c\/a\u003e]\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eELGAR\u003c\/strong\u003e Variations on an Original Theme ('Enigma'), Op.36 \u003cspan class=\"bodymidarial\"\u003e[\u003ca href=\"http:\/\/en.wikipedia.org\/wiki\/Enigma_Variations\" target=\"_blank\"\u003enotes\u003c\/a\u003e \/ \u003ca href=\"http:\/\/imslp.org\/wiki\/Variations_on_an_Original_Theme_%28%27Enigma%27%29,_Op.36_%28Elgar,_Edward%29\" target=\"_blank\"\u003escore\u003c\/a\u003e]\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eWAGNER\u003c\/strong\u003e Die Meistersinger von Nürnberg - Overture \u003cspan class=\"bodymidarial\"\u003e[\u003ca href=\"http:\/\/en.wikipedia.org\/wiki\/Die_Meistersinger_von_N%C3%BCrnberg\" target=\"_blank\"\u003enotes\u003c\/a\u003e \/ \u003ca href=\"http:\/\/imslp.org\/wiki\/Die_Meistersinger_von_N%C3%BCrnberg,_WWV_96_%28Wagner,_Richard%29\" target=\"_blank\"\u003escore\u003c\/a\u003e]\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eELGAR\u003c\/strong\u003e Serenade for String Orchestra, Op. 20 - 2. Larghetto* \u003cspan class=\"bodymidarial\"\u003e[\u003ca href=\"http:\/\/en.wikipedia.org\/wiki\/Serenade_for_Strings_%28Elgar%29\" target=\"_blank\"\u003enotes\u003c\/a\u003e \/ \u003ca href=\"http:\/\/imslp.org\/wiki\/Serenade_for_String_Orchestra,_Op.20_%28Elgar,_Edward%29\" target=\"_blank\"\u003escore\u003c\/a\u003e]\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eWAGNER\u003c\/strong\u003e Der fliegende Holländer - Overture \u003cspan class=\"bodymidarial\"\u003e[\u003ca href=\"http:\/\/en.wikipedia.org\/wiki\/The_Flying_Dutchman_%28opera%29\" target=\"_blank\"\u003enotes\u003c\/a\u003e \/ \u003ca href=\"http:\/\/imslp.org\/wiki\/Der_fliegende_Holl%C3%A4nder,_WWV_63_%28Wagner,_Richard%29\" target=\"_blank\"\u003escore\u003c\/a\u003e]\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eDELIUS\u003c\/strong\u003e - On Hearing the First Cuckoo in Spring* \u003cspan class=\"bodymidarial\"\u003e[\u003ca href=\"http:\/\/en.wikipedia.org\/wiki\/On_Hearing_the_First_Cuckoo_in_Spring\" target=\"_blank\"\u003enotes\u003c\/a\u003e \/ \u003ca href=\"http:\/\/imslp.org\/wiki\/2_Pieces_for_Small_Orchestra_%28Delius,_Frederick%29\" target=\"_blank\"\u003escore\u003c\/a\u003e]\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e \u003c\/strong\u003ePlayed by \u003cstrong\u003e\u003ca href=\"http:\/\/www.seattlesymphony.org\/symphony\/\" target=\"_blank\"\u003eSeattle Symphony\u003c\/a\u003e\u003cbr\u003e \u003c\/strong\u003econductor\u003cstrong\u003e Sir Thomas Beecham\u003c\/strong\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodymidarial\"\u003e1: Third Subscription Concert, 8.30PM, October 18, 1943\u003cbr\u003e 2, 5: Second Subscription Concert, 8.30PM, October 11 1943 \u003cbr\u003e 3, 4: Sunday Matinee Concert, 2.30PM, October 10, 1943\u003cbr\u003e 6: Sunday Matinee Concert, 2.30PM, September 26, 1943. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded at the Music Hall Theater, Seattle except 17, 18, 20: Moore Hall, Seattle.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodymidarial\"\u003e*A few bars at the opening of these tracks have not survived.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eXR remastering by Andrew Rose at Pristine Audio, January-February 2010 \u003cbr\u003e Cover artwork based on a photograph of Sir Thomas Beecham\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTotal duration: 67:00\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC212.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC212.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"body\"\u003e\u003cb\u003eWe have the following information on the tapes:\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003ci\u003eSir Thomas Beecham was the music director of the Seattle\n Symphony Orchestra for the 1941-42, 1942-43 and part of the 1943-44 \nseasons. His final concert was on Monday, November 1, 1943.\u003c\/i\u003e\u003c\/p\u003e\u003ci\u003e\n\u003c\/i\u003e\u003cp class=\"body\"\u003e\u003ci\u003eSome of the music on the September and October \nSubscription and Sunday Matinee Concerts from the 1943-44 season was \nrecorded and broadcast on the Standard Symphony Hour on KOL Radio and \nthe Mutual-Don Lee Broadcasting System. Years later, these recordings \nwere transferred from the radio station's 16-inch 78 rpm broadcast \nmasters before they were thrown out or, rather, destroyed as per the \nagreement that usually used to exist with such recordings, i.e., the \nstation could use the recordings for a while but then they had to be \ndestroyed.\u003c\/i\u003e\u003c\/p\u003e\u003ci\u003e\n\u003c\/i\u003e\u003cp class=\"body\"\u003e\u003ci\u003eThe recordings were first dubbed to reel-to-reel: one 7\"\n reel of 1800 feet of Maxell UD 35-90 tape recorded in single, \nquarter-track mono at 3 3\/4 ips (\"reel master\").\u003c\/i\u003e\u003c\/p\u003e\u003ci\u003e\n\u003c\/i\u003e\u003cp class=\"body\"\u003e\u003ci\u003eThis reel master tape was subsequently dubbed onto three\n Sony UX-S 90 minute cassette tapes making additional cassette safety \ndubs onto TDK SA 90 minute cassettes. The reel master was also dubbed \nonto three 1800 foot reels of Ampex 407 Mastering Audio Tape in dual, \nquarter-track mono at 7 1\/2 ips as a \"safety master.\"\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eUnfortunately the Ampex tape referred to here eventually\n suffered from the notorious 'sticky shed' syndrome. While it is \npossible to recover tapes in this condition, the fact that this was not \nunderstood prior to the tapes themselves being played has caused \nirreperable damage to them, leaving us with the Sony cassettes as the \nonly remaining viable source for a best -quality restoration. We are \nfortunate therefore that the cassettes were well-made on quality \nequipment which has also been used for replay in the final digitisation \ndubs.\u003c\/p\u003e\u003cp class=\"body\"\u003eIn all there is sufficient surviving material to produce\n three CDs of recordings. Volume 2 should comprise Beethoven's 8th \nSymphony, Mendelssohn's 3rd Symphony and an overture by Bizet, whilst \nVolume 3 will centre around Dvorák's Cello Concerto (with Mischel \nCherniavsky, cello) and shorter works by Massenet, Saint-Saëns and \nSibelius.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eThe concerts covered by the collection:\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003eSunday, September 26, 1943. 