{"title":"Albéniz","description":"Isaac Manuel Francisco Albéniz y Pascual (29 May 1860 – 18 May 1909) was a Spanish pianist and composer best known for his piano works based on folk music idioms. Transcriptions of many of his pieces, such as Asturias (Leyenda), Granada, Sevilla, Cadiz, Córdoba, Cataluña, and the Tango in D, are important pieces for classical guitar, though he never composed for the guitar. The personal papers of Albéniz are preserved, among other institutions, in the Biblioteca de Catalunya.","products":[{"product_id":"pasc350","title":"DORATI conducts Tchaikovsky, Albéniz and de Falla (1952\/57) - PASC350","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSymphony No. 5\u003cbr\u003e\u003cb\u003eALBENIZ \u003c\/b\u003eIberia\u003cbr\u003e\u003cb\u003eDE FALLA\u003c\/b\u003e La Vida Breve - Interlude and Dance\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1952 and 1957\u003cbr\u003eTotal duration: 74:40\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMinneapolis Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eAntal Doráti\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe Tchaikovsky Fifth is one of the most distinctive accounts I know578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI heard Antal Doráti conduct Tchaikovsky’s Fifth \nSymphony in concert with the National Symphony at the Kennedy Center in \nthe mid 1970s. In those days the only recording of the piece I owned was\n Otto Klemperer’s stately and spacious one, so Doráti’s quicker and more\n nervous way with the score left me baffled. I did enjoy the other two \nworks on the program, a Berlioz overture and a piece by John Alden \nCarpenter. The present recording from Minneapolis is a great one—but is \nit necessary, considering Doráti’s later London Symphony stereo version \non a Mercury Living Presence CD? Doráti’s LSO recordings were generally \nrehearsed in the studio without a prior performance. His Minneapolis \nLPs, on the other hand, were usually recorded in conjunction with the \norchestra’s concerts. The monaural Tchaikovsky Fifth sounds more \nlived-in by the orchestra, its members nevertheless are on the edge of \ntheir seats throughout. The tempos in Minneapolis are significantly \nfaster, too, except for the Waltz. While the 1952 sound engineering \ndoesn’t compare with the later stereo, Mercury’s single microphone \ntechnique captures a realistic balance, all the more thrilling given \nDoráti’s control over the orchestra. So, even if you have this \nconductor’s stereo Tchaikovsky Fifths from London and Washington, D.C., \nyou will still want to hear this exceptional performance from \nMinneapolis.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe introduction to the first movement is simple and unaffected, with beautiful \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003esostenuto \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eplaying.\n Doráti takes the main section of the movement quickly, with terrific \nrhythmic lift throughout the orchestra. It really rocks. Doráti seems to\n find a parallel here with the opening movement of Schubert’s Ninth \nSymphony: Both feature a slow introduction, and Doráti’s tight rein on \nthe main section’s structure, with wonderfully characterful \ninterjections by the first chairs, highlights the resemblance. The \nstrings blend beautifully, producing thrilling sonorities. The slow \nmovement receives the most exciting rendition I’ve ever heard. It begins\n \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003esotto voce\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e with \nthe strings and first horn. The strings soon present their theme with \nvirile passion; there’s nothing weepy here. Doráti presses forward with \nthe tempo, as is familiar from his great recordings of the Tchaikovsky \nballets. The next movement is not your grandmother’s Tchaikovsky waltz. \nDoráti’s tempo is quick, urgent, and symphonic in nature, with none of \nthe little nudges it would receive from Mengelberg or Stokowski. In the \ncomparatively subdued passions of this movement, the tight orchestral \ndiscipline seems even more striking. Doráti takes the last movement, \nboth in the introduction and the main section, at surprisingly unhurried\n tempos, given what has come before. He appears to see this movement as a\n narrative structure, which he builds without interference. There is an \ninexorable push to the final peroration and coda, which are totally \nunsentimental. Thus ends a Tchaikovsky Fifth of great insight and taste.\n  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe conductor Enrique Fernández Arbós’s orchestration of selections from Isaac Albéniz’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIbéria\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is a wonderful symphonic showpiece that is programmed all too rarely. \nDoráti’s recording was the first I owned, and is still my favorite. As a\n master of orchestral sound, Doráti remains unsurpassed, even by \nAnsermet. In the opening movement, the Minneapolis players set the \natmosphere beautifully, and the cello tone is particularly gorgeous. \nDoráti demonstrates the rhythmic acuity of a great ballet conductor in \nthe next movement, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEl Corpus en Sevilla\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. The trumpets here produce a terrific Latin sound. The big tune in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTriana\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is wonderfully plush and swinging, worthy of Carmen Dragon. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEl Puerto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e has a sultry, Moorish quality, while the concluding \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEl Albiacin\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e reveals a mysterious world of shadowy delights. Doráti’s rendition of the Interlude and Dance from Manuel de Falla’s opera \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa vida breve\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is the most intense I know. The first violins perform like one great \nviolinist. Perhaps Rafael Druian, the concertmaster, is responsible for \nthe bowings.