{"title":"Walter Gieseking","description":"\u003cp\u003eWalter Wilhelm Gieseking (5 November 1895 – 26 October 1956) was a French-born German pianist and composer.\u003c\/p\u003e\r\n\u003cp\u003eBorn in Lyon, France, the son of a German doctor and lepidopterist, Gieseking first started playing the piano at the age of four, but without formal instruction. His family travelled frequently and he was privately educated.\u003cbr\u003e\u003cbr\u003eFrom 1911 to early 1916, he studied at the Hanover Conservatory. There his mentor was the director Karl Leimer, with whom he later co-authored a piano method. He made his first appearance as a concert pianist in 1915, but was conscripted in 1916 and spent the remainder of World War I as a regimental bandsman. His first London piano recital took place in 1923, establishing an exceptional and lasting reputation.\u003c\/p\u003e\r\n\u003cp\u003eBecause of his gifts — he had a natural technique, perfect pitch, and an abnormally acute faculty for memorization — Gieseking was able to master unfamiliar repertoire, however difficult, with relatively little practice. From his early instruction in the Leimer method, he usually studied new pieces away from the piano. It became well-known to the public, for instance, that he often committed new works to memory while traveling by train, ship or plane. Sometimes, according to Harold C. Schonberg's book The Great Pianists (1963), he could even learn an entire concerto by heart in one day.\u003cbr\u003e\u003cbr\u003eGieseking had a very wide repertoire, ranging from various pieces by Bach and the core works by Beethoven to the concertos of Rachmaninoff and more modern works by composers such as Busoni, Hindemith, Schoenberg and the lesser-known Italian Petrassi. He gave the premiere of Pfitzner's Piano Concerto in 1923. Today, though, he is particularly remembered for his recordings of the complete piano works of Wolfgang Amadeus Mozart and the two French impressionist masters Claude Debussy and Maurice Ravel, virtually all of whose solo piano music he recorded on LP for EMI in the early 1950s (the Mozart and Debussy sets have recently been re-released on CD), after recording much of it with even greater youthful vitality for Columbia in the 1930s and 1940s, some of which have also been re-released on CD.\u003cbr\u003e\u003cbr\u003eGieseking's 1944 performance of Beethoven's \"Emperor\" Concerto, in which anti-aircraft fire is audible, is one of the earliest stereo recordings, although his rendition of the same work in 1934 for Columbia, with Bruno Walter conducting the Vienna Philharmonic, is not only decidedly superior but one of the greatest concerto recordings ever made. His later 1930s Columbia concerto recordings of Mozart K. 271, Grieg and Beethoven Op. 15 under Hans Rosbaud in Berlin are just as outstanding in their own right, as is his early-1930s Franck Symphonic Variations under Henry Wood in London. In December, 1955, Gieseking suffered head injuries in a bus accident near Stuttgart, Germany, in which his wife was killed.\u003cbr\u003e\u003cbr\u003eHis last recording project was the complete cycle of Beethoven's Piano Sonatas. Gieseking suddenly fell ill in London, however, while recording Beethoven's \"Pastoral\" Sonata in D Piano Sonata No. 15 for HMV. He had completed the first three movements and, the following day, was due to record the rondo finale but died a few days later of postoperative complications for the relief of pancreatitis. HMV released the unfinished recording, and since then broadcast recordings of Gieseking playing all of Beethoven's Piano Sonatas (with the exception of Op. 54, which he never recorded) have been issued. Although some of his performances - particularly the live ones - could be erratic and marred by wrong notes, when Gieseking was at his best, especially in studio recording sessions, he was technically superb to the point of virtual flawlessness with immaculate, effortless ease. The subtle shadings of his piano tone, at its finest, seemed extraordinary in so physically large a man.\u003c\/p\u003e","products":[{"product_id":"pakm061","title":"GIESEKING Debussy: Preludes (1953\/54) - PAKM061","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003e Preludes, Books 1 \u0026amp; 2\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1953 and 1954\u003cbr\u003eTotal duration: 69:34\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWalter Gieseking\u003c\/b\u003e, piano\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fA transfer like this moves Gieseking’s recordings of the Préludes out of the historical category, and brings them back into real contention as an interpretation of the music which can challenge many modern readings578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThese performances constituted my first encounter with the Debussy \u003ci\u003ePréludes\u003c\/i\u003e on record. It is a delight to be able to meet them again in such fine new re-masterings. \u003cbr\u003e   \u003cbr\u003e\n In the intervening years we have encountered a great many approaches to\n this music, ranging from highly scented romantic impressionism to a \nstrictly literal interpretation of the notes on the page. This is indeed\n music that can admit of a wide range of stylistic pianism. These \nGieseking recordings remain a monument to a great artist whose Debussy \nwas always highly admired in its day, and commands attention nearly \nsixty years later. \u003cbr\u003e   \u003cbr\u003e Earlier transfers of this material have \nhowever not always been wholly successful in capturing the original \nquality of the performances. Even in their day, I suspect these were not\n among the highest fidelity recordings, and the mono sound has tended to\n underline Gieseking’s sometimes unexpectedly fast traversal of the \nscores making some passages sound rather superficial. These carefully \nengineered transfers totally change that. The recordings sound fresh and\n full of life; they remain mono, but they could have been set down ten \nyears ago, not sixty. There is a ring to the higher notes which produces\n a tangible sense of ecstasy, and the piano sounds realistically placed \nin a resonant acoustic - earlier EMI transfers from the original tapes \nhave had a sense of confinement in a smaller room than one would find \nideal in this music. \u003cbr\u003e   \u003cbr\u003e A transfer like this moves Gieseking’s recordings of the \u003ci\u003ePréludes\u003c\/i\u003e\n out of the historical category, and brings them back into real \ncontention as an interpretation of the music which can challenge many \nmodern readings. Taking them on this level, one must admit that \nsometimes his speeds are a bit brisker than we would expect nowadays. \nThat is of no real consequence; these are performances that are classics\n in every sense of the word. The sleeve note quotes from the \u003ci\u003eGramophone\u003c\/i\u003e review of 1955: “Only a supremely optimistic or a very vain pianist will attempt to record these \u003ci\u003ePreludes\u003c\/i\u003e\n now that Gieseking has done so.” Well, one is grateful for the many \npianists who have subsequently essayed these works; but Gieseking \nremains a benchmark by which his ‘optimistic’ or ‘vain’ successors can \nbe measured. \u003cbr\u003e   \u003cbr\u003e The notes on the transfers comment that the \noriginal recordings “captured the energetic breaths of the performer”, \nwhich “I have not attempted to excise.” Well, nobody in their senses \nwould listen all the way through this CD desperately trying to catch \nhints of such extraneous noises; and I have to say that if they were \nstill present I didn’t notice them. The sleeve states that there are \nfull programme notes available online, but when I looked these consisted\n solely of links to the relevant Wikipedia articles and copies of the \nscores from ISMLP. \u003cbr\u003e   \u003cbr\u003e This is a glorious release. \u003cbr\u003e   \u003cbr\u003e \u003cb\u003e\u003ci\u003ePaul Corfield Godfrey\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\n\u003cspan class=\"TIMESb\"\u003eMusicWeb International, August 2013\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM061.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\"Only a supremely optimistic or a very vain pianist will attempt to record these Preludes now that Gieseking has\"\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eFor many, Walter Gieseking's Debussy is definitive, and \nperhaps nowhere more so than here, in the Preludes. These recordings, \nmade for EMI LP issues towards the end of the pianist-composer's life, \nfollowed recordings for 78s made in the 1930s and for an American \nColumbia double-LP in 1951. Previous reissues have struggled to recreate\n the full tone of Gieseking's piano across the exceptionally wide \ndynamic range Debussy demands, and remastering these recordings requires\n constant attention to ensure tape hiss levels don't obscure the \nquietest passages, whilst preventing any damage from heavy-handed \napplication of digital noise reduction.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAt times the EMI microphone has also captured the \nenergetic breaths of the performer - these I have not attempted to \nexcise. The use of Capstan pitch stabilisation software has ensured a \nparticularly solid tone which, coupled with 32-bit XR remastering, has \nhelped to give particularly realistic body and glorious life to the \nsound of the instrument.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eGIESEKING\u003c\/b\u003e \u003cb\u003eDebussy\u003c\/b\u003e: Preludes (1953\/54)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003ePreludes, Book 1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Danseuses de Delphes Lent et grave\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Voiles Modéré\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Le vent dans la plaine Animé\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. «Les sons et les parfums tournent dans l'air du soir» Modéré\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eV. Les collines d'Anacapri Très modéré\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVI. Des pas sur la neige Triste et lent\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVII. Ce qu'a vu le vent d'ouest Animé et tumultueux\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVIII. La fille aux cheveux de lin Très calme et doucement expressif\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIX. La sérénade interrompue Modérément animé\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eX. La cathédrale engloutie Profondément calme\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eXI. La danse de Puck Capricieux et léger\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eXII. Minstrels Modéré\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 12-16 August 1953, Studio 3, Abbey Road, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eIssued as Columbia LP 33CX1098\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003ePreludes, Book 2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Brouillards Modéré\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Feuilles mortes Lent et mélancolique\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. La Puerta del Vina Mouvement de Habanera\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Les fées sont d'exquises danseuses Rapide et léger\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eV. Bruyères Calme\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVI. Général Lavine — eccentric Dans le style et le mouvement d'un Cakewalk\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVII. La terrasse des audiences du clair de lune Lent\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVIII. Ondine Scherzando\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIX. Hommage à S. Pickwick Esq. P.P.M.P.C. Grave\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eX. Canope Très calme et doucement triste\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eXI. Les tierces alternées Modérément animé\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eXII. Feux d'artifice Modérément animé\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 9-10 December 1954, Studio 3, Abbey Road, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eIssued as Columbia LP 33CX1304\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWalter Gieseking\u003c\/b\u003e piano\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\/PAKM061.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM061.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eREVIEW Preludes Book 1\u003cbr\u003e\u003cbr\u003eA definitive version. Tackling them afresh - this is no re-issue - Gieseking brings to the wonderful collection of pieces all the qualities of poetry they require. Debussy, exacting from the piano more and more colour and effect, set his sights high, but every nuance, every shade of balance, and every inflection of tempo are fully realised on this occasion.\u003cbr\u003e\u003cbr\u003eThe Preludes are for the most part intimate and domestic, and reasonably simple as far as the plain notes are concerned. So Gieseking, very appropriately, plays them in an intimate manner. But now and again there is a flurry, and a surge of activity in the music, and here the domestic pianist is caught out; but not, of course, Gieseking, who uses his abundant technical resources not to exhihit themselves, but to enable his masterly control of the shape of the music to be kept fully operative throughout the occasional whirlwind - in the middle of Voiles, for example, where for a few bars tonality and animation emerge from the shadows of the whole-tone scale; or in La dance de Puck, where the decoration points, without interrupting, the basic rhythm in a masterly way. But in every one of the Preludes there are a dozen lessons for the pianist, and a dozen reasons for the enchantment of the listener, who is also well served by the recording - steady and mellow, it is ideally suited for its purpose. The surfaces of the copy at hand are not \"silent\"; but that is almost the only direction in which it might be reasonable to seek improvement in this outstanding Issue.\u003cbr\u003e\u003cbr\u003eFor listeners with an eye to the historical, Cortot's famous playing of this same set of Preludes is available on H.M.V. BLP1006. They were reviewed in their SP form by W.R.A. in February, 1951; but it must be admitted that at the time of their recording Cortot was not at his best, and they are not wholly representative of his playing. A dispassionate listener must certainly choose Gieseking, who gets a better recording, and whose performance is suffused with far greater poetry and backed by a more adequate reserve of technical power than was available on the earlier occasion.\u003cbr\u003e\u003cbr\u003eM. M., The Gramophone, January 1954\u003cbr\u003e\u003cbr\u003eREVIEW Preludes Book 2\u003cbr\u003e\u003cbr\u003eOnly a supremely optimistic or a very vain pianist will attempt to record these Preludes now that Gieseking has done so. Neither the playing nor the recording can be faulted; after all, he has for years been the chief exponent of Debussy's piano music outside France, and I very much doubt whether any French pianist could better these performances. Gieseking has both the understanding and the technique for conveying the half-lights and shadowy understatement in these pieces, as also the humour that General Lavine and Samuel Pickwick need. Anyone who already has the first book of Preludes recorded by the same artist in 1954 will automatically buy this set, and I hope many other people will do so too.