2:30 PM. Moore Theater\u003c\/strong\u003e \u003cbr\u003e Mendelssohn. Ruy Blas. Overture (not recorded)\u003cbr\u003e Prokofiev. Peter and the Wolf (not recorded)\u003cbr\u003e Edward German. Gypsy Suite (not recorded)\u003cbr\u003e Mozart. Concerto for Flute and Harp (not recorded)\u003cbr\u003e \u003cspan class=\"promo\"\u003eDelius. On Hearing the First Cuckoo in Spring\u003c\/span\u003e\u003cbr\u003e Grieg. Sigurd Jorsalfar. March (not recorded)\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003eMonday, September 27, 1943. 8:30 PM. Music Hall Theater\u003c\/strong\u003e \u003cbr\u003e Rimsky-Korsakov. May Night. Overture (not recorded)\u003cbr\u003e \u003cspan class=\"promo\"\u003eSaint-Saëns. Le Rouet d’Omphale\u003c\/span\u003e\u003cbr\u003e Beethoven. Symphony No. 4 (not recorded)\u003cbr\u003e Prokofiev. Peter and the Wolf (not recorded)\u003cbr\u003e Dvorak. Symphonic Variations (not recorded)\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003eSunday, October 10, 1943. 2:30 PM. Moore Theater\u003c\/strong\u003e \u003cbr\u003e \u003cspan class=\"promo\"\u003eWagner. Die Meistersinger. Overture\u003c\/span\u003e\u003cbr\u003e Mozart. Marriage of Figaro “No so piu” (not recorded)\u003cbr\u003e Mozart. Don Giovanni. “Batti, batti” (not recorded)\u003cbr\u003e \u003cspan class=\"promo\"\u003eBeethoven. Symphony No. 8\u003cbr\u003e Massenet. La Vierge. The last sleep of the virgin\u003cbr\u003e Sibelius. Valse Triste\u003cbr\u003e Sibelius. Karelia Suite. Alla Marcia\u003c\/span\u003e\u003cbr\u003e Mozart. Abduction from the Seraglio. “Oh, what joys and pleasure bright” (not recorded)\u003cbr\u003e \u003cspan class=\"promo\"\u003eElgar. Serenade for Strings. Larghetto\u003cbr\u003e Rossini. William Tell. Overture\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003eMonday, October 11, 1943. 8:30 PM. Music Hall Theater\u003c\/strong\u003e \u003cbr\u003e \u003cspan class=\"promo\"\u003eWagner. Flying Dutchman. Overture\u003cbr\u003e Mendelssohn. Symphony No. 3\u003c\/span\u003e\u003cbr\u003e Alexander Brott. The Oracle (not recorded)\u003cbr\u003e \u003cspan class=\"promo\"\u003eElgar. Enigma Variations\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003eMonday, October 18, 1943. 8:30 PM. Music Hall Theater\u003c\/strong\u003e \u003cbr\u003e \u003cspan class=\"promo\"\u003eBizet. Patrie Overture\u003cbr\u003e Dvorak. Cello Concerto\u003c\/span\u003e\u003cbr\u003e Jerome Moross. Symphony (not recorded)\u003cbr\u003e \u003cspan class=\"promo\"\u003eWagner. Die Meistersinger. Prelude to Act 3\u003c\/span\u003e\u003cbr\u003e Berlioz, Carnaval Romain Overture (not recorded)\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":34452223629,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34452223757,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34452223821,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34452223949,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC212_46a44d35-e97f-4afb-9f3d-56a689004983.jpg?v=1490032411"},{"product_id":"pasc212-cd","title":"BEECHAM in Seattle, Volume 1: Delius, Elgar, Wagner (1943) - PASC212  - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478193165,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478193229,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC212.jpg?v=1658243992"},{"product_id":"pasc238","title":"BEECHAM in Seattle, Volume 2: Dvořák and Mendelssohn (1943) - PASC238","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eDVORAK \u003c\/b\u003eCello Concerto\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMENDELSSOHN \u003c\/b\u003eSymphony No. 3 \"Scottish\"\u003c\/span\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded 1943\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 77:21 \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eMischel Cherniavsky, \u003c\/b\u003ecello\u003cb\u003e\u003cbr\u003eSeattle Symphony\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eSir Thomas Beecham\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fFascinating documents of performances the likes of which you simply don’t hear anymore578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis, the second CD in Pristine’s series of live \nrecordings from Sir Thomas Beecham’s stint as music director of the \nSeattle Symphony, is arguably the more valuable; its contents consist of\n two major works, neither one of which Beecham recorded in the studio. \nReaders are referred to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n 34:1, where I described the circumstances under which these recordings \nwere made, and the heroic measures Pristine’s Andrew Rose has taken in \nrestoring them to some semblance of listenability.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eDvořák was one of the composers whose work Beecham\n championed; his studio recordings, however, include none of the most \npopular compositions, but rather three items—the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSlavonic Rhapsody \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eNo. 3, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Golden Spinning Wheel\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n and the Symphonic Variations—that were virtually unknown at the time. \nThe first two of these were premiere recordings. (He also recorded two \nof the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLegends\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e \nfrom Dvořák’s op. 59 in 1935.) A live 1959 version of the Eighth \nSymphony was issued by HMV, and is currently available on BBC Legends \n4154.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eDespite his reputation for eccentricity, and even \nfor artistic intransigence, Beecham was also known as an accommodating \naccompanist. So, the idiosyncrasies in this performance of the Cello \nConcerto must rest mostly at the feet of the soloist. Mischel \nCherniavsky was a Ukrainian-born cellist, a member of a prominent piano \ntrio along with his two brothers from 1901 through 1934, and a citizen \nof Canada, although he lived there only briefly. His brother Jan, \nhowever, the trio’s pianist, settled in Vancouver, which may explain \nMischel’s appearance in nearby Seattle. In any event, Cherniavsky’s \ntempos are highly irregular, with many gear shifts and rubatos. In \ncontrast to Beecham’s vigorous opening \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003etutti\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n the cello entrance in the first movement is quite deliberate, and the \nbig second tune is taken much more slowly. Tempos are similarly elastic \nin the finale, where the soloist doesn’t always concern himself with \nstaying in sync with the orchestra! All told, at more than 42 minutes, \nit’s a very expansive reading of the concerto; Piatigorsky’s \nmore-or-less contemporary studio version with Ormandy totals about \n36:30. The 42 minutes, incidentally, do not include a highly unfortunate\n gap: the closing \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003etutti\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n of the first movement, which the recordist (using acetate discs) didn’t\n get. Otherwise, Cherniavsky does a reasonably creditable job with the \ndemanding solo part, although he certainly doesn’t belong to the ranks \nof top-flight soloists.