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Spanish works were released on a Mercury \nLiving Presence CD I haven’t heard, but I can’t imagine anyone being \ndissatisfied with Andrew Rose’s remasterings. On my Mercury Wing LP, the\n Albéniz has great presence but a rather boxy quality. Rose has greatly \nopened up the sound around the orchestra, even if the early stereo \nsometimes lacks definition. If you must have digital sound, Enrique \nBátiz is excellent in the Albéniz and Jesús López-Cobos’s complete \nversion of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa vida breve\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is worth having as well. I like Leonard Bernstein on DG in the \nTchaikovsky. While Andrew Rose is turning his attention to early Mercury\n recordings with Doráti, I hope he won’t neglect this conductor’s mono \nFrench album, which contains my favorite \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePavane for a Dead Princess\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n As for the Tchaikovsky Fifth, it is one of the most distinctive \naccounts I know. In Doráti’s hands, there’s not a tired moment in the \npiece, and more than a few which are really startling. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eDave Saemann   \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 36:3 (Jan\/Feb 2013) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC350.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThese recordings, made just five years apart, demonstrate in their original forms the advances in recording technology that took place between 1952 and 1957. The Tchaikovsky, in mono and with limited frequency extension, sounded as if from another era. But it's the same orchestra and conductor, and I've attempted to convey this in the remastering of all three works, with significant benefits to the earlier LP's sound, which is now considerably improved and realistic, though some very high frequency \"fuzz\" is occasionally audible.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe two stereo recordings were much more successful, and here I've been able to make the very most of the full extension both at the top end and in the very deep bass, to convey the wonderfully evocative and dramatically Spanish intent of the conductor.\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\u003eDORATI\u003c\/b\u003e conducts \u003cb\u003eTchaikovsky\u003c\/b\u003e, \u003cb\u003eAlbéniz\u003c\/b\u003e and \u003cb\u003ede Falla\u003c\/b\u003e (1952\/57)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Symphony No. 5 in E minor, Op. 64\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Andante — Allegro con amina\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante cantabile, con alcuna licenza\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Valse Allegro moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Andante maestoso — Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 27-29 April 1952\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eIssued as Mercury MG 50008\u003cbr\u003ePresented in Ambient Stereo\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eALBENIZ \u003c\/b\u003e(orch. Arbós) Iberia\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e1. Evocación\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e2. El Corpus en Sevilla\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e3. Triana\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e4. El Puerto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e5. El Albiacin\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDE FALLA \u003c\/b\u003eLa Vida Breve - Interlude and Dance\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDE FALLA La Vida Breve — Interlude and Dance\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:42)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTracks 5–10:\u003c\/b\u003e\u003cbr\u003eRecorded 21 April 1957\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eIssued as Mercury SR 90007\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 14px;\"\u003eStereo recordings\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMinneapolis Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAntal Doráti\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, June 2012\u003cbr\u003eTransfers by Edward Johnson\u003cbr\u003eCover artwork based on a photograph of Antal Doráti\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 74:40\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\/PASC350.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC350.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eReview\u003c\/strong\u003e (Tchaikovsky)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003eDorati\n grasps the fiery work with both hands, throwing none of it away. Right \nfrom the crisp \"till ready \" of the allegro of the first movement it is \nclear that this is going to be an alert performance and the alertness \ndoes in fact continue until the very end. Sometimes, arguably, a bit too\n much so: in the slow movement, after the pizzicato chords, when the \nviolins take over the horn's original tune—is this not pushing on a bit \ntoo vigorously ?\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003eThe orchestra responds to Dorati with some very \nalive playing. The violas in particular are unusually strong—this was \nnoticeable, too, in the same orchestra's recording of the Mozart \u003cem\u003eG minor Symphony\u003c\/em\u003e,\n reviewed here this month ; could it be anything to do with the \nmicrophone placing ? \"A single Telefunken microphone hung about 15 feet \ndirectly over the conductor's podium\" is the recipe; it does seem \nstrategically placed for the violas. (Not, in passing, for the bassoons—\n their last notes to the first movement of the Tchaikovsky are quite \nlost.)