\u003cbr\u003e\u003cbr\u003eR. F., The Gramophone, November 1955\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":117285584922,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":117285617690,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":117285650458,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":117285683226,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM061.jpg?v=1502092862"},{"product_id":"pakm061-cd","title":"GIESEKING Debussy: Preludes (1953\/54) - PAKM061 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":117297774618,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM061_96da8994-7e57-468c-b2bf-39acb54794de.jpg?v=1658416558"},{"product_id":"pasc347","title":"FURTWÄNGLER conducts Brahms Piano Concerto No 2, Schumann Piano Concerto (1942) - PASC347","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003ePiano Concerto No. 2\u003cbr\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003ePiano Concerto in A minor\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1942\u003cbr\u003eTotal duration: 77:26\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eEdwin Fischer\u003c\/b\u003e, piano (Brahms)\u003cbr\u003e\u003cb\u003eWalter Gieseking\u003c\/b\u003e, piano (Schumann)\u003cbr\u003e\u003cb\u003eBerlin Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eWilhelm Furtwängler\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fFischer, Furtwängler and the Berlin Phil give a monumental and blazingly atmospheric performance578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eGiven their provenance these two recordings are pretty good. \n                  That said, don’t get your hopes too high. For all the \n                  miracles wrought by Andrew Rose and his XR method these remain \n                  grainy and roughened. On this evidence it comes as no surprise \n                  to hear that they survived Nazi wartime as vintage, live concert \n                  detritus, being spirited away to Moscow as war booty and decades \n                  of storage in the USSR. \u003cbr\u003e\n                    \u003cbr\u003e\n                  Of the two works the Brahms emerges in meaty mono and with a \n                  string sound that is better than tolerable. Fischer, Furtwängler \n                  and the Berlin Phil give a monumental and blazingly atmospheric \n                  performance with not a little pointed wit in the exultant Allegretto. \n                  It could never rate as a chosen sole representative in anyone’s \n                  collection but it would make a nice contrast for those days \n                  when you would like a few risks and maybe a modicum of bluster. \n                  It’s certainly not dull. No doubt I will provoke sighs \n                  of despair but if you are looking for something to surprise \n                  and delight in your Brahms 2 then try Serkin on Sony-CBS if \n                  you can find it. A concert discovery last year was a pretty \n                  much ideal performance by Emanuel Ax at the BBC Proms with the \n                  Chamber Orchestra of Europe conducted by Bernard Haitink. Ax \n                  and his partners delivered a joyously life-enhancing reading \n                  of each of the two Brahms concertos. \u003cbr\u003e\n                    \u003cbr\u003e\n                  As for the Schumann it is a shade or two less desirable in comparison \n                  to the sound of the Brahms: the piano is a mite clattery, the \n                  treble hazed and the distortion crazing more obvious. The promethean \n                  power of the pianism, the clarion call to ardour and the complementary \n                  fire of the conductor and orchestra leave us grateful and ready \n                  to remember this performance with enough fondness to prompt \n                  a return visit despite the coughing. The liner-notes are rather \n                  scant but the short technical notes are well worth a read. \u003cbr\u003e\n                    \u003cbr\u003e\n                  \u003cb\u003e\u003ci\u003eRob Barnett \u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC347.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBoth of these wartime recordings originated as radio \nbroadcasts and were among a number which disappeared into the Soviet \nUnion at the end of World War II. They suffer similar defects to the \nmajority of Furtwängler's wartime broadcasts, both in sound balance and \ndistortion during louder passages. My aim has been to minimise the \neffect of these and to try and round out the rather poor, \none-dimensional sound of the originals.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe better sound is to be found in the Brahms, which has\n greater top-end frequency extension, and is without doubt the star \nperformance here - it sounds remarkably well given its origins, with the\n full and rich orchestral sound coming across particularly well. A \nslight fuzziness in the piano's sound detracts little from a stunning \noverall effect.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Schumann concerto, Furtwängler's only surviving \nrecording of the piece, is perhaps less successful both as performance \nand recording, but is at least much cleaned up over previous issues.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eFURTWÄNGLER\u003c\/b\u003e conducts \u003cb\u003eBrahms\u003c\/b\u003e Piano Concerto No 2, \u003cb\u003eSchumann\u003c\/b\u003e Piano Concerto (1942)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Piano Concerto No. 2 in B flat, Op. 83\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(16:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Allegro appassionato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Andante\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegretto grazioso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:15)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Piano Concerto in A minor, Op. 54\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro affettuoso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(14:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Intermezzo Andantino grazioso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:30)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eEdwin Fischer\u003c\/b\u003e piano\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTransfer from EMI LP SG 153-53661 M\u003cbr\u003eRecorded 8 November 1942, Alte Philharmonie, Berlin\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWalter Gieseking\u003c\/b\u003e piano\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTransfer from DG LP 427 773-1\u003cbr\u003eRecorded 3 March 1942, Alte Philharmonie, Berlin\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBerlin Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilhelm Furtwängler\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, June 2012\u003cbr\u003eCover artwork based on photographs of Brahms and Furtwängler\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 77:26\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC347.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC347.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eOverview \u003cb\u003eFurtwängler's recordings of Brahms' 2nd Piano Concerto\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eFurtwängler conducted both Brahms piano concertos during all phases of his career, but there were nearly twice as many performances of the Second, the only one to have come down to us on records. There are two versions, both stemming from the war years and separated by thirteen months; each was given as part of a subscription concert by the Berlin Philharmonic. The soloist in the first was Edwin Fischer, and in the second, Adrian Aeschbacher, with whom Furtwängler collaborated on Beethoven's First Piano Concerto in Lucerne after the war.\u003cbr\u003e\u003cbr\u003eAs with their EMI studio recording of the Emperor Concerto, Furtwängler and Fischer are again as one. Theirs is a many-faceted account of a massive score, and like the music, the performance is symphonic and far-reaching in its dimensions. With this too there is \"youthful\" willingness on the part of Furtwängler and Fischer to give generously of themselves. The Second Concerto is a work that conductors and performers often even out, minimizing the sweep of the first and second movements so they are more in line with the reflective slow movement and the airy grace of the finale.\u003cbr\u003e\u003cbr\u003eNot so with Furtwängler and Fischer. They follow where the music leads and appear to revel in its many planes of sound and its contrasting emotions. With this comes the sensation of an autumn tempest eventually playing itself out and leaving in its wake coolness and serenity. In harmony with their stormy approach to the opening movement, the allegro appassionato, while not notably faster than the norm, has a livelier impulse than usual and less a feeling of binding weight. Not surprisingly, the second-movement repeat is observed in both performances, for this is an instance where a repeat in Brahms is entirely organic. Though Fischer's beautifully textured playing permeates the slow movement with a blissful, nocturnal calm, some urgency is still felt, and it emerges openly in playful, Friska-like passages in the finale.\u003cbr\u003e\u003cbr\u003eAeschbacher makes less of a cohesive whole out of the music. His performance is not as well thought-out, and there are moments where he strikes out on his own in a direction different from that established by Furtwängler and the orchestra. He is, on the whole, technically more solid than Fischer, though Fischer can surprise one at times with unexpected prowess, as in the rising double thirds that come early in the last movement. With Fischer, every note sounds in tempo, while Aeschbacher glibly leaves notes out. In short, there is no choice here. One is an experience; the other is a performance.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eJohn Ardoin\u003c\/b\u003e The Furtwängler Record (Amadeus Press, 1994) \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":14167962517565,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":14167962550333,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":14167962615869,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC347.jpg?v=1745411222"},{"product_id":"pasc347-cd","title":"FURTWÄNGLER conducts Brahms Piano Concerto No 2, Schumann Piano Concerto (1942) - PASC347 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":14167963402301,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC347_cff315dc-5724-433d-87b1-eea8e97107db.jpg?v=1745411237"},{"product_id":"pasc390","title":"GIESEKING Experimental stereo Beethoven Emperor, plus Concerto No. 4 (1944\/51) - PASC390","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 5 \"Emperor\"\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 4\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1944 in stereo \u0026amp; 1951 in mono\u003cbr\u003eTotal duration: 68:20\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWalter Gieseking\u003c\/b\u003e piano\u003cbr\u003e\u003cb\u003eBerlin Reichsender Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eArtur Rother\u003c\/b\u003e conductor\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eHerbert von Karajan\u003c\/b\u003e conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fA wonderful disc all round578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003ePristine Classical has given the avid collector a \nwealth of material, and this issue is no exception. The performance of \nthe “Emperor” was taped in “experimental stereo,” an indication, \nperhaps, of the innovations of the Nazi era, and so it is that the 1944 \nNo. 5 presented here is in stereo, but the later 1951 No. 4 is in mono. \n \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis is in fact Gieseking’s second “Emperor” and \nwas recorded in the autumn of 1944, a decade after the first (Bruno \nWalter\/VPO). To follow were the famous traversals with Karajan (1951, \nKingsway Hall, Philharmonia) and the 1955 Philharmonia (again, but with \nAlceo Galliera at the helm).  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003ePristine certainly seems to have been successful \nwith hiss. The recorded sound in Berlin is remarkable, excellent pretty \nmuch throughout, especially where the piano is concerned. \nPerformance-wise, the first thing one notices about the orchestra is the\n sense of discipline. Accents are visceral; complementing this, there \nare moments of great beauty from Gieseking. Rother always keeps the \nmomentum going, refusing to relax as some do. Perhaps one should really \npoint to some lost detail around the 10-minute mark; that the recording \ndoes shrink a little around Gieseking’s climactic chords thereafter; and\n that there is a very careful piano\/orchestra arrival at one notoriously\n tricky spot (12:26 here), where Gieseking actually stops the upward \nscale to co-ordinate with the orchestra’s re-entry. As if finally \nentering into Rother’s approach, the piano’s riposte to the return of \nthe grand opening orchestral chords is very rapid-fire, almost \ndismissive. The luster on the strings of the slow movement is \nmarvelously preserved, and the magic of Gieseking’s rapt playing is \nmagnificent. The Finale brings plenty of fire from both pianist and \norchestra. Gieseking’s fingerwork is terrific and there is plenty of \nenergy all round. Again, there is little space for relaxation, but the \neffect is not of breathlessness.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Columbia Beethoven Fourth with the \nPhilharmonia and Karajan is centrally placed in Gieseking’s discography \nof this work (Böhm\/Dresden Staatskapelle and a Berlin RIAS under Doráti \non one side; Keilberth with WDR Cologne and Philharmonia\/Galliera on the\n other). Just for the meeting of minds of Gieseking and Karajan, it has \nhuge value. Gieseking’s simply gorgeous tone for the opening, coupled \nwith his not too languorous approach, sets the parameters for a very \nspecial reading. Karajan shapes the orchestral exposition impeccably, \nand it is clear that the Philharmonia responds to his every whim. \nGieseking plays with the utmost sensitivity, and this “notiest” of \nBeethoven’s concertos is perfect for him with his mastery of filigree. \nThe strings in the famous slow movement come across with real presence. \nPerhaps it is in the Finale that the differences between pianist and \nconductor come to the fore. Basically, Karajan ensures the Germanic side\n of things is looked after, while Gieseking finds a more delicate space.\n The very close of the work is not intended to be a sudden surge of \nadrenalin here, and as such it fits in beautifully within the overall \nconception as it leads to Gieseking’s bejeweled final measures. A \nwonderful disc all round. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eColin Clarke  \u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003eThis article originally appeared in Issue 37:3 (Jan\/Feb 2014) of Fanfare Magazine.\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC390.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cem\u003e \"Gieseking, at the height of his powers in 1944, is deft, delicate, infinitely resourceful\" - Gramophone\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe 1944 recording of Walter Gieseking playing brilliantly Beethoven's Emperor Concerto sits among a select few stereo recordings made experimentally prior to the 1950s, the earliest dating back to the early 1930s. It's one of the only complete works recorded in stereo prior to the general adoption of stereo recording in the 1950s - only one other stereo recording (of a single movement) is known to survive from 1944, also recorded in Germany. It was the development of tape recording which made stereo technically feasible - not until 1958 would disc replay catch up - and the Germans were a considerable way ahead on tape technology by 1944. Even so, the high levels of hiss on this recording - unsurprising given that each channel has half the tape width and thus double the noise levels - shows much was left to be done.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAs well as improvements to the sometimes wayward and ill-defined stereo imagery, I've sought to reduce tape hiss, enhance the overall tonal balance, flatten out wow and flutter, and give this historic recording as good an outing as it's ever had. The 1951 EMI studio recording of the Fourth Concerto was of course made in easier conditions (no anti-aircraft fire in the background either!) but was far from perfect. I've been able to fill out the orchestral tone considerably, whilst cutting tape hiss back. The piano tone remains mellow and warm, but occasionally less than brilliant during louder passages, where I've had to fight against some peak distortion, though this is happily insufficient to distract from what is a truly superb account of the concerto.