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eBeecham’s devotion to Mendelssohn’s music is well \ndocumented, but he never committed the “Scottish” Symphony to disc. His \nreading of this piece, at least on that October day in 1943, is \nenergetic—including some of the shouts for which live Beecham \nperformances are legendary—and no-nonsense. The first-movement Allegro \nis brisk; a typical Beecham moment is the phrasing in the cellos leading\n into the recapitulation. The tempo of the scherzo is uncompromising, \nand the Adagio third movement never dawdles. Even the grand coda to the \nsymphony is unsentimental, and moves energetically to the end. This \nrecording unfortunately has three gaps, one leading into the \nfirst-movement coda, a bigger gap in the scherzo, and another at the \nopening of the finale.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eFinally, it must be said that the wartime Seattle \nSymphony was a far cry from the orchestras Beecham founded in England \nand conducted in most of his recordings: the London Philharmonic (from \n1932 to 1940 and for a brief period in 1944–45) and the Royal \nPhilharmonic (from 1946 to 1959, the year of his last recordings at age \n80). In particular, the solo wind writing in the Dvořák exposes some \nserious weaknesses that Beecham would not have tolerated under normal \ncircumstances.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs with the first volume, these recordings sound \nunbelievably good considering their age and the source (a cassette dub \nof a second-generation open-reel dub of the original acetates, which \nthemselves were probably taken down from an AM broadcast). Still, \nallowances need to be made, especially for those gaps. If these sonic \ndrawbacks don’t scare you away, you’ll find these to be fascinating \ndocuments of performances the likes of which you simply don’t hear \nanymore. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eRichard A. Kaplan  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 35:2 (Nov\/Dec 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC238.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eBeecham in Seattle - the unheard live recordings, continued!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003e\"I was informed there was an emergency, so I emerged...\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eWe are lucky to have any recordings whatsoever of Beecham in Seattle - union disputes precluded any commerical recordings during Beecham's time with the orchestra. To the best of our knowledge there remain three CDs-worth of live material, captured at the start of the 1943 season and preserved first on acetate discs (since melted down), then open-reel tape (since lost), backed up onto more open reel tape (now almost unplayable) and casssette tape. Thus the humble cassette proves the best remaining source of these historic recordings, and it is from excellent transfers of these, supplied by a collector who wishes to remain anonymous, that I have worked.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eSince our first volume was issued, and the recording credited to a local radio station, further information has come to light which suggests that it was Beecham himself who commissioned the recordings in order to silence his critics locally. This may go some way to explaining the lack of continuity in the present volume, where non-overlapped side changes have resulted in a number of short gaps. My guess is that these were planned for between-movement intervals, but on more than one occasion here the recording time ran out before the movement had ended.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThat said, the overall recording quality, post-XR remastering, is astonishing in both works, specially given the provenance of these recordings, with clarity, frequency and dynamic ranges, and up-front vitality that any commercial producer in 1943 would have been more than proud of..\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e    \u003cb\u003eDVORAK \u003c\/b\u003eCello Concerto in B minor, Op. 104, B. 191\u003cbr\u003e   \u003cb\u003e Mischel Cherniavsky, \u003c\/b\u003ecello\u003cbr\u003e    Evening concert, October 18th, 1943\u003cbr\u003e    Music Hall Theatre, Seattle\u003cbr\u003e\u003cbr\u003e    \u003cb\u003eMENDELSSOHN \u003c\/b\u003eSymphony No. 3 \"Scottish\" in A Minor, op. 56\u003cbr\u003e    Evening concert, October 11th, 1943\u003cbr\u003e    Music Hall Theatre, Seattle\u003cbr\u003e\u003cbr\u003e    Played by \u003cb\u003eSeattle Symphony\u003c\/b\u003e\u003cbr\u003e    conductor \u003cb\u003eSir Thomas Beecham\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e    Transcribed from tape copies of Beecham's own original acetates\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, August 2010\u003cbr\u003eCover artwork based on a photograph of Sir Thomas Beecham\u003cbr\u003e\u003cbr\u003eTotal duration: 77:21 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CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478217357,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478217421,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC238_1e7bddb7-ce97-4e34-9211-9bcc50e6e42e.jpg?v=1658244816"},{"product_id":"pasc263","title":"BEECHAM conducts Brahms and Delius (1949-58) - PASC263","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eAcademic Festival Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eDELIUS \u003c\/b\u003eNorth Country Sketches\u003c\/span\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded 1949, 1956 and 1958\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 73:00 \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003eSir Thomas Beecham\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC263.