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003eThe recording is vivid, matching the performance \nideally. With the opening of the slow movement re-made, I would have \nlittle difficulty in believing this to be the best available version...\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eM.M., The Gramophone\u003c\/strong\u003e, June 1954, \u003cem\u003eexcerpt\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eReview\u003c\/strong\u003e (Albéniz, de Falla)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003eI started here with the \u003cem\u003eVida Breve\u003c\/em\u003e extracts —the atmospheric Interlude and the gay \u003cem\u003eFirst Dance\u003c\/em\u003e.\n Excellent playing, and very life-like recording in both mono and stereo\n versions. A slight lift of the eyebrows at what struck me as an \nexaggerated broadening of the tempo at the heavy string theme in the \u003cem\u003eDance\u003c\/em\u003e, but on the whole very good indeed.\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eAnd then, having dug out the Argenta version for \ncomparison, I settled down to the Arbós orchestrations of five of the \nIberia suite—\u003cem\u003eEvocación, El Corpus en Sevilla, Triana, El Puerto\u003c\/em\u003e and \u003cem\u003eEl Albaicin\u003c\/em\u003e.\n Critics seem to spend most of their time sighing \"If only...\" In this \ncase, faced with first-rate playing by the Minneapolis Orchestra and \nfine recording by Mercury, one's constant thoughts are \"If only Antal \nDorati weren't in such an almighty hurry all the time...\" and \"If only \nArgenta could have had the advantage of this orchestra and the best \nmodern recording...\"\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"body\"\u003e\u003cstrong\u003eL.S., The Gramophone\u003c\/strong\u003e, April 1960, \u003cem\u003eexcerpt\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":34144801869,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34144801933,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34144801997,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC350.jpg?v=1489595693"},{"product_id":"pasc350-cd","title":"DORATI conducts Tchaikovsky, Albéniz and de Falla (1952\/57) - PASC350 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478151949,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC350_76d5ce8a-32d1-43e8-80df-1448b301c1e6.jpg?v=1658308500"},{"product_id":"pasc262","title":"ORMANDY Albéniz: Iberia (1956) - PASC262","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eALBENIZ \u003c\/b\u003eIberia (Orch. Arbós \u0026amp; Surinach)\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded 1956\u003cbr\u003eTotal duration: 70:47\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eEugene Ormandy\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fI am delighted to have the comparable Ormandy\/Philadelphia Orchestra virtuosity available578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI went through the history of this orchestral \nshowpiece a while back but, rather than direct you to a previous issue, \nI’ll do a brief rehash. Isaac Albéniz’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIberia \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\n a collection of a dozen piano pieces intended as evocations of various \nareas of (mostly southern) Spain. It is technically quite difficult to \nplay but well worth the effort if you can manage it—Messiaen, who loved \nit, suggested that it might be the greatest collection of piano music \never written. It isn’t necessary to agree with him in order to \nappreciate Albéniz’s imagination and flair for the instrument. Realizing\n that the keyboard could barely encompass such a flood of notes, he \naccepted the suggestion that he should orchestrate it, but ill health \nand his eventual death at the age of 49 put an end to whatever efforts \nhe may have made. He asked a friend, the conductor Enrique Fernández \nArbós, to take on the task of putting \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIberia\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n in orchestral form. It does not appear that he had accomplished much \neven 15 years after the composer’s death. During the late 1920s, Ida \nRubinstein asked Ravel for a Spanish piece that she could use as a \nvehicle for her dancing. Thinking of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIberia\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n Ravel wrote to Albéniz’s publisher and inquired about orchestrating \nsome of the pieces. I have a suspicion that the mere fact that Ravel had\n expressed his interest spurred Arbós into action and, a year or so \nlater, he issued not the entire \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIberia\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n but a suite of five of the pieces, all but one from the first half of \nthe complete work. Aside from its incompleteness, what Arbós did manage \nto do turned out to be a spectacular orchestral showpiece; as for Ravel,\n he wrote the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBoléro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n for Rubinstein instead. Apparently frustrated by Arbós’s failure to \norchestrate the entire work, descendants of Albéniz eventually asked the\n conductor\/composer Carlos Surinach to finish he job, which he did, \nsometime in the mid 1950s. His orchestrations, if a bit spicier than \nthose of Arbós, nevertheless fit quite comfortably with them. Surinach \nthen recorded the seven pieces he had orchestrated for Montilla Records.\n The whole thing was then recorded by Eugene Ormandy and the \nPhiladelphia Orchestra about six months before Columbia started \nrecording stereophonically. This is truly unfortunate, for, given the \nsplashy colors and vivid detail of the mono recording, one imagines how \nimpressive the two-channel one might have been. It was reissued several \nyears ago by Haydn House. I assume that the producer of this new \nPristine reissue, Mark Obert-Thorn, has milked about all the decibels \nthat can be gotten from the mono LPs. I was so fond of the two-disc LP \nset that I had two copies, just in case of damage, but, good as they \nwere, they weren’t \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethis\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e impressive.