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eGIESEKING\u003c\/b\u003e Experimental stereo \u003cb\u003eBeethoven\u003c\/b\u003e Emperor, plus Concerto No. 4 (1944\/51)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 5 in E flat, Op. 73, \"Emperor\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(19:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Adagio un poco mosso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Rondo (Allegro)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded Autumn 1944, Berlin\u003cbr\u003eProducer\/engineer: Dr. Hans Joachim von Braunmühle\u003cbr\u003eTransfer from Varèse Sarabande VC 81080\u003cbr\u003eA stereo recording\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Concerto No. 4 in G, Op. 58\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(16:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante con moto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Rondo (Vivace)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 9-11 July 1951, Kingsway Hall, London\u003cbr\u003eProducer: Walter Legge\u003cbr\u003eEngineer: Douglas Larter\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued as Columbia 78s LX 1443-46\u003cbr\u003eFirst LP issue Columbia 33C.1007\u003cbr\u003ePresented in Ambient Stereo\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBerlin Reichsender Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eArtur Rother\u003c\/b\u003e  conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eHerbert von Karajan\u003c\/b\u003e  conductor\u003cbr\u003e\u003cb\u003eWalter Gieseking\u003c\/b\u003e  piano\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, June 2013\u003cbr\u003eCover artwork based on a photograph of Walter Gieseking\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 68:20\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC390.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC390.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eREVIEW \u003c\/strong\u003ePiano Concerto No. 5, \"Emperor\"\u003c\/p\u003e\u003cp class=\"body\"\u003eGieseking, at the height of his powers in 1944, is deft,\n delicate, infinitely resourceful. From the moment of the piano’s \nre-entry, Gieseking points our attention away from heroic postures \n(though he has strengths in reserve) towards that visionary mood which \nunderwrites the whole of the Violin Concerto and subtly pervades the \nEmperor, too. The recording was made at a concert in Berlin and claims \nto be a genuine stereo recording, a precocious example of the highly \nsophisticated Berlin Radio system and its Magnetophon recorders. Clearly\n it is a stereo recording in the same way that an 1840s Fox Talbot is a \nphotograph, but the stereo images are vague and the level of background \nhiss is almost unacceptably high. That said, the beautifully natural, \nslightly recessed concert hall image serves Gieseking well; and the \norchestra, which is immaculately conducted by Arthur Rother, is finely \nfocused. In the latter part of the first movement cadenza artillery can \nbe heard dimly popping and pummelling in the background, much as it \nprobably did at the time of the work’s première in war-torn Vienna. \nGieseking, ever the poet and professional, remains perfectly poised, \nwhilst the horns sweep calmly and steadily in.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cstrong\u003eR.O., Gramophone\u003c\/strong\u003e, January 1980\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eREVIEW \u003c\/strong\u003ePiano Concerto No. 4\u003c\/p\u003e\u003cp class=\"body\"\u003eHere, I venture to suggest, in the Gieseking-Karajan G \nmajor Concerto, we find almost the ideal recording ; sides 3 and 8 in \nparticular seem to me as nearly perfect examples of reproduced sound as \none is ever likely to meet. Gieseking’s approach to Beethoven is \nsuitably gentle and caressing ; but he can be dramatic at will, and his \ngood musical manners are no sign of weakness or mere amiability. \nTechnically, he exhibits a remarkable power of light but firm emphasis. \nHis touch is even sure when he wishes to vary it, which is the \nequivalent of saying that he has perfect control ; that would be wasted \nhad the pianist not also the musical mind to inform his fingers. He \nseems to play the G major with the utmost naturalness, as though he were\n a learned and fluent and friendly improviser in a tautly listening \nparty. The secretive opening of III on side 6, the brilliance of side 2,\n the flourish in the cadenza and the sweet-natured reentry of the first \nsubject are tokens of his success. The balance between soloist and \norchestra is right, the ensembles are warm and rich, the tuttis never \nalarming. I particularly like the weight of the strings and the even \ndistribution of tone across the orchestral gamut.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cstrong\u003eH.F., The Gramophone\u003c\/strong\u003e, November 1951\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":34274773325,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34274773389,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34274773453,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC390.jpg?v=1489762805"},{"product_id":"pasc390-cd","title":"GIESEKING Experimental stereo Beethoven Emperor, plus Concerto No. 4 (1944\/51) - PASC390 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478181773,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC390_60615a00-08a0-45a6-bf17-a9fbacd99b02.jpg?v=1658309480"},{"product_id":"pasc501","title":"CANTELLI in New York, Vol. 1: Haydn, Mozart, Ravel, Falla, Vivaldi, Beethoven, Piston, Copland (1955) - PASC501","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eHAYDN \u003c\/b\u003eSymphony No. 93\u003cbr\u003e\u003cb\u003eMOZART \u003c\/b\u003ePiano Concerto No. 21\u003cbr\u003e\u003cb\u003eRAVEL \u003c\/b\u003ePavane pour une infante défunte\u003cbr\u003e\u003cb\u003eFALLA \u003c\/b\u003eEl Sombrero des Tres Picos, Suite No. 2\u003cbr\u003e\u003cb\u003eVIVALDI \u003c\/b\u003eL'Estro Armonico: Concerto Grosso No. 11\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 3\u003cbr\u003e\u003cb\u003ePISTON \u003c\/b\u003eToccata\u003cbr\u003e\u003cb\u003eCOPLAND \u003c\/b\u003eEl Salón México\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1955\u003cbr\u003eTotal duration: 2hr 26:56\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWalter Gieseking\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eRudolf Firkušný\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eNew York Philharmonic-Symphony Orchestra\u003c\/b\u003e\u003cbr\u003eConducted by \u003cb\u003eGuido Cantelli\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC501.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThese recordings were sourced from generally very high quality tape recordings. Despite some electrical hum and the occasional buzzing, both of which have largely been dealt with, only the very occasional incidence of mild, and short-lived dropout in any way troubled the reproduction. XR remastering has greatly improved the listening experience, with a fuller, clearer and cleaner sound. Whilst much of Jim Fassett's original CBS radio commentary has been retained, I have edited out sections irrelevant to the concerts.      \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1\u003c\/span\u003e Concert 1 - Introduction\u003cspan style=\"font-size: 12px;\"\u003e (1:07)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eHAYDN\u003c\/b\u003e Symphony No. 93 in D major, Hob. 1:93\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2\u003c\/span\u003e 1st mvt. - Adagio - Allegro assai\u003cspan style=\"font-size: 12px;\"\u003e (8:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3\u003c\/span\u003e 2nd mvt. - Largo cantabile\u003cspan style=\"font-size: 12px;\"\u003e (5:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4\u003c\/span\u003e 3rd mvt. - Menuetto (Allegretto) - Trio\u003cspan style=\"font-size: 12px;\"\u003e (4:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5\u003c\/span\u003e 4th mvt. - Finale (Presto ma non troppo)\u003cspan style=\"font-size: 12px;\"\u003e (5:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6\u003c\/span\u003e Introduction to Mozart\u003cspan style=\"font-size: 12px;\"\u003e (1:28)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Piano Concerto No. 21 in C major, K.467\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7\u003c\/span\u003e 1st mvt. - Allegro maestoso\u003cspan style=\"font-size: 12px;\"\u003e (14:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8\u003c\/span\u003e Andante\u003cspan style=\"font-size: 12px;\"\u003e (7:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9\u003c\/span\u003e Allegro vivace assai\u003cspan style=\"font-size: 12px;\"\u003e (7:26)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWalter Gieseking\u003c\/b\u003e, piano\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10\u003c\/span\u003e \u003cb\u003eRAVEL Pavane pour une infante défunte\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (6:32)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eFALLA\u003c\/b\u003e El Sombrero des Tres Picos, Suite No. 2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11\u003c\/span\u003e 1. Los vecinos\u003cspan style=\"font-size: 12px;\"\u003e (3:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12\u003c\/span\u003e 2. Danza del molinero (Farruca)\u003cspan style=\"font-size: 12px;\"\u003e (2:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13\u003c\/span\u003e 3. Danza final\u003cspan style=\"font-size: 12px;\"\u003e (6:54)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCBS Radio Broadcast\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eIntroduced by Jim Fassett\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eCarnegie Hall, 6 March, 1955\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1\u003c\/span\u003e Concert 2 - Introduction\u003cspan style=\"font-size: 12px;\"\u003e (1:50)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVIVALDI\u003c\/b\u003e L'Estro Armonico: Concerto Grosso in D minor, Op. 3, No. 11, RV565\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2\u003c\/span\u003e 1st mvt. - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (1:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3\u003c\/span\u003e 2nd mvt. - Adagio e spiccato\u003cspan style=\"font-size: 12px;\"\u003e (0:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4\u003c\/span\u003e 3rd mvt. - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (3:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5\u003c\/span\u003e 4th mvt. - Largo e spiccato\u003cspan style=\"font-size: 12px;\"\u003e (3:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6\u003c\/span\u003e 5th mvt. - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (4:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7\u003c\/span\u003e Introduction to Beethoven\u003cspan style=\"font-size: 12px;\"\u003e (2:20)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Concerto No. 3 in C minor, Op. 37\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8\u003c\/span\u003e 1st mvt. - Allegro con brio\u003cspan style=\"font-size: 12px;\"\u003e (15:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9\u003c\/span\u003e 2nd mvt. - Largo\u003cspan style=\"font-size: 12px;\"\u003e (8:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10\u003c\/span\u003e 3rd mvt. - Rondo. Allegro - Presto\u003cspan style=\"font-size: 12px;\"\u003e (9:02)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRudolf Firkušný\u003c\/b\u003e, piano\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e11\u003c\/span\u003e \u003cb\u003ePISTON Toccata\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12\u003c\/span\u003e Introduction to Copland\u003cspan style=\"font-size: 12px;\"\u003e (1:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13\u003c\/span\u003e \u003cb\u003eCOPLAND El Salón México\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (11:16)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCBS Radio Broadcast\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eIntroduced by Jim Fassett\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eCarnegie Hall, 13 March, 1955\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003eNew York Philharmonic-Symphony Orchestra\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eConducted by \u003cb\u003eGuido Cantelli\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Guido Cantelli\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 26:56\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC501.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC501.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fFull background notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eS\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003eleeve Note for 6 and 13 March 1955 \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\n\u003cp\u003e\n    It is a common misconception that Guido Cantelli had a limited repertoire.\n    This is possibly due, to some extent, because of the small number of his\n    commercial recordings which – apart from three - were approved by the\n    conductor; there were four with the NBC Symphony Orchestra; two with the\n    Orchestra Stabile Accademia di Santa Cecilia, Roma; one with the Orchestra\n    del Teatro alla Scala, Milano; 20 with the Philharmonia Orchestra and one\n    with the New York Philharmonic-Symphony Orchestra. That is very little\n    compared to the recorded legacies of other conductors of international\n    stature.\n\u003c\/p\u003e\n\u003cp\u003e\n    The situation changed for collectors of recorded music when Cantelli began\n    to give concerts in America. Whereas, in the UK, only five of Cantelli’s\n    concerts were broadcast. Three were all with the Philharmonia Orchestra and\n    the other two were with the New York Philharmonic-Symphony Orchestra. The\n    majority of the performance included in the concert given on 9 September\n    1954 in the Usher Hall during the Edinburgh Festival has already appeared\n    on CD and I can state with some confidence that another broadcast which was\n    given in London’s Royal Albert Hall on 11 May 1953 will be released some\n    time during 2017. Finally, when the New York Philharmonic-Symphony\n    Orchestra began its European Tour in 1955 its first stop was Edinburgh and\n    two concerts were broadcast from the Usher Hall on 6 and 7 September. These\n    were all BBC broadcasts.\n\u003c\/p\u003e\n\u003cp\u003e\n    One aspect to note is that the NBC’s radio station – unlike the BBC - was a\n    commercial operation and advertising occasionally took precedence over the\n    music which could be cut off the air if it ran over time.\n\u003c\/p\u003e\n\u003cp\u003e\n    From 1949 Cantelli gave 40 concerts with the NBC Symphony Orchestra which\n    were all broadcast and he appeared every year until 1954 when the orchestra\n    was disbanded. The number of works which he conducted was 106 but 31 of\n    these appeared later as commercial recordings. It is interesting to note,\n    for instance, that three of the four commercial recordings with this\norchestra (Haydn’s \u003cem\u003eSymphony No.93\u003c\/em\u003e; Hindemith’s\u003cem\u003e Sinfonie Mathis\u003c\/em\u003e \u003cem\u003eder Maler\u003c\/em\u003e and the Franck    \u003cem\u003eSymphony\u003c\/em\u003e)\u003cem\u003e \u003c\/em\u003ewere performed in these concerts three times.\n    Other works which were also performed this often with the orchestra were\n    Bartók’s \u003cem\u003eConcerto for Orchestra\u003c\/em\u003e (no commercial recording); the\n    Mozart \u003cem\u003eSymphony No.29\u003c\/em\u003e (the very last work he recorded\ncommercially); Ravel’s \u003cem\u003eLa valse \u003c\/em\u003eand Wagner’s    \u003cem\u003eRienzi Overture \u003c\/em\u003e(no commercial recordings). There are even more\n    examples of works being played twice. Even so, the Cantelli discography was\n    increased by 58 compositions which were broadcast and never recorded\n    commercially. Copyright law is complicated and is not the same for every\n    country but probably it was not illegal to record broadcasts for personal\n    use so it was quickly obvious that serious listeners soon had their tape\n    recorders connected to their radios to increase their collections of\n    recorded music.\n\u003c\/p\u003e\n\u003cp\u003e\n    In 1952 Toscanini was 85 and Cantelli possibly realised that his mentor’s\n    career was nearing its end. Furthermore, once Toscanini had retired it\n    would be inconceivable that the NBC would continue to maintain a symphony\n    orchestra.