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eSuperb Brahms and Delius in these new XR transfers\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eBeecham \"finds the sunlight and the vivacity in the work\" - Gramophone, 1960\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThe two Brahms recordings, made in full stereo in 1956 and 1958, were taken from very clean later US pressings on the Seraphim label, and despite some minor vinyl surface inconsistencies the transfer was straightforward. XR remastering has succeeded in adding extra clarity and immediacy to the sound.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe earlier recording of Delius' North Country Sketches was made for 78rpm discs but onto tape in 1949., and this transfer was taken from a near-mint Philips white label test pressing for a later LP reissue. I was able to expand out considerably the top end of the frequency range, though this treatment did reveal some occasional treble inconsistencies in the tape which had to be rectified, as well as bringing up hiss levels slightly. I have attempted to strike a sensible balance between background hiss reduction and treble clarity.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e \u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eAcademic Festival Overture, Op. 80 \u003c\/span\u003e \u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded in stereo in Abbey Road Studio 1, London, 29th November, 1956\u003cbr\u003e First issued as UK Columbia LP 33CX1429\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Symphony No. 2 in D, Op. 73\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded in stereo in Abbey Road Studio 1, London, 1st December, 1958\u003cbr\u003e First issued as HMV LP ASD 348\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eDELIUS\u003c\/b\u003e North Country Sketches\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e \u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded in mono, 14th February, 1949\u003cbr\u003e First issued as UK Columbia 78s LX 1399-1401\u003cbr\u003e Matrix numbers CAX 11067-11072 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e Royal Philharmonic Orchestra\u003cbr\u003e conductor Sir Thomas Beecham\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose at Pristine Audio, December 2010\u003cbr\u003eCover artwork based on a photograph of Sir Thomas Beecham\u003cbr\u003e\u003cbr\u003eTotal duration: 73:00 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC263.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC263.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eCONTEMPORARY REVIEWS\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\"A colleague of mine expressed surprise the other day that I was not more moved by Beecham's new record of Brahms 2. Well, here is a second chance, so I have taken it. In stereo the orchestral sound gains immensely; the strength and gleam of the R.P.O. violins high on the E string, the presence and vitality of the brass—the trombones, for example, at the stretto in the development of the first movement- and the total sonority, not so much in climaxes as when Brahms uses the greater part of his forces somewhere below the mezzo forte level: this is where stereo does justice to the skill of a Beecham performance. His treatment of rhythm and stress is something that gave pleasure in the mono version too; perhaps I left that to be taken for granted in my review last month.\u003cbr\u003e\u003cbr\u003eNevertheless, careful listening to a different recording of the same performance (as stereo is, compared with mono) doesn't change my total impression, which is that this is a fine performance rather than one that makes me think anew about the music. Beecham finds the sunlight and the vivacity in the work; one senses the play of a brilliant interpretative mind upon great music. What I do not feel is the effect of a looking-glass — the interpretative surface that receives and surrenders the essential image of the music. This isn't a performance that distorts, but nor is it one that reflects an inescapable truth. It reflects beauty, all right; and from this point of view I urge you to hear it, if you're contemplating the acquisition of the symphony. The new version sounds more vivid than the comparable Decca. In mono form, there are other performances that tell me more about the spirit of the music.\" \u003cb\u003eW.S.M., Gramophone, July 1960\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\"...The Academic Festival Overture receives a rousing and enthusiastic performance, which is helped by the spacious recording acoustic and carefully controlled tempi...\"\u003cb\u003e D.S., Gramophone, April 1957\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\"There are four North Country Sketches, composed by Delius between 1913-14. i. Autumn, the wind soughs in the trees. 2. Winter landscape. 3. Dance. 4. The March of Spring. It should be noted that Autumn finishes on the first side of the Dance and so the listener should go back to Winter Landscape, complete on one side, before hearing the Dance. The March of Spring takes two sides.\u003cbr\u003e\u003cbr\u003eThe low soft undertones of autumn are succeeded by the wind soughing in the trees, with string basses and upper strings being extraordinarily well reproduced and the whole picture, exquisitely painted by Sir Thomas Beecham, being as evocative as only Delius can be. The oboe and horn tone (one little false entry may easily be forgiven) is most beautiful and the long drawn out end of the piece is among Delius' most lovely pages.\u003cbr\u003e\u003cbr\u003eWith great art Delius goes on to suggest the bare winter landscape, harp and oboe lending a certain icy glitter to the music and the massed violins suggesting the piercing cold. This is amazing scene painting and it is superbly brought to life by Sir Thomas. The Dance and the March of Spring are not musically quite on the same level: but I was fascinated by the chromatic up and down scales on the second side of the Dance and by the poetic treatment of the March, in which trumpets herald the coming of spring. It is not a criticism of the music to say that this piece brought to my mind one of the Nature films we too rarely see in which buds burst into flower before one's eyes. The end is not loud, but in the manner of the lyrical section of the violin concerto, with the familiar dotted rhythm a falling phrase.