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMESi\"\u003eIberia\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e with Surinach’s\n completion was subsequently recorded in stereo by Jean Morel and the \nParis Conservatory Orchestra (RCA) with a change in the order of a few \nmovements. One appreciates the two channels but the performance, good as\n it is, lacks the power and energy of Ormandy’s and, in any case, has \nnever been on CD and I wonder if it ever will be. Still available as of \nthis writing is the 1997 Telarc set by Jesús López-Cobos and the \nCincinnati Symphony Orchestra, not as dynamic and brilliant as Ormandy’s\n but usually a bit slower, relatively refined, and detailed—the sound \nreally packs a wallop. For what it is, it’s quite good, indeed, but it’s\n on two CDs. Others have tried their luck orchestrating the music: Naxos\n has an orchestration by one Peter Breiner, which is good enough to at \nleast compete with Arbós-Surinach. Sometimes his solutions are similar \nto theirs but there’s no reason to concede all the good effects to them,\n and there are even a few cases (\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAlmaría\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eJerez\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e)\n where I prefer him to Surinach. On a few occasions, he adds the guitar,\n which I consider cheating, but it’s still a worthy effort and the \nconductor, Igor Golovschin, and the Moscow Symphony Orchestra perform \nthe music fast enough to fit it on one CD. My original review is in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n 24:5. The Spanish composer Francisco Guerrero embarked on a complete \norchestration but apparently died before he could finish it. What he did\n do were six of the pieces. José Ramón Encinar leads the Galicia \nSymphony Orchestra on Glossa GSP 98006. There are, of course, quite a \nfew recordings of the Arbós suite, sometimes including \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNavarra,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e an \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIberia\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e-like piece also orchestrated by Arbós. My favorite recording of this is Ernest Ansermet’s. Fritz Reiner recorded \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNavarra\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e plus \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEl corpus en Sevilla\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTriana\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n with the Chicago Symphony Orchestra in performances that frustrate with\n their brilliance, suggesting what they might have done with the rest of\n the music. In any event, I am delighted to have the comparable \nOrmandy\/Philadelphia Orchestra virtuosity available even as I curse \nColumbia under my breath for dilly-dallying about stereo.\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:6 (July\/Aug 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC262.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAlbéniz composed Iberia for solo piano between 1906 and 1909. At the urging of his friend, conductor and violinist Enrique Fernandez Arbós, the composer began to orchestrate the work, but died before making much progress. Ultimately, Arbós orchestrated five of the pieces, which he published in 1927. Composer\/conductor Carlos Surinach published his orchestration of the remaining items in 1954.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAmerican Columbia was slow to adopt stereo, and started to record in two channels only toward the end of 1956. As a result, the present set was only set down in monaural sound. It has never received an official CD reissue from Sony (nor, indeed, an LP reissue after the original album went out of print), and it remains the only recording Ormandy made of this colorful, virtuosic score.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003eMark Obert-Thorn, reissue producer\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\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eORMANDY\u003c\/b\u003e \u003cb\u003eAlbéniz\u003c\/b\u003e: Iberia (1956)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eALBENIZ\u003c\/b\u003e: Iberia (Orchestrated by Arbós and Surinach)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e1. Evocación\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e2. El Puerto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e3. El Corpus en Sevilla (Fête-Dieu à Seville)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e4. Rondeña\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e5. Almeria\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e6. Triana\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e7. El Albaicin\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e8. El Polo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e9. Lavapiés\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e10. Málaga\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e11. Jérez\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e12. Eritaña\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10th January (Tracks 1, 4, 5 and 7), 19th February (Tracks 9 – 12) and 8th April 1956 (Tracks 2, 3, 6 and 8)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded in the Academy of Music, Philadelphia\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on American Columbia ML-5017 and 5018 in album M2L 237\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eEugene Ormandy\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eCover artwork based on a photograph of Eugene Ormandy\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eAdditional Ambient Stereo processing by Andrew Rose\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 70:47\u003c\/b\u003e\u003c\/span\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\/PASC262.