\n\u003c\/p\u003e\n\u003cp\u003e\n    At this time Cantelli envisaged that a substantial number of his concerts\n    would be in America. He had already given six concerts with the Pittsburgh\n    and three with the San Francisco Symphony Orchestras in 1951. Thus it was a\n    logical step to have a career with the main orchestra in the metropolis,\n    the New York Philharmonic-Symphony Orchestra. It is quite revealing to\n    compare his career in Europe with that in America from 1952.\n\u003c\/p\u003e\n\u003ctable border=\"1\" cellpadding=\"0\" cellspacing=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd valign=\"top\"\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n\u003cstrong\u003e52\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n\u003cstrong\u003e53\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n\u003cstrong\u003e54\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n\u003cstrong\u003e55\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n\u003cstrong\u003e56 \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n\u003cstrong\u003eTotal\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    Appearances with European Orchestras\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    12\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    15\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    17\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    30\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    23\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    97\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    Appearances with American Orchestras\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    21\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    33\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    32\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    46\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    14*\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    146\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    Appearances with the New York Philharmonic-Symphony\n                \u003c\/p\u003e\n\u003cp\u003e\n                    Orchestra\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    11\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    15\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    15\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    44\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    14*\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e\n\u003cp\u003e\n                    99\n                \u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e\n    *Fourteen more concerts had been scheduled for November and December which obviously did not take place due to Cantelli’s tragic death in an air\n    crash.\n\n\u003c\/p\u003e\u003cp\u003e\n    Two factors should be noted. First, the programmes were for “proper”\n    concerts with a paying audience with an interval and second, Cantelli now\n    had the benefit of working with instrumentalists with international\n    reputations. Both concerts on these CDs were in the New York\n    Philharmonic-Symphony Orchestra’s subscription series which meant that the\n    majority of the programme was played three times. Thus, while Gieseking\nplayed Franck’s \u003cem\u003eVariations synphoniques\u003c\/em\u003e on 3\u003csup\u003erd\u003c\/sup\u003e and 4\u003csup\u003eth\u003c\/sup\u003e of March, it was replaced by Ravel’s \u003cem\u003ePavane pour une\u003c\/em\u003e \u003cem\u003einfante d\u003c\/em\u003e\u003cem\u003eéfunte\u003c\/em\u003e for the concert on 6\u003csup\u003eth\u003c\/sup\u003e March.\n    Similarly, while the first two concertos of Vivaldi’s \u003cem\u003eSeasons \u003c\/em\u003ewere\nplayed on 10th and 11\u003csup\u003eth\u003c\/sup\u003e March these were replaced by Vivaldi’s    \u003cem\u003eConcerto Op.3\u003c\/em\u003e \u003cem\u003eNo.11\u003c\/em\u003e for the concert on 13\u003csup\u003eth\u003c\/sup\u003e\n    March. (Incidentally, Cantelli recorded the Vivaldi \u003cem\u003eSeasons \u003c\/em\u003e\n    complete with this orchestra later in the year on 29 March. Cantelli’s\n    action caused considerable hiatus between HMV, RCA and CRI which has been\n    documented elsewhere†\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\n\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Concert on 6 March 1955 given in Carnegie Hall, New York\n    \u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eHaydn (1732-1809): Symphony in D major. Hob1:93\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    This work was something of Cantelli’s calling card; he gave 35 performances\n    with eleven orchestras. One of the interesting features – unlike his elder\n    peers eg Beecham – is that he played all the repeats. He was working from a\n    corrupt edition and did not have just the first desk strings playing in the\n    opening of the second movement: but, nevertheless, his musicianship shines\n    through and this live performance is among the best of the five\n    performances which have been recorded from Cantelli’s recorded concerts..\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\n        Mozart (1756-1791): Piano Concerto in C major, K.467, No.21\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    When Walter Legge suggested to Walter Gieseking that he might wish to\n    record the \u003cstrong\u003e\u003cem\u003eEmperor \u003c\/em\u003e\u003c\/strong\u003ewith Cantelli in a forthcoming\n    stereo version the pianist demurred on the grounds that when one had\n    recorded a work with Karajan to work with anyone else was a retrograde\n    step. One can only speculate that Gieseking was so impressed by his\n    collaboration with Cantelli in 1955 (which was the young conductor’s first\n    performances of this concerto) because he came back the next season. Which\nconcerto did he play? No surprise really: it had to be the …    \u003cstrong\u003e\u003cem\u003eEmperor\u003c\/em\u003e\u003c\/strong\u003e! As far as this Mozart concerto is\n    concerned the critics commented that the veteran pianist and the young\n    conductor were at one accord and certainly this is another highlight in\n    Cantelli’s discography.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eRavel (1875-1937): Pavane pour une infant d\u003c\/strong\u003e\n\u003cstrong\u003eéfunte\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    This composition had a very special significance for Cantelli. He was\n    inordinately fond of his nephew, Sergio, and was devastated when the child\n    died when only 12 in November 1951. His next performance, on 1 December,\n    was dedicated to Sergio’s memory. The next performances took place\n    with the Philharmonia Orchestra on 5 and 8 October 1952. A few days later\n    there was a commercial recording and the highly strung Cantelli was fully\n    aware that it would be a permanent memorial to Sergio, The sessions were\n    fraught with tension with Cantelli experiencing enormous problems with\n    balancing the harp’s contribution: the lady harpist, Renata Scheffel-Stein,\n    was reduced to a nervous wreck. Despite all this, it will take a\n    superlative artist to erode the memory Dennis Brain’s concert performance\n    or his commercial recording with the Philharmonia Orchestra. On this CD we\n    have a conductor who respects Ravel’s economy in this gravely beautiful\n    score – there is something about the six minutes of music which has\n    Mozartian refinement with maximum impact from limited resources. It is only\n    72 bars and the entire work only takes 12 pages of a study score. There are\n    13 changes of tempi but the horn is only asked to play \u003cem\u003eforte \u003c\/em\u003efor\n    very few notes. The orchestra’s principal horn, James Chambers, matches\n    Cantelli’s sensibility. It does not quite erase the memory of Cantelli’s\n    performance with Dennis Brain, but it is a close run thing. This\n    performance of this sombre piece is greeted by a lengthy silence from the\n    audience. In this author’s view that should be considered as the highest\n    praise.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e De Falla (1865-1935): El sombrero de tres picos \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Cantelli only ever conducted the \u003cem\u003eSecond Suite\u003c\/em\u003e\u003cstrong\u003e \u003c\/strong\u003e\nwith the three dances – \u003cem\u003eThe Neighbours’ Dance, The Miller’s Dance\u003c\/em\u003e \u003cstrong\u003e \u003c\/strong\u003eand \u003cem\u003eThe Final Dance\u003c\/em\u003e\u003cstrong\u003e \u003c\/strong\u003efrom de\n    Falla’s ballet music for \u003cstrong\u003eThe Three Cornered Hat. \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Although one cannot be absolutely certain, this could well be the first\n    time that a live performance of this de Falla by Cantelli has been issued\n    on CD. Perhaps some of the scoring does not emerge with maximum clarity –\n    let us face it, there is always a lot going on – but it is an enjoyable\n    performance.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\n\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Concert on 13 March 1955 given in Carnegie Hall, New York\n    \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eVivaldi (1678-1741): Concert Grosso in D minor, Op.3 No.11 RV 565\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    The author was 22 before he heard a note of Vivaldi and this was in one of\n    Cantelli’s early concerts in London’s Royal Festival Hall. My reaction was\n    that this was fantastic music. The abiding memory is that management had a\n    separated print slip inserted in the programme note explaining that the\nVivaldi was in fact four three-movement concertos: it was, of course,    \u003cem\u003eThe Seasons.\u003c\/em\u003e The point is that this music was new and continued to\n    be so for the majority of concert-goers for a considerable time. The reason\n    for this preamble is that our knowledge of performance practice for the\n    music of the 17\u003csup\u003eth\u003c\/sup\u003e and 18\u003csup\u003eth\u003c\/sup\u003e centuries has changed out\n    of all recognition from the 1950s. Cantelli only had seven of Vivaldi’s\n    concertos in his repertoire (that is if one counts \u003cem\u003eThe Seasons \u003c\/em\u003eas\n    four). The performance of this concerto reflects accurately how Vivaldi was\n    played at the time. It sounds as if Cantelli had a substantial body of\n    strings which would not be the case today. But before this performance is\n    dismissed one should bear in mind that if one wanted to hear Vivaldi in the\n    mid-1950s this was how it was presented.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\n        Beethoven (1770-1827): Piano Concerto No.3 in C minor, Op.37\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Cantelli conducted four of Beethoven’s piano concertos and only the second\n    was absent. He collaborated with four pianists for this concerto: the first\n    was with Eduardo del Pueyo and the Orchestra del Maggio Musicale Fiorentino\n    on 26 January 1947; the second was with Friedrich Gulda and the Orchestra\n    del Theatre Comunale di Bologna on 20 February 1948; next was Rudolf\n    Firkušný (playing on this CD) and finally Arthur Rubinstein given with the\nOrchestra della Scala on 25 and 26 October 1956 together with the    \u003cstrong\u003e\u003cem\u003eEmperor\u003c\/em\u003e\u003c\/strong\u003e! Firkušný may not be a name which\n    resonates the same way as Arrau, Backhaus, Gieseking, Gulda, Casadesus or\n    Serkin (all of whom played Beethoven’s concertos with Cantelli) but the\n    fact is that he collaborated more often with Cantelli than any other\n    pianist and these co-operations, in alphabetical order, involved the\n    Beethoven 3\u003csup\u003erd( \u003c\/sup\u003e(3); the Brahms 1\u003csup\u003est \u003c\/sup\u003e(3); the Dvorák\n    (2); the Grieg (6) and the Menotti – the Grieg and the Menotti were\n    Cantelli’s only performances.\n\u003c\/p\u003e\n\u003cp\u003e\n    Cantelli’s contribution is nigh on ideal as far as the tempi and balances\n    are concerned and one should be aware that he had only performed the\n    concerto twice before as mentioned above. What is particularly noticeable\nis the relish that Cantelli sets for the opening    \u003cem\u003eAllegro con brio. \u003c\/em\u003eThe soloist and conductor integrate their\n    conception which was to be expected from their long association. Perhaps it\n    would be fair to say that Firkušný’s finger work is not as always as clear\n    as one would expect in the 21\u003csup\u003est\u003c\/sup\u003e century (is it the recording?)\n    but one would be pernickety to make too much of that. It is a case of\n    excellent being an enemy of the good.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003ePiston (1894-1976): Toccata\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Although Cantelli only performed this eight-minute piece three times he had\n    a complete grasp of both the rumbustious elements and the quieter moments.\n    The composer heard the broadcast recorded on this CD and he wrote to\n    Cantelli the same day in his somewhat unidiomatic Italian (Piston’s\n    grandfather was actually Italian).\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 50px;\"\u003e\n\u003ci\u003eDear Maestro,\n\u003c\/i\u003e\u003c\/p\u003e\u003ci\u003e\n\u003c\/i\u003e\u003cp style=\"margin-left: 50px;\"\u003e\u003ci\u003e\u003cem\u003e\n\u003ci\u003eI have listened to my Toccata\u003cstrong\u003e \u003c\/strong\u003e\u003c\/i\u003e\u003c\/em\u003eon the radio and I\n    want to tell you what great pleasure your\u003cbr\u003eperformance gave me. It was all a composer can hope for and I am very\n    grateful too for\u003cbr\u003eyour sense of rhythm, your enthusiasm and your wonderful performance.\n\u003c\/i\u003e\u003c\/p\u003e\u003ci\u003e\n\u003c\/i\u003e\u003cp style=\"margin-left: 50px;\"\u003e\u003ci\u003e\n    I also want to thank you for including the music of two contemporary\n    American composers\u003cbr\u003eIn your programme.\n\n\u003c\/i\u003e\u003c\/p\u003e\u003cp style=\"margin-left: 50px;\"\u003e\u003ci\u003e\n    I hope that you will accept the kind regards of your devoted\n\u003c\/i\u003e\u003c\/p\u003e\u003ci\u003e\n\u003c\/i\u003e\u003cp style=\"margin-left: 50px;\"\u003e\u003ci\u003e\n    Walter Piston\n\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    Is there anything nothing more to be said.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eCopland (1900-1990): El Salón México\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    When Copland paid his first visit to Mexico in 1932 he visited – to use his\n    own words – a “hot spot” and conceived the notion of writing music which\n    reflected the spirit he experienced in the Salón México. Copland considered\n    – quite rightly – that as a tourist he did not have enough knowledge to\n    write a piece which reflected the more profound side of the country. His\n    composition would consist of melodies which were connected in his mind with\n    his experience in that dance hall. In a note that Copland published in his\n    recording with the New Philharmonia Orchestra in 1972 he mentioned that\n    practically all the themes came from the \u003cem\u003eCancionero Mexicano \u003c\/em\u003eby\n    Francis Toor or the erudite \u003cem\u003eEl Folk-lore y la Música Mexicana \u003c\/em\u003eby\n    Ruben M. Campos\u003cem\u003e. \u003c\/em\u003eCopland wrote “It wasn’t the music I heard, but\n    the spirit is what I hope to have put in my music.”\n\u003c\/p\u003e\n\u003cp\u003e\n    As so often with Cantelli, although he first conducted this piece during\n    the March 1955 subscription concerts, he grasps the contents as though he\n    had known the piece all his life. He later gave two more performances with\n    this orchestra and – more surprisingly – two with the Orchestra del Teatro\n    alla Scala. It is another recording that should be in anyone’s Cantelli\n    discography.\n\u003c\/p\u003e\n\u003cp\u003e\n    Keith Bennett © 2017\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\n\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e† This is in the publication ‘        \u003cem\u003eCantelli – Just eight years of Fame’\u003c\/em\u003e. Contact\n    \u003c\/strong\u003e\n\u003ca href=\"mailto:keith.bennett@zen.co.uk\"\u003e\n\u003cstrong\u003ekeith.bennett@zen.co.uk\u003c\/strong\u003e\n\u003c\/a\u003e\n\u003cstrong\u003e\n        for further information. The recording of Vivaldi’s\u003cem\u003e Seasons\u003c\/em\u003e\n        with the Philharmonic-Symphony Orchestra of New York has been\n        remastered by Mark Obert-Thorn and is available on Pristine Audio \u003c\/strong\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc176\" target=\"_blank\"\u003ePASC        176\u003c\/a\u003e\u003cstrong\u003e.