\u003cbr\u003e\u003cbr\u003eI feel most grateful to the Delius Trust for giving us not only some more of the composer's beautiful music, but for putting in semi-permanent form another of the masterly and unique interpretations of Delius' works by Sir Thomas Beecham, who has inspired the orchestra to its finest playing.\" \u003cb\u003eA.R., Gramophone, July 1951\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":8641935179837,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":8641935212605,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":8641935245373,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC263.jpg?v=1528879946"},{"product_id":"pasc263-cd","title":"BEECHAM conducts Brahms and Delius (1949-58) - PASC263 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478231885,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478231949,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC263_96599656-2d85-4457-a9d7-53ae2513dfa8.jpg?v=1658245715"},{"product_id":"pasc270","title":"BEECHAM Delius: A Mass of Life, Hassan Suite (1952-56) - PASC270","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDELIUS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eA Mass of Life\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDELIUS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eHassan Suite\u003c\/span\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded London 1952\/3 and 1956\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 2hr 11:20\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eSoloists and Choirs\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003eSir Thomas Beecham\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC270.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eBeecham's \"A Mass of Life\": still \"perfect\" after nearly 60 years\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eStunning new XR remasters of two classic recordings of Delius's masterpieces\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eBoth of these recordings were taken from Philips\/Fontana white label test pressings in near-mint condition. My main aim in the remastering of them was to bring to the recordings the extra warmth and life which XR remastering and Ambient Stereo processing offers. Although both were highly competent recordings of their era, both sound a little dull and flat to the modern ear in their original incarnations, something which these new transfers and remasterings endeavour to remedy.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eDELIUS \u003c\/strong\u003e A Mass of Life (Eine Messe des Lebens)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded at Abbey Road Studio 1, London, 8 \u0026amp; 11 November, 8, 10, 12 \u0026amp; 13 December 1952, \u003cbr\u003e 1 \u0026amp; 20 January, 10 April, 14 May 1953\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cstrong\u003eRosina Raisbeck\u003c\/strong\u003e, soprano \u003cbr\u003e \u003cstrong\u003eMonica Sinclair\u003c\/strong\u003e, alto\u003cbr\u003e \u003cstrong\u003eCharles Craig\u003c\/strong\u003e, tenor \u003cbr\u003e \u003cstrong\u003eBruce Boyce\u003c\/strong\u003e, bass\u003cbr\u003e \u003cstrong\u003eLondon Philharmonic Choir \u003c\/strong\u003e\u003cbr\u003e (chorus-master: \u003cstrong\u003eFrederick Jackson\u003c\/strong\u003e)\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eDELIUS \u003c\/strong\u003e Hassan Suite\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded at Walthamstow Assembly Halls, London, 29 May 1956\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eLeslie Fry\u003c\/strong\u003e, baritone\u003cbr\u003e \u003cstrong\u003eArthur Leavins\u003c\/strong\u003e, violin \u003cbr\u003e \u003cstrong\u003e Frederick Riddle\u003c\/strong\u003e, viola\u003cbr\u003e \u003cstrong\u003eBBC Chorus \u003c\/strong\u003e\u003cbr\u003e (chorus-master: \u003cstrong\u003eLeslie Woodgate\u003c\/strong\u003e) \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e Royal Philharmonic Orchestra\u003cbr\u003e \u003c\/strong\u003econductor\u003cstrong\u003e Sir Thomas Beecham\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\nAll transfers from Philips and Fontana white label LP test pressings\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eXR remastering by Andrew Rose at Pristine Audio, January 2011\u003cbr\u003e Cover artwork based on a photograph of Beecham\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 2hr 11:20\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC270.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC270.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eREVIEW: THE GRAMOPHONE, NOVEMBER 1953\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eWhether Nietzsche's poetry has any value or not I neither know nor care (the English translation in the vocal score makes no sense at all) but I am only grateful that it provided Delius with the images of the will of man and eternity, night and day, dance and song, and so forth, that caused him to compose this great and glorious work, which is all that matters.\u003cbr\u003e\u003cbr\u003eThe Mass of Life has always been dear to Sir Thomas Beecham and I remember well the first time I heard him conduct it, at the close of the Delius Festival in 1929, and the tremendous impression it at once made on me. Now he gives a truly inspired performance which probably surpasses that one, and will, I am certain, remain one of the finest things in the repertoire of the gramophone record. The hazards are as great in this work (perhaps even greater) as in the choral finale of the Ninth Symphony, and even under Sir Thomas a choir unable to meet all the demands, or an unintelligent baritone soloist, could wreck it. I hope Bruce Boyce will not misunderstand me if I say that, fine artist though I knew him to be, I did not know he could rise to the heights he does in this performance. It is not only that he sings the difficult and trying part with complete ease and any lack of strain, but that he sings it with such a depth of conviction and intensity of emotion. As for the London Philharmonic Choir, I feel that if Delius were alive he would write a letter to them and to Frederick Jackson similar to the ones he wrote to the Philharmonic Choir in 1929 and to its trainer, Kennedy Scott, in which he praised Kennedy Scott's great achievement\" and their \" really magnificent singing.\" \" I have never heard my works sung so subtly and with such fine nuance.\" These tributes from one slow to praise are also deserved, it seems to me, by Mr. Jackson and his choir.