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC262.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":34511015437,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34511015501,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34511015565,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC262.jpg?v=1490107682"},{"product_id":"pasc262-cd","title":"ORMANDY Albéniz: Iberia (1956) - PASC262 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478231629,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC262_116ae0df-fd34-48b3-89d4-29d59c8bbcc7.jpg?v=1658245695"},{"product_id":"pasc135","title":"MEWTON-WOOD First and Last Recordings: Albéniz, Beethoven, Shostakovich (1941\/53) - PASC135","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eALBÉNIZ \u003c\/b\u003eEspaña\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eViolin Sonata No. 8\u003cbr\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eConcerto for Piano, Trumpet and Strings\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1941 and 1953\u003cbr\u003eTotal duration: 39:29\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNoel Mewton-Wood\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eIda Haendel\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eConcert Hall Society Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e Walter Goehr\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC135.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003eFrom his beginnings in 1941 to his final 1953 studio recording\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eNoel Mewton-Wood's recording career began when he was just eighteen years old, initially as accompanist to the  child prodigy violinist, Ida Haendel, then aged just twelve. You might expect these recordings to exhibit some indication of nervousness or immaturity but no, they're assured, finely-nuanced performances, and all from first takes.\n\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eMewton-Wood went on later that year to commence a number of solo recordings, also for Decca - clearly he'd impressed them sufficiently in the studio with Haendel. A note about the dates here - we initially checked with the British Library, whose database gives a 1940 recording date for the Albéniz, and it was this which determined the running order for this release. However, further research indicates that the recording date was actually a little later, as shown above. It should be noted that we also found another source suggesting 1942 for the same recording, though this seems unlikely.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eMewton-Wood's final recording is a scorcher - by this stage the now 30-year-old pianist had made a number of major recordings with Goehr and an assortment of European orchestras operating under a variety of names, but in many cases assembled for recordings such as these from various radio orchestras and the like. Harry Sevenstern, the trumpet soloist on this recording, was a regular in recordings credited to the 'Netherlands Philharmonic Orchestra', a recording outfit made up of players from several Dutch radio orchestras. Regular recording venues for this orchestra were primarily the Hersteld Apostolische Kerk, a church building at the Johannes Geradtsweg in Hilversum, or if this was not available, the recording sessions took place in the Tesselschadekerk.\n\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\u003eMEWTON-WOOD\u003c\/b\u003e First and Last Recordings: \u003cb\u003eAlbéniz\u003c\/b\u003e, \u003cb\u003eBeethoven\u003c\/b\u003e, \u003cb\u003eShostakovich\u003c\/b\u003e (1941\/53)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eALBENIZ\u003c\/b\u003e: España, Op. 165, No. 3: Malagueña (arr. Kreisler)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eALBENIZ – España, Op. 165, No. 3 — Malagueña (arr. Kreisler)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e[Ida Haendel (violin), Noel Mewton-Wood (piano)]\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003ci\u003eRecorded 2nd April 1941, Decca Studios, London. Decca 78: K.1073\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e: Violin Sonata No. 8 in G, Op.30, No.3\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro assai\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBEETHOVEN – Tempo di minuetto, ma molto moderato e grazioso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003ci\u003eRecorded 18th February 1941, Decca Studios, London. Decca 78s: K.959-960\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003ci\u003eIda Haendel, violin\u003c\/i\u003e\u003c\/b\u003e\u003ci\u003e.\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eIda Haendel (violin), Noel Mewton-Wood (piano)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSHOSTAKOVICH\u003c\/b\u003e: Concerto for Piano, Trumpet and Strings in C minor, Op.35\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Lento\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003ci\u003eRecorded 1953. Concert Hall Society LP: H.4\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003ci\u003eHarry Sevenstern\u003c\/i\u003e\u003c\/b\u003e\u003ci\u003e, trumpet, \u003c\/i\u003e\u003cb\u003e\u003ci\u003eConcert Hall Society Symphony Orchestra, cond. Walter Goehr.\u003c\/i\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNoel Mewton-Wood\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003ci\u003eIda Haendel, violin\u003c\/i\u003e\u003c\/b\u003e\u003ci\u003e.\u003c\/i\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNoel Mewton-Wood\u003c\/b\u003e, piano\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRestoration and XR remastering by Andrew Rose at Pristine Audio, December 2008\u003cbr\u003eCover artwork based on a photograph of Noel Mewton-Wood\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 39:29\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\/PASC135.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC135.