\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":36677574989,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205556748622,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205556781390,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC501_f715f769-6cff-4370-bd4f-430af82ee692.jpg?v=1493362962"},{"product_id":"pasc501-cd","title":"CANTELLI in New York, Vol. 1: Haydn, Mozart, Ravel, Falla, Vivaldi, Beethoven, Piston, Copland (1955) - PASC501 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD only in plastic sleeve (+MP3)","offer_id":55205556715854,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC501_433e8c74-907a-4973-91cc-6cb09ff0e479.jpg?v=1658744412"},{"product_id":"pasc510","title":"CANTELLI in New York, Vol. 2: Beethoven, Schumann, Vivaldi, Strauss, Creston (1956) - PASC510","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 4\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 5\u003cbr\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eSymphony No. 4\u003cbr\u003e\u003cb\u003eVIVALDI \u003c\/b\u003eL'Estro Armonico: Concerto Grosso No. 11\u003cbr\u003e\u003cb\u003eR. STRAUSS \u003c\/b\u003eDon Juan\u003cbr\u003e\u003cb\u003eCRESTON \u003c\/b\u003eDance Overture\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1956\u003cbr\u003eTotal duration: 2hr 23:36\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWilhelm Backhaus\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eWalter Gieseking\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eNew York Philharmonic-Symphony Orchestra\u003c\/b\u003e\u003cbr\u003eConducted by \u003cb\u003eGuido Cantelli\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC510.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThese recordings were sourced from generally very high quality tape \nrecordings. Despite some electrical hum and the occasional buzzing, both\n of which have largely been dealt with, only the very occasional \nincidence of mild, and short-lived dropout in any way troubled the \nreproduction. XR remastering has greatly improved the listening \nexperience, with a fuller, clearer and cleaner sound. I have edited out some of the longer sections of Jim\n Fassett's original CBS radio commentary, most of which was largely irrelevant to the concerts.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1\u003c\/span\u003e \u003cb\u003eConcert 1\u003c\/b\u003e: Introduction\u003cspan style=\"font-size: 12px;\"\u003e (0:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2\u003c\/span\u003e \u003cb\u003eCRESTON \u003c\/b\u003eDance Overture, Op. 62\u003cspan style=\"font-size: 12px;\"\u003e  (12:02)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eSymphony No. 4 in D minor, Op. 120\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3\u003c\/span\u003e 1st mvt. - Ziemlich langsam - Lebhaft\u003cspan style=\"font-size: 12px;\"\u003e (8:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4\u003c\/span\u003e 2nd mvt. - Romanze (Ziemlich langsam)\u003cspan style=\"font-size: 12px;\"\u003e (3:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5\u003c\/span\u003e 3rd mvt. - Scherzo (Lebhaft)\u003cspan style=\"font-size: 12px;\"\u003e (5:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6\u003c\/span\u003e 4th mvt. - Langsam - Lebhaft - Schneller - Presto\u003cspan style=\"font-size: 12px;\"\u003e (8:33)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 4 in G major, Op. 58\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7\u003c\/span\u003e 1st mvt. - Allegro moderato\u003cspan style=\"font-size: 12px;\"\u003e (17:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8\u003c\/span\u003e 2nd mvt. - Andante con moto\u003cspan style=\"font-size: 12px;\"\u003e (4:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9\u003c\/span\u003e 3rd mvt. - Rondo - Vivace\u003cspan style=\"font-size: 12px;\"\u003e (11:06)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWilhelm Backhaus\u003c\/b\u003e  piano\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1\u003c\/span\u003e \u003cb\u003eConcert 2\u003c\/b\u003e: Introduction\u003cspan style=\"font-size: 12px;\"\u003e (1:00)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVIVALDI \u003c\/b\u003eL'Estro Armonico: Concerto Grosso in D minor, Op. 3, No. 11, RV565\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2\u003c\/span\u003e 1st mvt - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (1:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3\u003c\/span\u003e 2nd mvt - Adagio Spiccato e Tutti\u003cspan style=\"font-size: 12px;\"\u003e (0:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4\u003c\/span\u003e 3rd mvt - Allegro \u003cspan style=\"font-size: 12px;\"\u003e(3:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5\u003c\/span\u003e 4th mvt - Largo e Spicato\u003cspan style=\"font-size: 12px;\"\u003e (4:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6\u003c\/span\u003e 5th mvt - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (5:11)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 5 in Eb major, Op. 73 \"Emperor\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7\u003c\/span\u003e 1st mvt. - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (19:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8\u003c\/span\u003e 2nd mvt. - Adagio un poco mosso\u003cspan style=\"font-size: 12px;\"\u003e (6:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9\u003c\/span\u003e 3rd mvt. - Rondo - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (10:49)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWalter Gieseking\u003c\/b\u003e piano\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10\u003c\/span\u003e \u003cb\u003eSTRAUSS \u003c\/b\u003eDon Juan, Op. 20\u003cspan style=\"font-size: 12px;\"\u003e (18:13)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNew York Philharmonic-Symphony Orchestra Guido Cantelli\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Guido Cantelli\u003cbr\u003e\u003cb\u003eConcert No. 1\u003c\/b\u003e\u003cbr\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 18 March, 1956\u003cbr\u003e\u003cb\u003eConcert No. 2\u003c\/b\u003e\u003cbr\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 25 March, 1956\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 23:36\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC510.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC510.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eWhen [Cantelli] returned to New York in March his first concerts included appearances with Wilhelm Backhaus. In all probability he was already feeling the stress of being held to his contract when he arrived in New York and this was exacerbated when he sensed that the members of the orchestra were being somewhat lackadaisical when accompanying Wilhelm Backhaus during the rehearsal of Beethoven’s Piano Concerto No.4.\u003cbr\u003e\u003cbr\u003eJerome Toobin, who had become the manager of the self-governing Symphony of the Air (the successor to the NBC Symphony Orchestra) and who entertained hopes that Cantelli would become its principal conductor if sufficient finance could be raised had been invited to have lunch with the conductor in his small suite in Essex House and told to stay until Cantelli returned from the rehearsal. As recounted in his book he was looking at Cantelli’s score of \u003ci\u003eCosi fan tutte \u003c\/i\u003ewhen the conductor came in looking desperate.\u003cbr\u003e\u003cbr\u003eHe ripped off his topcoat, threw it across the room and shouted \u003ci\u003e‘What ‘oomiliation, such — such — such ‘oomiliation. It is too much. I cannot stand this. I tell you, I can’t stand this.’\u003c\/i\u003e And he sat down and buried his head in his hands. I said something about taking it easy or relaxing or something, but he was past simple ministrations.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e‘These men. They do not like me — good. I am not to like, you know. Nobawdy (Toscanini also said nobawdy and everybawdy) likes me. I am not to like. But to sit before a great artist like Backhaus and scratch at the strings, no vibrato, no feeling just like this.’ And he raised an imaginary violin and imitated the first measures of the fourth Beethoven concerto — right after the piano’s unaccompanied opening — conveying uninterested, bland, dead, dull playing. ‘No, it is too much. And Backhaus knew. He knew. Everyone knew. It was terrible. Terrible. I cannot do this. It is too much’\u003c\/i\u003e And there — right there — Cantelli resolved to call Bruno Zirato.\u003cbr\u003e\u003cbr\u003eAccording to Toobin Cantelli called Zirato, the manager of the orchestra, asking again to be released from his contractual obligations for the concerts in the coming winter and quoting not only his forthcoming work with the Orchestra della Scala but also the fact that his wife was expecting their first child. However, the major reason was his complete lack of rapport with the orchestra’s personnel. The telephone call started calmly, then excitedly and finally angrily in Italian which Toobin had little problem in following even though his Italian was somewhat limited. His request had been rejected for the second time.\u003cbr\u003e\u003cbr\u003eHe put the phone down and looked at me, tears bright in his eyes. ‘He says no. He says I am too sensteeve. He says I am not strong. He says — he says no, and he will not listen to me.’\u003cbr\u003e\u003cbr\u003eWhatever traumas had been experienced by the highly sensitive Cantelli during rehearsal appear to have evaporated by the time the broadcast performance took place and all three works have been preserved. Furthermore, in the April issue of Musical America the critic (RS) had this to say about the performance of the concerto:\u003cbr\u003e\u003cbr\u003e\u003ci\u003eHis conception of Beethoven’s Fourth Piano Concerto was one of simple grandeur, tempered by lyrical eloquence and delicacy. Rhythmically and in every other way it was superbly shaped and executed, and he played the work as if he had composed it himself, with absolute dedication. Cantelli and the orchestra provided a solid and emotionally vital accompaniment.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eFrom  \"\u003cb\u003eGuido Cantelli - Just Eight Years of Fame\u003c\/b\u003e\" by Keith Bennnett, GC Publishers, 2009\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":369113890842,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205552357710,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205552390478,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC510_2e62937f-27de-4cdf-9fd4-c17da7415b1b.jpg?v=1503562919"},{"product_id":"pasc510-cd","title":"CANTELLI in New York, Vol. 2: Beethoven, Schumann, Vivaldi, Strauss, Creston (1956) - PASC510 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205552292174,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC510.jpg?v=1658744887"},{"product_id":"pabx026","title":"FURTWÄNGLER conducts Brahms (1942-52) - PABX026","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 1\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 2\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 3\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 4\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eDouble Concerto\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eViolin Concerto\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003ePiano Concerto No. 2\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eVariations on a Theme by Joseph Haydn\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eHungarian Dances Nos. 1, 2, 10\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eVariations on a Theme by Haydn\u003cbr\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003ePiano Concerto in A minor\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWilli Boskovsky\u003c\/b\u003e, \u003cb\u003eEmanuel Brabec\u003c\/b\u003e, \u003cb\u003eYehudi Menuhin\u003c\/b\u003e, \u003cb\u003eEdwin Fischer\u003c\/b\u003e, \u003cb\u003eWalter Gieseking\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBerlin Philharmonic Orchestra\u003c\/b\u003e, \u003cb\u003eVienna Philharmonic Orchestra\u003c\/b\u003e, \u003cb\u003eLucerne Festival Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded 1942-1952\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003econducted by \u003cb\u003eWilhelm Furtwängler\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC340.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\" style=\"font-size: 16px; text-align: left;\"\u003eClick below to expand note:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eFURTWÄNGLER conducts Brahms Symphony No. 1, Haydn Variations, 3 Hungarian Dances (1949\/52) - PASC340\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cem\u003e\"The performance is incomparable\" - and now, so too is the sound quality\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIf I could nominate whole of this album as a showcase not only for superlative historic performances but also for the astounding sound quality occasionally to be found lurking in the gloomy grooves of older recordings then I would. The tone of the Vienna Philharmonic both in the live 1952 concert recordings and the earlier studio recordings, after Pristine's 32-bit XR remastering, is finer than I could have believed possible when I started the project.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe live recordings do have the edge over the older Hungarian Dances, which retained a degree of 78rpm crackle that was tricky to remove. It's also interesting that most discographies and reissues have followed the error in the original release and titled one of them as Hungarian Dance No. 3 in F - it's not, it's No. 10 in F.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAnalysis of the pitches and residual electrical hum in each of the recordings, from three separate sources, consistently pointed to a tuning used by the VPO at the time of around A4=446.4Hz. I have accurately pitched each recording to this to give the most accurate picture possible of both the sound and pace of these performances.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eFURTWÄNGLER conducts Brahms Symphony No. 2, Double Concerto (1952) - PASC341\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003eTwo major live Brahms recordings from 1952\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003eFurtwängler's Brahms has never sounded as superb as this!\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBoth of these live recordings were made in the year of \n1952 at a time when technical sound quality was undergoing a \nrevolutionary step forward thanks to the advent both of tape and vinyl \nLP technologies almost simultaneously. However the equipment of the day \nwas not without its sonic shortcomings, and both of these recordings \nsuffered a slightly harsh, boxy sound quality in their original states. \nFortunately this can now be largely remedied by Pristine's 32-bit XR \nremastering system, which has made great strides in improving the tonal \nqualities of both the Symphony and Concerto recordings.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIn both cases the orchestras played slightly sharper \nthan the standard A=440Hz, and I've used careful analysis of electrical \ntones captured in both recordings from mains interference as a guide to \nset pitch precisely to that heard at each concert. The end result of \nthis work is to bring us closer than ever before to the sound of these \nconcerts as heard by Furtwängler and his 1952 audiences.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eNote that the lack of applause and movement breaks were as found on my source material.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eFURTWÄNGLER conducts Brahms Symphony No. 3, Violin Concerto (1949\/54) - PASC342\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003eFurtwängler's finest performance of the Brahms Third\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003eCoupled with the legendary 1949 studio Violin Concerto with Yehudi Menuhin\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe main technical challenge here, and one which has \nbeen met only up to a point, was the tonal \"grittiness\" imposed on \ncertain instruments, most especially Menuhin's violin, by EMI's \nprimitive tape machines during the recording of the Violin Concerto. \nIt's a form of very fine flutter which is exceptionally difficult to \nlessen and which has always marred this recording.