\u003cbr\u003e\u003cbr\u003eWhat little the other soloists have to do is well done, though the contralto's lovely address to Zarathustra needs richer tone than Monica Sinclair provides. Charles Craig has a small voice of lyrical sweetness and Rosina Raisbeck sings the exquisite end of the third part, \"they sighed and wept together\" with lovely quiet tone. All the soloists are used in the last great chorus, \"O man, mark well what tolls the solemn midnight bell,\" and here the soprano's voice tells well above the chorus sopranos.\u003cbr\u003e\u003cbr\u003eThe orchestral playing, needless to say, is of the finest quality throughout and the engineers are to be warmly congratulated on the superb recording of it they have achieved. It can have been no easy task to secure so good a balance and to contain the huge climaxes of vocal and orchestral tone in the magnificent opening hymn to the will of man and in the Finale. Most splendid of all is the section called \"On the Mountains\" (Side 2), in which the recording catches so much of the thrilling and exhilarating spirit of the music and also of the poetical picture painted by the orchestra (with the horns prominent) before the great cry with which the chorus enter. Another grand hit of recording comes after the second dance song (Side 3) (the one part of the work I do not like, for the same reason that I do not care for the Flower Maidens' chorus in Parsifal) where Zarathustra grows sad as evening falls. The penetrating sadness of the orchestral postlude, perhaps the loveliest page in the work, comes out with perfect fidelity. Very fine, too, is the orchestral prelude to the chorus following in which the oboe solo is beautifully played and recorded.\u003cbr\u003e\u003cbr\u003eNo doubt the sleeves will give all the information required about the text and divisions of the work, and there is also a helpful analysis in Warlock's biography of Delius. The huge debt that music-lovers of my generation owe to Sir Thomas Beecham is increased by this truly magnificent issue, one I shall, I know, play over again and again. Delius was wont to say, as he listened to broadcasts of his music from London, \"Perfect, Thomas, perfect,\" and, with all due respect, that is just what I want to say at the end of this review. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":34516724685,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34516724813,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34516724877,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34516724941,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC270_a9436d15-5bbb-4bb3-82f7-21a674ec0e1b.jpg?v=1490114919"},{"product_id":"pasc270-cd","title":"BEECHAM Delius: A Mass of Life, Hassan Suite (1952-56) - PASC270 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD with case \u0026 artwork (+MP3)","offer_id":40478238605,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2CD only in plastic sleeve (+MP3)","offer_id":40478238669,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC270.jpg?v=1658246538"},{"product_id":"pasc277","title":"BEECHAM in Seattle Vol. 3: Beethoven, Bizet, Massenet, Rossini, Saint-Saëns, Sibelius (1943) - PASC277","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 8\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eShorter works by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBizet, Massenet, Rossini, Saint-Saëns, Sibelius\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded 1943\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 74:32 \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eSeattle Symphony\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eSir Thomas Beecham\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fWill no doubt give pleasure to those who enjoy his work, particularly in live performances578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHere is the third and final volume of Andrew \nRose’s transfers of live material from Thomas Beecham’s final season in \nSeattle. Those who have acquired the first two CDs—and who, presumably, \nare Beecham fans—have no big surprises in store here. As Rose mentions \nin his producer’s note, the quality of the playing is somewhat stronger \nhere than in earlier volumes, and the sound, while still fairly dim, is \nfor the most part a bit of an improvement.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eBeecham collectors will surely know that Sir \nThomas recorded all these works in the studio, over half of them more \nthan once. But, in his commercial recording of the Beethoven Eighth, for\n instance, the first movement doesn’t have the vigor of this reading, \ncomplete with Beecham’s audible exhortations to the orchestra. \nUncharacteristically, Beecham does take the exposition repeat in this \nmovement, something also true of the 1951 studio version. Despite the \nfact that, as Rose says, the orchestra is “on firmer ground” here than \nin the works on the first two volumes, the principal horn and clarinet \nplayers stumble in the notorious Trio of the Menuetto; also, the opening\n of this movement is missing, no doubt because the recordist was too \nslow in changing discs.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eBeecham also provides a vocal obbligato in the Alla marcia from Sibelius’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eKarelia Suite\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, which is very lively here, with a huge \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eritenuto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e at the end. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eValse triste\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is perhaps more languorous than the studio versions, the first of which\n was on a single 78 side and couldn’t be extended to the 5:11 duration \nof this reading. Saint-Saëns’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe Rouet d’Omphale\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, like the Beethoven, betrays the lack of polish of the Seattle woodwinds. Rossini’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eWilliam Tell \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture features some fine solo cello playing at the opening and a spirited final section.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWhile this CD doesn’t add a great deal to our \nknowledge of Beecham, it will no doubt give pleasure to those who enjoy \nhis work, particularly in live performances. With the caveat about the \nlimited sound quality, and the missing bars of the Beethoven, it is \nrecommended to them. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eRichard A. Kaplan  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 35:4 (Mar\/Apr 2012) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC277.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eBeecham in Seattle, 1943 - more previously unissued recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eBeecham's proof to the doubters that he could fashion a world-class ensemble\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eWe are lucky to have any recordings whatsoever of Beecham in Seattle - union disputes precluded any commercial recordings during Beecham's time with the orchestra. To the best of our knowledge there remain three CDs-worth of live material, captured at the start of the 1943 season and preserved first on acetate discs (since melted down), then open-reel tape (since lost), backed up onto more open reel tape (now almost unplayable) and cassette tape. Thus the humble cassette proves the best remaining source of these historic recordings, and it is from excellent transfers of these, supplied by a collector who wishes to remain anonymous, that I have worked.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eSince our first volume was issued, and the recording credited to a local radio station, further information has come to light which suggests that it was Beecham himself who commissioned the recordings in order to silence his critics locally. This probably accounts for a short section missing from the beginning of the third movement of the Beethoven, where a disc side change was apparently not achieved in good enough time. Other than that, and thanks largely to the preponderance of shorter works in this volume, the other works here are complete.\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003eI have overall been particularly pleased with the sound quality achieved on this volume, with the Karelia Suite movement being a particularly good example of what was achieved in these recordings. It's also noticeable that, by comparison to the two previous issues in this series, the orchestra appears to be on much firmer ground and plays with considerably more style and accomplishment. If Sir Thomas Beecham had needed a compilation to demonstrate the abilities of his Seattle Symphony, then of the three volumes we have assembled this would surely be the one he would have chosen.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eSIBELIUS \u003c\/b\u003eKarelia Suite, Op. 11 - 3. Alla marcia\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 8 in F major, Op. 93\u003cbr\u003e\u003cb\u003eMASSENET \u003c\/b\u003eLa Vierge - Le Dernier sommeil de la Vierge\u003cbr\u003e\u003cb\u003eSAINT-SAËNS \u003c\/b\u003eLe Rouet d'Omphale, Op. 31\u003cbr\u003e\u003cb\u003eBIZET \u003c\/b\u003ePatrie Overture, Op. 19\u003cbr\u003e\u003cb\u003eSIBELIUS \u003c\/b\u003eValse Triste, Op. 44, No. 1\u003cbr\u003e\u003cb\u003eROSSINI \u003c\/b\u003eWilliam Tell Overture\u003cbr\u003e\u003cbr\u003eRecorded at 2.30pm concert, October 10, 1943, Moore Hall, Seattle\u003cbr\u003eExcept Saint-Saëns \u0026amp; Bizet: from 8.30pm concert, October 18, 1943, Music Hall Theater, Seattle\u003cbr\u003e\u003cbr\u003e\u003cb\u003eSeattle Symphony\u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003eSir Thomas Beecham\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eXR remastering by Andrew Rose at Pristine Audio, February-March 2011\u003cbr\u003e Cover artwork based on a photograph of Sir Thomas Beecham\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 74:32 \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC277.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC277.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":34582635725,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34582635789,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34582635853,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34582635917,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC277_1dffd7de-759e-4d3a-9ffc-443be1a8e31c.jpg?v=1490175196"},{"product_id":"pasc277-cd","title":"BEECHAM in Seattle Vol. 3: Beethoven, Bizet, Massenet, Rossini, Saint-Saëns, Sibelius (1943) - PASC277 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478243853,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478243917,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC277.jpg?v=1658246720"},{"product_id":"pasc278","title":"HEIFETZ Mendelssohn: Violin Concerto, three recordings (1944\/49\/59) - PASC278","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMENDELS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSOHN \u003c\/b\u003eViolin Concerto\u003c\/span\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded 1944, 1949 and 1959\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 73:01 \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eJascha Heifetz, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eNBC Symphony Orchestra\u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003eArturo Toscanini\u003cbr\u003eRoyal Philharmonic Orchestra\u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003eSir Thomas Beecham\u003cbr\u003eBoston Symphony Orchestra\u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003eCharles Munch\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIrresistible. Strongly recommended578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eJascha Heifetz recorded Felix Mendelssohn’s \nconcerto twice in the studio: on June 10, 1949, with Thomas Beecham and \nthe Royal Philharmonic Orchestra, and on February 23 and 25, 1959, with \nCharles Munch and the Boston Symphony Orchestra. In addition, two live \nperformances have circulated (also, coincidentally, 10 years apart): \nfrom April 9, 1944, with Arturo Toscanini and the NBC Symphony \nOrchestra, and from March 14, 1954, with Guido Cantelli and the New York\n Philharmonic. Pristine brings together the two studio readings with the\n live recording made with Toscanini; the performance with Cantelli \nappeared on Pristine 094.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe first reading on the program, with Toscanini, \nsounds vibrant (despite some perhaps unavoidable noise) in Pristine’s \nrerelease, which conveys Heifetz’s fiery electricity and tonal splendor \nin the first movement. In the cadenza, it sounds as though the violinist\n is standing behind the speakers and reveals the snap of Heifetz’s bow \nand the full range of his tonal nuances when the orchestra reenters \nafter the cadenza (still, the transfer in Guild’s set of Toscanini \nrecordings of Mendelssohn’s works—2358\/9—sounds more full-bodied in the \ntuttis). There’s more noise in the slow movement, a small price to pay, \nhowever, for the rich recorded sound that allows pizzicato \naccompaniments to reverberate. As in the first movement, that recorded \nsound again allows listeners to hear Heifetz’s brilliance close up.