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":37907405197,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37907405389,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37907405581,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37907405773,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC135_18716465-d024-4e26-a5c6-a6479a89b301.jpg?v=1495200509"},{"product_id":"pasc135-cd","title":"MEWTON-WOOD First and Last Recordings: Albéniz, Beethoven, Shostakovich (1941\/53) - PASC135 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478286477,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC135_1eab9d9d-55ef-446b-8908-051b76c5ecd2.jpg?v=1658241903"},{"product_id":"pasc731","title":"RODZINSKI NBC 1938, Volume 1 (1938) - PASC731","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eALBÉNIZ \u003c\/b\u003eIbéria: El Corpus En Sevilla\u003cbr\u003e\u003cb\u003eBARBER \u003c\/b\u003eSymphony In One Movement\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eCoriolan Overture\u003cbr\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003ePrélude à l’après midi d’un faune\u003cbr\u003e\u003cb\u003eDOHNÁNYI \u003c\/b\u003eSuite for Orchestra\u003cbr\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003eSymphony no. 1\u003cbr\u003e\u003cb\u003eRESPIGHI \u003c\/b\u003eAncient Airs and Dances\u003cbr\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eSymphony no. 5\u003cbr\u003e\u003cb\u003eWAGNER \u003c\/b\u003eDie Meistersinger - excerpts\u003cbr\u003e\u003cb\u003eWEBER \u003c\/b\u003eOberon - Overture\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive broadcast recordings, 1938\u003cbr\u003eTotal duration: 2hr 35:57\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003eNBC Symphony Orchestra\u003cbr\u003econducted by \u003cb\u003eARTUR RODZIŃSKI\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC731.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Artur Rodziński was engaged by NBC to recruit, rehearse and generally\n    prepare the NBC Symphony Orchestra for the eventual arrival of Toscanini as\n    its primary conductor in the autumn of 1937. Although he had conducted a\n    ‘pilot’ broadcast on 2 November 1937, the first official broadcasts were\n    taken by Pierre Monteux, beginning 13 November 1937. Thereafter Rodziński\n    conducted a further three broadcasts immediately prior to Toscanini’s debut\n    on Christmas Day, 1937.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    After Toscanini’s NBC first concert season was completed, on 5 March 1938,\n    the orchestral concerts continued to be broadcast with a series of guest\n    conductors, including Monteux, Boult, Mitropoulos, Molinari, Howard Hanson\n    and, for three further engagements, Rodziński. In total, Rodziński conducted\n    the orchestra for seven concerts in 1938 – four more were scheduled in\n    December of that year during the orchestra’s second season, culminating in\n    his final performance of the year on New Year’s Eve.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    This release brings you the first two Rodziński NBC concerts of 1938,\n    broadcast live on 2 and 9 April 1938 from NBC’s Studio 8H, each scheduled to\n    run for 90 minutes, and each offering a pretty packed programme – so much so\n    that you may just make out the words of Milton Cross at the beginning of the\n    final item on disc two, excerpts from Wagner’s Die Meistersinger, which were\n    still being announced when the orchestra began playing, no doubt starting to\n    a carefully worked-out timing schedule.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Rodziński’s second broadcast of the year brought with it a real coup – for\n    the conductor, the orchestra, the NBC and indeed the nation: Shostakovich’s\n    Fifth Symphony. Premièred in Leningrad in November 1937 and played elsewhere\n    within the Soviet Union, and after the debacle of the composer’s Fourth\n    Symphony, withdrawn at the last minute under intense political pressure,\n    there was no shortage of orchestras and conductors wishing to take up and\n    première the new work outside of the country.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    As Halina Rodziński, the conductor’s wife, would later recall in her\n    memoirs: “Artur, thanks to his good connections with the composer, was\n    awarded the prize. NBC's John Royal, through the American ambassador in\n    Moscow, made the arrangements - at a huge price. The Soviet government\n    demanded the then unheard of sum of $5,000 for the premiere. Since\n    introducing the piece would be as much of a coup for the radio network as\n    for Artur, NBC's management did not object to the cost.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    After all the expense and effort in acquiring the score and parts, Artur was\n    a bit concerned the piece might not be all that was expected of it. His\n    reactions when he first examined it were far from favorable. There was a\n    coarseness to the sound of the scoring. The piece seemed overlong. Indeed,\n    Artur was not altogether sure he cared for it. In discussion with NBC, it\n    was decided to perform the work just as it had been delivered - without\n    cuts, without reservations. If the critics did not care for it, no one could\n    blame Rodziński.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Gradually, in rehearsals, the work began to take Artur's imagination, and\n    soon enough he even was in love with it. The piece entered his repertoire\n    and became one of his specialties.”\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Mrs. Rodziński’s memory here fails her somewhat. The version heard on 9\n    April, 1938, as revealed in this recording, was far from the complete work,\n    with substantial cuts that  reduced the symphony from about fifty minutes in\n    duration to a little over thirty. Nevertheless, the new work made a\n    favourable impression, and would go on to become one of Shostakovich’s most\n    played symphonies.