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis aside, both recordings offer particularly fine \nsound quality following XR remastering - in particular the Symphony \nrecording sounds truly excellent. I've also been able to fix a marked \njump up in pitch at 13:15 in the first movement of the \u003cem\u003eViolin Concerto\u003c\/em\u003e,\n suggesting the joining of two takes from machines running at different \nspeeds, as well as other pitch anomalies present in the earlier \nrecording.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eFURTWÄNGLER conducts Brahms Symphony No. 4, Haydn Variations (1943) - PASC344\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003eFurtwängler's legendary 1943 Brahms Fourth and Haydn Variations\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003eAn astounding sonic revelation from these new XR remasters\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe two recordings presented here both originated at the\n same concerts, which took place at the Alte Philharmonie in Berlin on \n12 and 15 December 1943. They first appeared on Soviet Melodiya LP \npressings in the 1960s, the recordings having disappeared into Russia at\n the end of the war.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe present transfers were made from an EMI LP issue. \nDespite the common source, there are some clear sonic differences \nbetween the two recordings, with the Haydn Variations having survived in\n slightly better condition than the Fourth Symphony. The latter, too, \nwas pitched significantly higher in its EMI release than the Variations -\n a ridiculously unrealisting A4=455Hz compared to a far more believeable\n 442Hz. The latter tallies up with readings of AC electrical hum present\n in both recordings, and it is to this pitch that the present issue has \nbeen matched.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eXR remastering has done much to improve the sound of the\n originals, bringing a wonderful new sense of life to the orchestra and \nrounding out the lower end magnificently. Likewise the top end is \nremarkably extended for a recording of this vintage, though \nunfortunately the recording equipment of the day was prone to slight \noverload distortion at the loudest sections, something I've attempted to\n alleviate as much as is possible.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eElsewhere the sound quality is quite astonishing! I've \nalso done away with a number of coughs and sneezes from a Berlin \naudience that sounded not in the best of health at the time.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eFURTWÄNGLER conducts Brahms Piano Concerto No 2, Schumann Piano Concerto (1942) - PASC347\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003eFurtwängler and Fischer deliver a classic Brahms 2nd Piano Concerto\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003eDelivered here with a fullness and presence that only adds to the experience\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBoth of these wartime recordings originated as radio \nbroadcasts and were among a number which disappeared into the Soviet \nUnion at the end of World War II. They suffer similar defects to the \nmajority of Furtwängler's wartime broadcasts, both in sound balance and \ndistortion during louder passages. My aim has been to minimise the \neffect of these and to try and round out the rather poor, \none-dimensional sound of the originals.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe better sound is to be found in the Brahms, which has\n greater top-end frequency extension, and is without doubt the star \nperformance here - it sounds remarkably well given its origins, with the\n full and rich orchestral sound coming across particularly well. A \nslight fuzziness in the piano's sound detracts little from a stunning \noverall effect.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Schumann concerto, Furtwängler's only surviving \nrecording of the piece, is perhaps less successful both as performance \nand recording, but is at least much cleaned up over previous issues.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\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 class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eFURTWÄNGLER\u003c\/b\u003e conducts \u003cb\u003eBrahms\u003c\/b\u003e (1942-52)\u003c\/p\u003e\u003cdiv class=\"pristine-boxset-track-listing--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eClick below to expand track listing:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eFURTWÄNGLER conducts Brahms Symphony No. 1, Haydn Variations, 3 Hungarian Dances (1949\/52) - PASC340\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 20px;\"\u003e\u003cb\u003eFURTWÄNGLER\u003c\/b\u003e conducts \u003cb\u003eBrahms\u003c\/b\u003e Symphony No. 1, Haydn Variations, 3 Hungarian Dances (1949\/52)\u003c\/p\u003e\n\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Symphony No. 1 in C minor, Op. 68\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Un poco sostenuto — Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(14:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante sostenuto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Un poco allegretto e grazioso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Adagio — Più andante — Allegro non troppo ma con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(17:08)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Variations on a Theme by Joseph Haydn, Op. 56a\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eTheme — Chorale St. Antoni — Andante\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVariation I. Poco più animato (Andante con moto)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVariation II. Più vivace (Vivace)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVariation III. Con moto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVariation IV. Andante con moto (Andante)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVariation V. Vivace (Poco presto)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVariation VI. Vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVariation VII. Grazioso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVariation VIII. Presto non troppo (Poco presto)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eFinale. Andante\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:12)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTracks 1–14:\u003c\/b\u003e\u003cbr\u003eRecorded live, 27 January 1952, in the Großer Musikvereinssaal, Vienna\u003cbr\u003eTransfers from EMI LP 27 0124 1 and EMI LP SG 153-53669 M\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Hungarian Dances Nos. 1, 2, 10\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eHungarian Dance No. 1 in G minor Allegro molto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eHungarian Dance No. 2 in D minor Allegro non assai — Vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eHungarian Dance No. 10 in F major Presto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 29\/30 March \u0026amp; 4 April, 1949, in the Großer Musikvereinssaal, Vienna\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eIssued as HMV DB.6976, Matrix No. 2VH.7168 and HMV DB.6934 Matrix No. 2VH.7167\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTransfers from EMI LP SG 153-53665 M\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eVienna Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilhelm Furtwängler\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, May 2012\u003cbr\u003eCover artwork based on photographs of Brahms and Furtwängler\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 75:06\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eFURTWÄNGLER conducts Brahms Symphony No. 2, Double Concerto (1952) - PASC341\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 20px;\"\u003e\u003cb\u003eFURTWÄNGLER\u003c\/b\u003e conducts \u003cb\u003eBrahms\u003c\/b\u003e Symphony No. 2, Double Concerto (1952)\u003c\/p\u003e\n\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Symphony No. 2 in D major, Op. 73\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(15:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Adagio non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegretto grazioso (quasi andantino)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro con spirito\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:15)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Double Concerto in A minor, Op. 102\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(17:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Vivace non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:13)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBerlin Philharmonic Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTransfer from EMI LP SG 153-53668 M\u003cbr\u003eRecorded live, 7 May 1952, Deutsches Museum, Munich\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWilli Boskovsky\u003c\/b\u003e violin\u003cbr\u003e\u003cb\u003eEmanuel Brabec\u003c\/b\u003e cello\u003cbr\u003e\u003cb\u003eVienna Philharmonic Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTransfer from EMI LP SG 153-53669 M\u003cbr\u003eRecorded live, 27 January 1952, Großer Musikvereinssaal, Vienna\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWilhelm Furtwängler\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, May 2012\u003cbr\u003eCover artwork based on photographs of Brahms and Furtwängler\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 75:57\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eFURTWÄNGLER conducts Brahms Symphony No. 3, Violin Concerto (1949\/54) - PASC342\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 20px;\"\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eFURTWÄNGLER\u003c\/b\u003e conducts \u003cb\u003eBrahms\u003c\/b\u003e Symphony No. 3, Violin Concerto (1949\/54)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Symphony No. 3 in F major, Op. 90\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eI.\u003c\/b\u003e Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eII.\u003c\/b\u003e Andante\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIII.\u003c\/b\u003e Poco allegretto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIV.\u003c\/b\u003e Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBerlin Philharmonic Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eTransfer from DGG LP 2535 163\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded live, 27 April 1954 at Titania-Palast, Berlin by RIAS Berlin\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Violin Concerto in D Major, Op. 77\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eI.\u003c\/b\u003e Allegro non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(21:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eII.\u003c\/b\u003e Adagio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIII.\u003c\/b\u003e Allegro giocoso, ma non troppo vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eYehudi Menuhin\u003c\/b\u003e violin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eLucerne Festival Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eTransfer from EMI LP SG 153-53666 M Recorded 7 October 1949, Lucerne\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued as HMV DB.2100-3 \u0026amp; DBS.210904 Matrix Nos. 2ZA63-71\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eWilhelm Furtwängler\u003c\/b\u003e conductor\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, May 2012\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eCover artwork based on photographs of Brahms and Furtwängler\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 76:24\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eFURTWÄNGLER conducts Brahms Symphony No. 4, Haydn Variations (1943) - PASC344\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 20px;\"\u003e\u003cb\u003eFURTWÄNGLER\u003c\/b\u003e conducts \u003cb\u003eBrahms\u003c\/b\u003e Symphony No. 4, Haydn Variations (1943)\u003c\/p\u003e\n\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Symphony No. 4 in E minor, Op. 98\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro giocoso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro energico e passionato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued as Melodiya D 09867\/8\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Variations on a Theme by Haydn, Op. 56a\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eTheme — Chorale St. Antoni — Andante\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVariation I. Poco più animato (Andante con moto)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVariation II. Più vivace (Vivace)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVariation III. Con moto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVariation IV. Andante con moto (Andante)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVariation V. Vivace (Poco presto)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVariation VI. Vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVariation VII. Grazioso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVariation VIII. Presto non troppo (Poco presto)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eFinale. Andante\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued as Melodiya D 010854\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTransfer from EMI LP SG 153-53662 M\u003cbr\u003eRecorded 12\/15 December 1943\u003cbr\u003eAlte Philharmonie, Berlin\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTransfer from EMI LP SG 153-53662 M\u003cbr\u003eRecorded 12\/15 December 1943\u003cbr\u003eAlte Philharmonie, Berlin\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBerlin Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilhelm Furtwängler\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, June 2012\u003cbr\u003eCover artwork based on photographs of Brahms and Furtwängler\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 60:30\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eFURTWÄNGLER conducts Brahms Piano Concerto No 2, Schumann Piano Concerto (1942) - PASC347\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 20px;\"\u003e\u003cb\u003eFURTWÄNGLER\u003c\/b\u003e conducts \u003cb\u003eBrahms\u003c\/b\u003e Piano Concerto No 2, \u003cb\u003eSchumann\u003c\/b\u003e Piano Concerto (1942)\u003c\/p\u003e\n\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Piano Concerto No. 2 in B flat, Op. 83\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(16:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Allegro appassionato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Andante\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegretto grazioso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:15)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Piano Concerto in A minor, Op. 54\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro affettuoso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(14:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Intermezzo Andantino grazioso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:30)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eEdwin Fischer\u003c\/b\u003e piano\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTransfer from EMI LP SG 153-53661 M\u003cbr\u003eRecorded 8 November 1942, Alte Philharmonie, Berlin\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWalter Gieseking\u003c\/b\u003e piano\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTransfer from DG LP 427 773-1\u003cbr\u003eRecorded 3 March 1942, Alte Philharmonie, Berlin\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBerlin Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilhelm Furtwängler\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, June 2012\u003cbr\u003eCover artwork based on photographs of Brahms and Furtwängler\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 77:26\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":14167993319485,"sku":null,"price":80.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205540659534,"sku":null,"price":55.