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn the second reading, with Beecham, the engineers\n seem to have placed Heifetz further away, but overall, everything seems\n cleaner, although the cleanliness doesn’t reveal Heifetz’s technical \nand tonal command any more transparently. Those who believe that Heifetz\n rethought his interpretations very seldom (which may, on the whole, \ntend to be true) should note his inflections in the cadenza. His \nrelative relaxation in the slow movement and the purity of his \nintonation in the finale, a tribute to the performance on the one hand, \nand the recorded sound on the other, also help make this reading well \nworth hearing.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe engineers in the third reading, with Munch, \nseem also to have placed Heifetz further back; approaching the end of \nhis 50s, Heifetz still plays with considerable drive in the first \nmovement, but the difference of 23 seconds that the booklet notes \nmention in the slow movement between this performance and that with \nBeecham may strike many listeners less forcefully than the difference \nwhatever polish (over-polishing?) his reading had accumulated over the \nyears may have imparted. Those who consider such things (as we all, on \noccasion, do) will like to note the timings of the three recordings \n(Toscanini: 10:50, 7:17, and 6:13; Beecham: 11:05, 7:27; and 6:05; and \nMunch: 11:03, 7:04, and 5: 57), which may reveal a great similarity but \nalso show how abstract resemblance can mask many differences in energy. \n \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThose seeking Heifetz’s readings of this concerto \nin thoughtfully restored recorded sound will find Pristine’s release \nirresistible. Strongly recommended to more general listeners as well. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eRobert Maxham  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 35:1 (Sept\/Oct 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC278.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003e\"Heifetz is really in a class of his own\" - Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eTwo studio and one live - three contrasting, superb performances, XR remastered\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThis release allows the listener to hear not only the great Heifetz at his virtuoso best, but also to compare and contrast the three complete recordings of Mendelssohn's concerto which are listed in Beecham's main discography (which predates Pristine's issue of the Cantelli recording of 1954,. PASC094). In terms of pacing there's little between the 1944 and 1959 recordings - the Toscanini is marginally faster than the Munch - but it is in the Beecham second movement, as highlighted in the Gramophone review above, where the music is given the greatest room to breathe, a full 23s longer than the relatively swift Munch recording.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eEach recording was XR remastered using the same modern reference recording, yet each retains its own distinct sound and style - and obviously sound quality improves with time, though each has shown considerable improvement over the original source recordings.\u003c\/p\u003e\n\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003eMENDELSSOHN \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 16px;\"\u003e Violin Concerto in E minor, Op. 64 \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003eRecording No. 1 (mono\/Ambient Stereo):\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e \u003cbr\u003e NBC Symphony Orchestra\u003cbr\u003e \u003c\/strong\u003econductor\u003cstrong\u003e Arturo Toscanini\u003cbr\u003e \u003c\/strong\u003erecorded \u003cstrong\u003e9th April, 1944\u003c\/strong\u003e \u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"bodybigblue\"\u003eRecording No. 2 (mono\/Ambient Stereo):\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e \u003cbr\u003e Royal Philharmonic Orchestra\u003cbr\u003e \u003c\/strong\u003econductor\u003cstrong\u003e Sir Thomas Beecham\u003cbr\u003e \u003c\/strong\u003erecorded \u003cstrong\u003e10th June, 1949\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"bodybigblue\"\u003eRecording No. 3 (Stereo):\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e \u003cbr\u003e Boston Symphony Orchestra \u003cbr\u003e \u003c\/strong\u003econductor\u003cstrong\u003e Charles Munch\u003cbr\u003e \u003c\/strong\u003erecorded \u003cstrong\u003e23rd February, 1959\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eJascha Heifetz, violin \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eXR remastering by Andrew Rose at Pristine Audio, March 2011\u003cbr\u003e Cover artwork based on a photograph of Jascha Heifetz\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 73:01 \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC278.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC278.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\"There's no doubt about it, Heifetz is really in a class of his own; it's an insult to him to make comparisons, as though he were just another fine violinist. One feels exactly the same as with Horowitz: once you put the needle down, you're confronted. There's great fire and passion in the playing, and a lovely relaxed lyricism in the gentler passages, which is carried over into the Andante (as pure and sweet and unsentimental as anyone could wish) and into the pensive introduction of the finale. The finale itself is of course taken at top speed, and provides a feast of breathtaking virtuosity.\"\u003cbr\u003efrom \u003cb\u003eThe Gramophone, March 1960 \u003c\/b\u003e(review of Munch\/BSO recording)\u003cbr\u003e\u003cbr\u003e\"It is, I think, safe to say that the sweetness and calm of the slow movement theme has won as many adherents for the work as anything; and, as some people may try out this set at the dealer's by sampling this movement, it should be said that Heifetz is here at his best, producing a beautifully shaped line of simple and at the same time warm quality, hut never allowing it to become cloying. 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