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Whilst the present Shostakovich performance has been referred to in various\n    texts and discussions over the years, we believe this is the first time any\n    of these recordings have been made publicly available (it is interesting to\n    note that the recordings reveal several errors in Mortimer H. Frank’s\n    reference work charting the Toscanini’s career with the NBC orchestra,\n    suggesting he had not had access to them). Because of the length of the\n    broadcasts, once again I have been forced to cut announcements and other\n    speech content in order to fit each one onto a single Compact Disc. Sound\n    quality of these exceptionally rare discs, although generally good for their\n    age, is not uniformly perfect; at times the listener will have to make some\n    accommodations for slightly damaged sections, though I’m relieved to report\n    that the concerts themselves survive intact.\n\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eRODZINSKI \u003c\/b\u003eNBC 1938, Volume 1\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003edisc one\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (77:09)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e \u003cb\u003eBEETHOVEN \u003c\/b\u003eCoriolan Overture, Op. 62\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e (7:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e \u003cb\u003eBARBER \u003c\/b\u003eSymphony in One Movement, Op. 9\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e (20:13)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003eSymphony No. 1 in D major, Op. 25 , \"Classical\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 1st mvt. - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (3:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 2nd mvt. - Larghetto\u003cspan style=\"font-size: 12px;\"\u003e (3:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 3rd mvt. - Gavotta\u003cspan style=\"font-size: 12px;\"\u003e (1:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 4th mvt. - Molto vivace\u003cspan style=\"font-size: 12px;\"\u003e (2:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cb\u003eDEBUSSY \u003c\/b\u003ePrélude à l'après-midi d'un faune\u003cspan style=\"font-size: 12px;\"\u003e (10:40)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDOHNÁNYI \u003c\/b\u003eSuite for Orchestra, Op. 19\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 1. Andante con variazioni\u003cspan style=\"font-size: 12px;\"\u003e (10:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e 2. Scherzo\u003cspan style=\"font-size: 12px;\"\u003e (4:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e 3. Romance\u003cspan style=\"font-size: 12px;\"\u003e (4:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e 4. Rondo\u003cspan style=\"font-size: 12px;\"\u003e (8:08)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003edisc two\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (78:48)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e \u003cb\u003eWEBER \u003c\/b\u003eOberon - Overture\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:52)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eSymphony No. 5 in D minor, Op. 47\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eFirst performance outside the Soviet Union\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 1st mvt. - Moderato\u003cspan style=\"font-size: 12px;\"\u003e (10:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 2nd mvt. - Allegretto\u003cspan style=\"font-size: 12px;\"\u003e (5:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 3rd mvt. - Largo\u003cspan style=\"font-size: 12px;\"\u003e (9:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 4th mvt. - Allegro non troppo\u003cspan style=\"font-size: 12px;\"\u003e (6:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eRESPIGHI \u003c\/b\u003eAncient Airs and Dances, Suite No. 1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 1. Balletto detto 'Il Conte Orlando' (Molinaro)\u003cspan style=\"font-size: 12px;\"\u003e (2:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 2. Gagliarga (Galilei)\u003cspan style=\"font-size: 12px;\"\u003e (3:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 3. Villanella (Ignoto)\u003cspan style=\"font-size: 12px;\"\u003e (5:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e 4. Passo mezzo e Mascherada (Ignoto)\u003cspan style=\"font-size: 12px;\"\u003e (3:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cb\u003eALBÉNIZ \u003c\/b\u003eIbéria - 3. El Corpus en Sevilla\u003cspan style=\"font-size: 12px;\"\u003e (8:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cb\u003eWAGNER \u003c\/b\u003eDie Meistersinger von Nürnberg: Prelude to Act III - Dance of the Apprentices - Finale\u003cspan style=\"font-size: 12px;\"\u003e (12:07)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eArtur Rodziński\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by: Andrew Rose\u003cbr\u003eLive broadcast recordings, 2 \u0026amp; 9 April 1938\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003eStudio 8H, NBC Radio City, New York\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eCover artwork based on a photograph of Artur Rodziński\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 35:56\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_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC731.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC731.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":50595780493646,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205507858766,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205507891534,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC731_75ac08e7-bfb8-46d2-871a-91bddb4c741b.jpg?v=1734062406"},{"product_id":"pasc731-cd","title":"RODZINSKI NBC 1938, Volume 1 (1938) - PASC731 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC731.