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205540692302,"sku":null,"price":45.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX026_fa4fefdd-dd49-4200-b977-a33cbc2c5ec8.jpg?v=1769079012"},{"product_id":"pabx026-cd","title":"FURTWÄNGLER conducts Brahms (1942-52) - PABX026 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC340.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs (+MP3)","offer_id":52755421987150,"sku":null,"price":80.0,"currency_code":"EUR","in_stock":true},{"title":"5 CDs only in plastic sleeve (+MP3)","offer_id":55205540430158,"sku":null,"price":63.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX026.jpg?v=1745411651"},{"product_id":"pabx056","title":"CANTELLI in New York - The 1955-1956 Broadcast Collection - PABX056","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Concertos Nos. 3, 4 and 5\u003cbr\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Piano Concerto No. 1; Alto Rhapsody\u003cbr\u003e\u003cb\u003eMOZART\u003c\/b\u003e Piano Concerto No. 21\u003cbr\u003e\u003cb\u003eHAYDN\u003c\/b\u003e Symphony No. 93\u003cbr\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Symphony No. 4\u003cbr\u003e\u003cb\u003eVIVALDI\u003c\/b\u003e \u003ci\u003eL'Estro Armonico\u003c\/i\u003e: Concerto Grosso No. 11 in D minor, RV565 (1955 and 1956 performances)\u003cbr\u003e\u003cb\u003eRAVEL\u003c\/b\u003e \u003ci\u003ePavane pour une infante défunte\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eFALLA\u003c\/b\u003e \u003ci\u003eEl Sombrero des Tres Picos\u003c\/i\u003e, Suite No. 2\u003cbr\u003e\u003cb\u003ePISTON\u003c\/b\u003e Toccata\u003cbr\u003e\u003cb\u003eCOPLAND\u003c\/b\u003e \u003ci\u003eEl Salón México\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e \u003ci\u003eDon Juan\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eCRESTON\u003c\/b\u003e Dance Overture\u003cbr\u003e\u003cb\u003eWAGNER\u003c\/b\u003e \u003ci\u003eParsifal\u003c\/i\u003e – Good Friday Spell\u003cbr\u003e\u003cb\u003eVERDI\u003c\/b\u003e Te Deum\u003cbr\u003e\u003cb\u003eMONTEVERDI\u003c\/b\u003e Magnificat (arr. Ghedini)\u003cbr\u003e\u003cb\u003eHANDEL\u003c\/b\u003e \u003ci\u003eXerxes\u003c\/i\u003e – Largo\u003cbr\u003e\u003cb\u003eHINDEMITH\u003c\/b\u003e Concert Music for Strings and Brass\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eSix live CBS broadcast concerts, Carnegie Hall, New York, 6 March 1955–8 April 1956\u003cbr\u003eTotal duration: 7:06:07, including radio commentary by Jim Fassett\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNew York Philharmonic-Symphony Orchestra\u003c\/b\u003e, conducted by \u003cb\u003eGuido Cantelli\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWalter Gieseking\u003c\/b\u003e, piano (Mozart No. 21; Beethoven No. 5)\u003cbr\u003e\u003cb\u003eRudolf Firkušný\u003c\/b\u003e, piano (Beethoven No. 3; Brahms No. 1)\u003cbr\u003e\u003cb\u003eWilhelm Backhaus\u003c\/b\u003e, piano (Beethoven No. 4)\u003cbr\u003e\u003cb\u003eMartha Lipton\u003c\/b\u003e, alto\u003cbr\u003e\u003cb\u003eWestminster Choir\u003c\/b\u003e, directed by \u003cb\u003eJohn Finlay Williamson\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC523.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCANTELLI in New York, Vol. 1: Haydn, Mozart, Ravel, Falla, Vivaldi, Beethoven, Piston, Copland (1955) - PASC501\u003c\/summary\u003e\u003cp\u003eThese recordings were sourced from generally very high quality tape recordings. Despite some electrical hum and the occasional buzzing, both of which have largely been dealt with, only the very occasional incidence of mild, and short-lived dropout in any way troubled the reproduction. XR remastering has greatly improved the listening experience, with a fuller, clearer and cleaner sound. Whilst much of Jim Fassett's original CBS radio commentary has been retained, I have edited out sections irrelevant to the concerts.      \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCANTELLI in New York, Vol. 2: Beethoven, Schumann, Vivaldi, Strauss, Creston (1956) - PASC510\u003c\/summary\u003e\u003cp\u003eThese recordings were sourced from generally very high quality tape \nrecordings. Despite some electrical hum and the occasional buzzing, both\n of which have largely been dealt with, only the very occasional \nincidence of mild, and short-lived dropout in any way troubled the \nreproduction. XR remastering has greatly improved the listening \nexperience, with a fuller, clearer and cleaner sound. I have edited out some of the longer sections of Jim\n Fassett's original CBS radio commentary, most of which was largely irrelevant to the concerts.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCANTELLI in New York, Vol. 3: Wagner, Verdi, Brahms, Monteverdi, Handel, Hindemith (1956) - PASC523\u003c\/summary\u003e\u003cp style=\"margin-left: 25px;\"\u003eThese two CDs preserve Guido Cantelli's programmes of his last subscription concerts and are valuable for two reasons. First, they contain Cantelli's very last concerts which he gave in America, but second and more importantly three of the compositions - both of the Brahms and the Verdi - were the first time that the conductor had performed these works. Additionally, Cantelli had only conducted the Wagner and Hindemith once: the Wagner was given in Italy during 1945 so it is unlikely that it was recorded but,fortunately, the Hindemith - a new addition to Cantelli's repertoire - was broadcast with the NBC Symphony Orchestra and is available on a Pristine Audio CD, PASC 111. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eKeith Bennnett\u003c\/b\u003e (author of \"\u003ci\u003eGuido Gantelli, Just Eight Years of Fame\u003c\/i\u003e\")\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003eThese two final broadcast concerts conducted by Guido Cantelli were sourced from high quality mono FM radio recordings and offer excellent sound quality throughout. That said, there were some issues with wow and flutter which I was able to deal with using Capstan pitch stabilisation software, and other minor sonic technical issues were easily overcome. Commentaries were quite long between most works, and these have been trimmed down  - at times considerably. I chose, however, to leave the very final closing as broadcast - it was the last time Cantelli would appear on US radio and on a US concert platform. The following month he headed to London for recording sessions with the Philharmonia Orchestra, and for the rest of the year conducted in London, Milan, Johannesburg, Modena and, finally, in Brescia, Italy on 15 November 1956. Nine days later he was to lose his life in a fatal plane crash in Paris, France, having just a week earlier been named Musical Director of La Scala, Milan.\u003c\/p\u003e\n\u003cp\u003eNB. The arrangement of Handel's \u003ci\u003eLargo \u003c\/i\u003efrom \u003ci\u003eXerxes\u003c\/i\u003e is attributed by the commentator to the Italian composer Bernadino Molinari, whereas the New York Philharmonic Orchestra's official archive suggests the more common arrangement by Arthur Luck. An examination of the printed concert programme for the evening is of no help - there is no mention here of the arranger (by contrast the Monteverdi arrangement is properly attributed to Ghedini). An examination of the recording indicates that Cantelli does not, in fact, use the Luck arrangement - Luck begins with strings, Cantelli with wind; Luck proceeds with solo violin and harp, Cantelli with solo violin and other orchestral instruments, and so forth. We have been unable to verify 100% that a Molinari arrangement is used here but have no reason to doubt it, despite this contradicting the \"official\" record.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCANTELLI in New York, Vol. 1: Haydn, Mozart, Ravel, Falla, Vivaldi, Beethoven, Piston, Copland (1955) - PASC501\u003c\/summary\u003e\u003cp\u003e\u003cb\u003eCD ONE\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1 Concert 1 - Introduction  (1:07)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eHAYDN  Symphony No. 93 in D major, Hob. 1:93\u003c\/b\u003e\u003cbr\u003e2 1st mvt. - Adagio - Allegro assai  (8:09)\u003cbr\u003e3 2nd mvt. - Largo cantabile  (5:37)\u003cbr\u003e4 3rd mvt. - Menuetto (Allegretto) - Trio  (4:19)\u003cbr\u003e5 4th mvt. - Finale (Presto ma non troppo)  (5:30)\u003cbr\u003e\u003cbr\u003e6 Introduction to Mozart  (1:28) \u003cbr\u003e\u003cbr\u003e\u003cb\u003eMOZART  Piano Concerto No. 21 in C major, K.467\u003c\/b\u003e\u003cbr\u003e7 1st mvt. - Allegro maestoso  (14:54)\u003cbr\u003e8 Andante  (7:39)\u003cbr\u003e9 Allegro vivace assai  (7:26)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eWalter Gieseking,\u003c\/b\u003e piano\u003cbr\u003e\u003cbr\u003e10 \u003cb\u003eRAVEL Pavane pour une infante défunte\u003c\/b\u003e  (6:32)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eFALLA  El Sombrero des Tres Picos, Suite No. 2\u003c\/b\u003e\u003cbr\u003e11 1. Los vecinos  (3:06)\u003cbr\u003e12 2. Danza del molinero (Farruca)  (2:52)\u003cbr\u003e13 3. Danza final  (6:54)\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 6 March, 1955\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCD TWO\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e1 Concert 2 - Introduction  (1:50)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eVIVALDI  L'Estro Armonico: Concerto Grosso in D minor, Op. 11, No. 3, RV565\u003c\/b\u003e\u003cbr\u003e2 1st mvt. - Allegro   (1:11)\u003cbr\u003e3 2nd mvt. - Adagio e spiccato  (0:41)\u003cbr\u003e4 3rd mvt. - Allegro  (3:35)\u003cbr\u003e5 4th mvt. - Largo e spiccato  (3:45)\u003cbr\u003e6 5th mvt. - Allegro  (4:12)\u003cbr\u003e\u003cbr\u003e7 Introduction to Beethoven  (2:20)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBEETHOVEN  Piano Concerto No. 3 in C minor, Op. 37\u003c\/b\u003e\u003cbr\u003e8 1st mvt. - Allegro con brio  (15:15)\u003cbr\u003e9 2nd mvt. - Largo  (8:48)\u003cbr\u003e10 3rd mvt. - Rondo. Allegro - Presto  (9:02)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eRudolf Firkušný\u003c\/b\u003e, piano\u003cbr\u003e\u003cbr\u003e11 \u003cb\u003ePISTON Toccata\u003c\/b\u003e  (8:15)\u003cbr\u003e\u003cbr\u003e12 Introduction to Copland  (1:12)\u003cbr\u003e\u003cbr\u003e13 \u003cb\u003eCOPLAND El Salón México\u003c\/b\u003e  (11:16)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 13 March, 1955\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eNew York Philharmonic-Symphony Orchestra \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eConducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eGuido Cantelli\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Guido Cantelli\u003cbr\u003eTotal duration:  2hr 26:56   \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCANTELLI in New York, Vol. 2: Beethoven, Schumann, Vivaldi, Strauss, Creston (1956) - PASC510\u003c\/summary\u003e\u003cp\u003e1 \u003cb\u003eConcert 1\u003c\/b\u003e: Introduction   (0:17)\u003cbr\u003e\u003cbr\u003e2\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eCRESTON \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eDance Overture, Op. 62 \u003c\/span\u003e (12:02)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSCHUMANN  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 4 in D minor, Op. 120\u003c\/span\u003e\u003cbr\u003e3 1st mvt. - Ziemlich langsam - Lebhaft  (8:53)\u003cbr\u003e4 2nd mvt. - Romanze (Ziemlich langsam)  (3:38)\u003cbr\u003e5 3rd mvt. - Scherzo (Lebhaft)  (5:04)\u003cbr\u003e6 4th mvt. - Langsam - Lebhaft - Schneller - Presto  (8:33)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBEETHOVEN  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ePiano Concerto No. 4 in G major, Op. 58\u003c\/span\u003e\u003cbr\u003e7 1st mvt. - Allegro moderato  (17:28)\u003cbr\u003e8 2nd mvt. - Andante con moto  (4:45)\u003cbr\u003e9 3rd mvt. - Rondo - Vivace  (11:06)\u003cbr\u003e\u003cb\u003eWilhelm Backhaus \u003c\/b\u003e    piano\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e1 \u003cb\u003eConcert 2\u003c\/b\u003e: Introduction  (1:00)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eVIVALDI  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eL'Estro Armonico: Concerto Grosso in D minor, Op. 11, No. 3, RV565\u003c\/span\u003e\u003cbr\u003e2 1st mvt - Allegro  (1:20)\u003cbr\u003e3 2nd mvt - Adagio Spiccato e Tutti  (0:45)\u003cbr\u003e4 3rd mvt - Allegro  (3:57)5 4th mvt - Largo e Spicato  (4:00)\u003cbr\u003e6 5th mvt - Allegro  (5:11)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBEETHOVEN  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ePiano Concerto No. 5 in Eb major, Op. 73 \"Emperor\"\u003c\/span\u003e\u003cbr\u003e7 1st mvt. - Allegro  (19:38)\u003cbr\u003e8 2nd mvt. - Adagio un poco mosso  (6:58)\u003cbr\u003e9 3rd mvt. - Rondo  - Allegro  (10:49)\u003cbr\u003e\u003cb\u003eWalter Gieseking\u003c\/b\u003e     piano\u003cbr\u003e\u003cbr\u003e10 \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSTRAUSS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eDon Juan, Op. 20\u003c\/span\u003e  (18:13)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNew York Philharmonic-Symphony Orchestra     Guido Cantelli\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003e\u003cbr\u003eCover artwork based on a photograph of Guido Cantelli\u003cbr\u003e\u003cbr\u003e\u003cb\u003eConcert No. 1\u003c\/b\u003e\u003cbr\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 18 March, 1956\u003cbr\u003e\u003cbr\u003e\u003cb\u003eConcert No. 2\u003c\/b\u003e\u003cbr\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 25 March, 1956\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 23:36   \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCANTELLI in New York, Vol. 3: Wagner, Verdi, Brahms, Monteverdi, Handel, Hindemith (1956) - PASC523\u003c\/summary\u003e\u003cp\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1. Radio Introduction, 1 April 1956  (1:01)\u003cbr\u003e2. \u003cb\u003eWAGNER \u003c\/b\u003eParsifal - Good Friday Spell  (11:06)\u003cbr\u003e3. \u003cb\u003eVERDI \u003c\/b\u003eTe Deum  (14:32)\u003cbr\u003e4. \u003cb\u003eBRAHMS \u003c\/b\u003eAlto Rhapsody  (16:11)\u003cbr\u003e\u003cb\u003eMartha Lipton\u003c\/b\u003e, alto\u003cbr\u003e5. \u003cb\u003eMONTEVERDI \u003c\/b\u003e(arr. Ghedini) Magnificat for 6 voices (from \u003cspan class=\"st\"\u003eVespro della Beata Vergine, SV 206)\u003c\/span\u003e (21:22)\u003cbr\u003e6. Radio Ending, 1 April 1956  (1:29)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eWestminster Choir\u003c\/b\u003e\u003cbr\u003eDirector: John \u003cb\u003eFinlay Williamson\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1. Radio Introduction, 8 April 1956  (1:08)\u003cbr\u003e2. \u003cb\u003eHANDEL \u003c\/b\u003e(arr. B. Molinari) Xerxes - Largo  (6:17)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBRAHMS  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ePiano Concerto No. 1 in D minor, Op. 15\u003c\/span\u003e\u003cbr\u003e3. 1st mvt. - Maestoso  (21:15)\u003cbr\u003e4. 2nd mvt. - Adagio  (12:51)\u003cbr\u003e5. 3rd mvt. - Rondo. Allegro non troppo  (11:42)\u003cbr\u003e\u003cb\u003eRudolf Firkušný\u003c\/b\u003e     piano\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e6. \u003cb\u003eHINDEMITH \u003c\/b\u003eConcert Music for Strings and Brass  (15:55)\u003cbr\u003e7. Radio Ending, 8 April 1956  (0:46)\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNew York Philharmonic-Symphony Orchestra\u003cbr\u003e\u003c\/b\u003eConducted by \u003cb\u003eGuido Cantelli\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Guido Cantelli\u003cb\u003e\u003cbr\u003e\u003cbr\u003eConcert No. 1\u003cbr\u003e\u003c\/b\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 1 April, 1956\u003cb\u003e\u003cbr\u003e\u003cbr\u003eConcert No. 2\u003cbr\u003e\u003c\/b\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 8 April, 1956\u003cbr\u003e\u003cbr\u003eTotal duration:  2hr 15:36\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc501\"\u003eCANTELLI in New York, Vol. 1: Haydn, Mozart, Ravel, Falla, Vivaldi, Beethoven, Piston, Copland (1955) - PASC501 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc510\"\u003eCANTELLI in New York, Vol. 2: Beethoven, Schumann, Vivaldi, Strauss, Creston (1956) - PASC510 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc523\"\u003eCANTELLI in New York, Vol. 3: Wagner, Verdi, Brahms, Monteverdi, Handel, Hindemith (1956) - PASC523 — cover art\u003c\/a\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"24-bit FLAC","offer_id":60913332519246,"sku":null,"price":96.0,"currency_code":"EUR","in_stock":true},{"title":"16-bit FLAC","offer_id":60913332552014,"sku":null,"price":66.0,"currency_code":"EUR","in_stock":true},{"title":"MP3","offer_id":60913332584782,"sku":null,"price":54.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX056.jpg?v=1790075401"},{"product_id":"pabx056-cd","title":"CANTELLI in New York - The 1955-1956 Broadcast Collection - PABX056 - CD","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Concertos Nos. 3, 4 and 5\u003cbr\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Piano Concerto No. 1; Alto Rhapsody\u003cbr\u003e\u003cb\u003eMOZART\u003c\/b\u003e Piano Concerto No. 21\u003cbr\u003e\u003cb\u003eHAYDN\u003c\/b\u003e Symphony No. 93\u003cbr\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Symphony No. 4\u003cbr\u003e\u003cb\u003eVIVALDI\u003c\/b\u003e \u003ci\u003eL'Estro Armonico\u003c\/i\u003e: Concerto Grosso No. 11 in D minor, RV565 (1955 and 1956 performances)\u003cbr\u003e\u003cb\u003eRAVEL\u003c\/b\u003e \u003ci\u003ePavane pour une infante défunte\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eFALLA\u003c\/b\u003e \u003ci\u003eEl Sombrero des Tres Picos\u003c\/i\u003e, Suite No. 2\u003cbr\u003e\u003cb\u003ePISTON\u003c\/b\u003e Toccata\u003cbr\u003e\u003cb\u003eCOPLAND\u003c\/b\u003e \u003ci\u003eEl Salón México\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e \u003ci\u003eDon Juan\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eCRESTON\u003c\/b\u003e Dance Overture\u003cbr\u003e\u003cb\u003eWAGNER\u003c\/b\u003e \u003ci\u003eParsifal\u003c\/i\u003e – Good Friday Spell\u003cbr\u003e\u003cb\u003eVERDI\u003c\/b\u003e Te Deum\u003cbr\u003e\u003cb\u003eMONTEVERDI\u003c\/b\u003e Magnificat (arr. Ghedini)\u003cbr\u003e\u003cb\u003eHANDEL\u003c\/b\u003e \u003ci\u003eXerxes\u003c\/i\u003e – Largo\u003cbr\u003e\u003cb\u003eHINDEMITH\u003c\/b\u003e Concert Music for Strings and Brass\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eSix live CBS broadcast concerts, Carnegie Hall, New York, 6 March 1955–8 April 1956\u003cbr\u003eTotal duration: 7:06:07, including radio commentary by Jim Fassett\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNew York Philharmonic-Symphony Orchestra\u003c\/b\u003e, conducted by \u003cb\u003eGuido Cantelli\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWalter Gieseking\u003c\/b\u003e, piano (Mozart No. 21; Beethoven No. 5)\u003cbr\u003e\u003cb\u003eRudolf Firkušný\u003c\/b\u003e, piano (Beethoven No. 3; Brahms No. 1)\u003cbr\u003e\u003cb\u003eWilhelm Backhaus\u003c\/b\u003e, piano (Beethoven No. 4)\u003cbr\u003e\u003cb\u003eMartha Lipton\u003c\/b\u003e, alto\u003cbr\u003e\u003cb\u003eWestminster Choir\u003c\/b\u003e, directed by \u003cb\u003eJohn Finlay Williamson\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC523.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCANTELLI in New York, Vol. 1: Haydn, Mozart, Ravel, Falla, Vivaldi, Beethoven, Piston, Copland (1955) - PASC501\u003c\/summary\u003e\u003cp\u003eThese recordings were sourced from generally very high quality tape recordings. Despite some electrical hum and the occasional buzzing, both of which have largely been dealt with, only the very occasional incidence of mild, and short-lived dropout in any way troubled the reproduction. XR remastering has greatly improved the listening experience, with a fuller, clearer and cleaner sound. Whilst much of Jim Fassett's original CBS radio commentary has been retained, I have edited out sections irrelevant to the concerts.      \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCANTELLI in New York, Vol. 2: Beethoven, Schumann, Vivaldi, Strauss, Creston (1956) - PASC510\u003c\/summary\u003e\u003cp\u003eThese recordings were sourced from generally very high quality tape \nrecordings. Despite some electrical hum and the occasional buzzing, both\n of which have largely been dealt with, only the very occasional \nincidence of mild, and short-lived dropout in any way troubled the \nreproduction. XR remastering has greatly improved the listening \nexperience, with a fuller, clearer and cleaner sound. I have edited out some of the longer sections of Jim\n Fassett's original CBS radio commentary, most of which was largely irrelevant to the concerts.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCANTELLI in New York, Vol. 3: Wagner, Verdi, Brahms, Monteverdi, Handel, Hindemith (1956) - PASC523\u003c\/summary\u003e\u003cp style=\"margin-left: 25px;\"\u003eThese two CDs preserve Guido Cantelli's programmes of his last subscription concerts and are valuable for two reasons. First, they contain Cantelli's very last concerts which he gave in America, but second and more importantly three of the compositions - both of the Brahms and the Verdi - were the first time that the conductor had performed these works. Additionally, Cantelli had only conducted the Wagner and Hindemith once: the Wagner was given in Italy during 1945 so it is unlikely that it was recorded but,fortunately, the Hindemith - a new addition to Cantelli's repertoire - was broadcast with the NBC Symphony Orchestra and is available on a Pristine Audio CD, PASC 111. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eKeith Bennnett\u003c\/b\u003e (author of \"\u003ci\u003eGuido Gantelli, Just Eight Years of Fame\u003c\/i\u003e\")\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003eThese two final broadcast concerts conducted by Guido Cantelli were sourced from high quality mono FM radio recordings and offer excellent sound quality throughout. That said, there were some issues with wow and flutter which I was able to deal with using Capstan pitch stabilisation software, and other minor sonic technical issues were easily overcome. Commentaries were quite long between most works, and these have been trimmed down  - at times considerably. I chose, however, to leave the very final closing as broadcast - it was the last time Cantelli would appear on US radio and on a US concert platform. The following month he headed to London for recording sessions with the Philharmonia Orchestra, and for the rest of the year conducted in London, Milan, Johannesburg, Modena and, finally, in Brescia, Italy on 15 November 1956. Nine days later he was to lose his life in a fatal plane crash in Paris, France, having just a week earlier been named Musical Director of La Scala, Milan.\u003c\/p\u003e\n\u003cp\u003eNB. The arrangement of Handel's \u003ci\u003eLargo \u003c\/i\u003efrom \u003ci\u003eXerxes\u003c\/i\u003e is attributed by the commentator to the Italian composer Bernadino Molinari, whereas the New York Philharmonic Orchestra's official archive suggests the more common arrangement by Arthur Luck. An examination of the printed concert programme for the evening is of no help - there is no mention here of the arranger (by contrast the Monteverdi arrangement is properly attributed to Ghedini). An examination of the recording indicates that Cantelli does not, in fact, use the Luck arrangement - Luck begins with strings, Cantelli with wind; Luck proceeds with solo violin and harp, Cantelli with solo violin and other orchestral instruments, and so forth. We have been unable to verify 100% that a Molinari arrangement is used here but have no reason to doubt it, despite this contradicting the \"official\" record.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCANTELLI in New York, Vol. 1: Haydn, Mozart, Ravel, Falla, Vivaldi, Beethoven, Piston, Copland (1955) - PASC501\u003c\/summary\u003e\u003cp\u003e\u003cb\u003eCD ONE\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1 Concert 1 - Introduction  (1:07)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eHAYDN  Symphony No. 93 in D major, Hob. 1:93\u003c\/b\u003e\u003cbr\u003e2 1st mvt. - Adagio - Allegro assai  (8:09)\u003cbr\u003e3 2nd mvt. - Largo cantabile  (5:37)\u003cbr\u003e4 3rd mvt. - Menuetto (Allegretto) - Trio  (4:19)\u003cbr\u003e5 4th mvt. - Finale (Presto ma non troppo)  (5:30)\u003cbr\u003e\u003cbr\u003e6 Introduction to Mozart  (1:28) \u003cbr\u003e\u003cbr\u003e\u003cb\u003eMOZART  Piano Concerto No. 21 in C major, K.467\u003c\/b\u003e\u003cbr\u003e7 1st mvt. - Allegro maestoso  (14:54)\u003cbr\u003e8 Andante  (7:39)\u003cbr\u003e9 Allegro vivace assai  (7:26)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eWalter Gieseking,\u003c\/b\u003e piano\u003cbr\u003e\u003cbr\u003e10 \u003cb\u003eRAVEL Pavane pour une infante défunte\u003c\/b\u003e  (6:32)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eFALLA  El Sombrero des Tres Picos, Suite No. 2\u003c\/b\u003e\u003cbr\u003e11 1. Los vecinos  (3:06)\u003cbr\u003e12 2. Danza del molinero (Farruca)  (2:52)\u003cbr\u003e13 3. Danza final  (6:54)\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 6 March, 1955\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCD TWO\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e1 Concert 2 - Introduction  (1:50)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eVIVALDI  L'Estro Armonico: Concerto Grosso in D minor, Op. 11, No. 3, RV565\u003c\/b\u003e\u003cbr\u003e2 1st mvt. - Allegro   (1:11)\u003cbr\u003e3 2nd mvt. - Adagio e spiccato  (0:41)\u003cbr\u003e4 3rd mvt. - Allegro  (3:35)\u003cbr\u003e5 4th mvt. - Largo e spiccato  (3:45)\u003cbr\u003e6 5th mvt. - Allegro  (4:12)\u003cbr\u003e\u003cbr\u003e7 Introduction to Beethoven  (2:20)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBEETHOVEN  Piano Concerto No. 3 in C minor, Op. 37\u003c\/b\u003e\u003cbr\u003e8 1st mvt. - Allegro con brio  (15:15)\u003cbr\u003e9 2nd mvt. - Largo  (8:48)\u003cbr\u003e10 3rd mvt. - Rondo. Allegro - Presto  (9:02)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eRudolf Firkušný\u003c\/b\u003e, piano\u003cbr\u003e\u003cbr\u003e11 \u003cb\u003ePISTON Toccata\u003c\/b\u003e  (8:15)\u003cbr\u003e\u003cbr\u003e12 Introduction to Copland  (1:12)\u003cbr\u003e\u003cbr\u003e13 \u003cb\u003eCOPLAND El Salón México\u003c\/b\u003e  (11:16)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 13 March, 1955\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eNew York Philharmonic-Symphony Orchestra \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eConducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eGuido Cantelli\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Guido Cantelli\u003cbr\u003eTotal duration:  2hr 26:56   \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCANTELLI in New York, Vol. 2: Beethoven, Schumann, Vivaldi, Strauss, Creston (1956) - PASC510\u003c\/summary\u003e\u003cp\u003e1 \u003cb\u003eConcert 1\u003c\/b\u003e: Introduction   (0:17)\u003cbr\u003e\u003cbr\u003e2\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eCRESTON \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eDance Overture, Op. 62 \u003c\/span\u003e (12:02)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSCHUMANN  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 4 in D minor, Op. 120\u003c\/span\u003e\u003cbr\u003e3 1st mvt. - Ziemlich langsam - Lebhaft  (8:53)\u003cbr\u003e4 2nd mvt. - Romanze (Ziemlich langsam)  (3:38)\u003cbr\u003e5 3rd mvt. - Scherzo (Lebhaft)  (5:04)\u003cbr\u003e6 4th mvt. - Langsam - Lebhaft - Schneller - Presto  (8:33)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBEETHOVEN  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ePiano Concerto No. 4 in G major, Op. 58\u003c\/span\u003e\u003cbr\u003e7 1st mvt. - Allegro moderato  (17:28)\u003cbr\u003e8 2nd mvt. - Andante con moto  (4:45)\u003cbr\u003e9 3rd mvt. - Rondo - Vivace  (11:06)\u003cbr\u003e\u003cb\u003eWilhelm Backhaus \u003c\/b\u003e    piano\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e1 \u003cb\u003eConcert 2\u003c\/b\u003e: Introduction  (1:00)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eVIVALDI  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eL'Estro Armonico: Concerto Grosso in D minor, Op. 11, No. 3, RV565\u003c\/span\u003e\u003cbr\u003e2 1st mvt - Allegro  (1:20)\u003cbr\u003e3 2nd mvt - Adagio Spiccato e Tutti  (0:45)\u003cbr\u003e4 3rd mvt - Allegro  (3:57)5 4th mvt - Largo e Spicato  (4:00)\u003cbr\u003e6 5th mvt - Allegro  (5:11)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBEETHOVEN  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ePiano Concerto No. 5 in Eb major, Op. 73 \"Emperor\"\u003c\/span\u003e\u003cbr\u003e7 1st mvt. - Allegro  (19:38)\u003cbr\u003e8 2nd mvt. - Adagio un poco mosso  (6:58)\u003cbr\u003e9 3rd mvt. - Rondo  - Allegro  (10:49)\u003cbr\u003e\u003cb\u003eWalter Gieseking\u003c\/b\u003e     piano\u003cbr\u003e\u003cbr\u003e10 \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSTRAUSS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eDon Juan, Op. 20\u003c\/span\u003e  (18:13)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNew York Philharmonic-Symphony Orchestra     Guido Cantelli\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003e\u003cbr\u003eCover artwork based on a photograph of Guido Cantelli\u003cbr\u003e\u003cbr\u003e\u003cb\u003eConcert No. 1\u003c\/b\u003e\u003cbr\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 18 March, 1956\u003cbr\u003e\u003cbr\u003e\u003cb\u003eConcert No. 2\u003c\/b\u003e\u003cbr\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 25 March, 1956\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 23:36   \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCANTELLI in New York, Vol. 3: Wagner, Verdi, Brahms, Monteverdi, Handel, Hindemith (1956) - PASC523\u003c\/summary\u003e\u003cp\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1. Radio Introduction, 1 April 1956  (1:01)\u003cbr\u003e2. \u003cb\u003eWAGNER \u003c\/b\u003eParsifal - Good Friday Spell  (11:06)\u003cbr\u003e3. \u003cb\u003eVERDI \u003c\/b\u003eTe Deum  (14:32)\u003cbr\u003e4. \u003cb\u003eBRAHMS \u003c\/b\u003eAlto Rhapsody  (16:11)\u003cbr\u003e\u003cb\u003eMartha Lipton\u003c\/b\u003e, alto\u003cbr\u003e5. \u003cb\u003eMONTEVERDI \u003c\/b\u003e(arr. Ghedini) Magnificat for 6 voices (from \u003cspan class=\"st\"\u003eVespro della Beata Vergine, SV 206)\u003c\/span\u003e (21:22)\u003cbr\u003e6. Radio Ending, 1 April 1956  (1:29)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eWestminster Choir\u003c\/b\u003e\u003cbr\u003eDirector: John \u003cb\u003eFinlay Williamson\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1. Radio Introduction, 8 April 1956  (1:08)\u003cbr\u003e2. \u003cb\u003eHANDEL \u003c\/b\u003e(arr. B. Molinari) Xerxes - Largo  (6:17)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBRAHMS  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ePiano Concerto No. 1 in D minor, Op. 15\u003c\/span\u003e\u003cbr\u003e3. 1st mvt. - Maestoso  (21:15)\u003cbr\u003e4. 2nd mvt. - Adagio  (12:51)\u003cbr\u003e5. 3rd mvt. - Rondo. Allegro non troppo  (11:42)\u003cbr\u003e\u003cb\u003eRudolf Firkušný\u003c\/b\u003e     piano\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e6. \u003cb\u003eHINDEMITH \u003c\/b\u003eConcert Music for Strings and Brass  (15:55)\u003cbr\u003e7. Radio Ending, 8 April 1956  (0:46)\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNew York Philharmonic-Symphony Orchestra\u003cbr\u003e\u003c\/b\u003eConducted by \u003cb\u003eGuido Cantelli\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Guido Cantelli\u003cb\u003e\u003cbr\u003e\u003cbr\u003eConcert No. 1\u003cbr\u003e\u003c\/b\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 1 April, 1956\u003cb\u003e\u003cbr\u003e\u003cbr\u003eConcert No. 2\u003cbr\u003e\u003c\/b\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 8 April, 1956\u003cbr\u003e\u003cbr\u003eTotal duration:  2hr 15:36\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc501\"\u003eCANTELLI in New York, Vol. 1: Haydn, Mozart, Ravel, Falla, Vivaldi, Beethoven, Piston, Copland (1955) - PASC501 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc510\"\u003eCANTELLI in New York, Vol. 2: Beethoven, Schumann, Vivaldi, Strauss, Creston (1956) - PASC510 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc523\"\u003eCANTELLI in New York, Vol. 3: Wagner, Verdi, Brahms, Monteverdi, Handel, Hindemith (1956) - PASC523 — cover art\u003c\/a\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"6 CDs only in plastic sleeve (+MP3)","offer_id":60913332650318,"sku":null,"price":75.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX056_2954cd01-e237-413c-b072-1d8f970706b8.jpg?v=1790075409"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/collections\/walter-gieseking.jpg?v=1742986713","url":"https:\/\/www.pristineclassical.com\/collections\/artist-walter-gieseking.oembed?page=2","provider":"Pristine Classical","version":"1.0","type":"link"}