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs (+MP3)","offer_id":50595699622222,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":true},{"title":"2 CDs only in plastic sleeves (+MP3)","offer_id":55205507825998,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC731.jpg?v=1733764505"},{"product_id":"pasc757","title":"JORDÁ conducts Spanish Music (1950\/1959) - PASC757","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eFALLA \u003c\/b\u003eEl sombrero de tres picos\u003cbr\u003e\u003cb\u003eALBÉNIZ \u003c\/b\u003e(\u003ci\u003eOrch. Arbós\u003c\/i\u003e) Ibéria Suite\u003cbr\u003e\u003cb\u003eTURINA \u003c\/b\u003eLa Procesión del Rocío\u003cbr\u003e\u003cb\u003eGRANADOS \u003c\/b\u003e(\u003ci\u003eOrch. de Grignon\u003c\/i\u003e) Danzas españolas\u003cbr\u003e\u003cb\u003eFALLA \u003c\/b\u003eLa Vida Breve - Danza Española No. 1\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1950 \u0026amp; 1959\u003cbr\u003eTotal duration: 71:56\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBarbara Howitt\u003c\/b\u003e (\u003ci\u003emezzo-soprano\u003c\/i\u003e)\u003cbr\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eEnrique Jordá\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC757.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eManuel de Falla\u003c\/b\u003e’s \u003ci\u003eEl sombrero de tres picos \u003c\/i\u003e(\u003ci\u003eThe Three-Cornered Hat\u003c\/i\u003e) began life in 1917 as a modest pantomime with voice and chamber orchestra, based on Pedro Antonio de Alarcón’s picaresque novella of the same name. It was transformed two years later into a full ballet when the impresario Sergei Diaghilev commissioned Falla to expand it for his Ballets Russes. The resulting work, premiered in London in 1919 with designs by Pablo Picasso, stands as one of the high points of Spanish musical impressionism—a brilliant fusion of Andalusian colour, rhythmic vitality, and classical sophistication.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eFalla’s score celebrates the earthy exuberance of Spanish folk tradition. Castanets snap, guitars strum, and the pulse of flamenco underpins much of the music, yet it is all filtered through the composer’s refined harmonic palette and structural mastery. Melodies rooted in folk song are transformed into dazzling orchestral dances: the \u003ci\u003eFarruca\u003c\/i\u003e, \u003ci\u003eJota\u003c\/i\u003e, and \u003ci\u003eSeguidillas\u003c\/i\u003e explode with rustic energy, while moments of tenderness—especially in the miller’s wife’s music—reveal Falla’s gift for lyricism. Few works have captured so completely the spirit of Spain without resorting to pastiche.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe story itself is a farce of flirtation and comeuppance. A lecherous magistrate (whose titular hat denotes his rank) attempts to seduce a miller’s wife while her husband is away, only to be humiliated and exposed in a series of comic reversals. Falla’s music matches the humour beat for beat: sly woodwind figures accompany the magistrate’s pompous entrances, while raucous brass and percussion underline his ultimate disgrace. Beneath the comedy, however, lies Falla’s subtle portrayal of dignity and defiance in the common folk—a theme that resonated deeply in early 20th-century Spain.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003ci\u003eEl sombrero de tres picos\u003c\/i\u003e remains a cornerstone of the Spanish orchestral repertoire, as exhilarating in the concert suite versions as in its full theatrical form. It bridges the worlds of concert hall and dance stage with rare brilliance, capturing in sound the sunlit wit and passion of Spain itself. Its collaboration with Picasso and Diaghilev also ensured a permanent place in the crosscurrents of modernism, where visual art, dance, and music fused into a singular Mediterranean vibrancy.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eEnrique Jordá\u003c\/b\u003e was one of Spain’s most cosmopolitan conductors, admired for his flair, rhythmic energy, and advocacy of Hispanic repertoire. Born in San Sebastián in 1911, he studied in Madrid and began conducting in the 1930s, but the turbulence of the Civil War pushed him to pursue an international career. After wartime years in South America, where he worked extensively in Argentina and Uruguay, Jordá rose rapidly as a guest conductor in Europe and the United States, gaining a reputation for his vivid interpretations and electric presence on the podium.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHis big breakthrough came in 1954 when he became music director of the San Francisco Symphony, a post he held until 1963. There he brought a fresh, modern outlook to programming, championing contemporary music and introducing audiences to new composers from both sides of the Atlantic. Under his leadership the orchestra made several pioneering stereo recordings for RCA Victor, many of which showcased his dynamic, highly charged approach—particularly in the Latin repertoire he made his own.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eJordá’s style was unmistakable: rhythmically incisive, full of colour and spontaneity, sometimes even daringly impulsive. Critics occasionally noted that his interpretative passion could spill into volatility, but few denied the excitement he generated in performance. His collaborations with artists such as Clifford Curzon, for instance, in works by Falla and Ravel, reveal a conductor capable of both sensitivity and fire—a blend perfectly suited to the sensual brilliance of Spanish impressionism.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAfter his American years, Jordá returned to Europe, continuing to guest-conduct widely and record prolifically. He remained a tireless advocate for Spanish music, conducting \u003ci\u003eEl amor brujo\u003c\/i\u003e, \u003ci\u003eNoches en los jardines de España\u003c\/i\u003e, and \u003ci\u003eEl sombrero de tres picos\u003c\/i\u003e throughout his career. Though his name is less often mentioned today than some of his contemporaries, his recordings—especially those for Decca and RCA—testify to a musician of immense personality, whose energy and warmth captured something essential of Spain’s spirit in the concert hall.\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eJORDÁ \u003c\/b\u003econducts Spanish Music\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eFALLA \u003c\/b\u003eEl sombrero de tres picos\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Introduction\u003cspan style=\"font-size: 12px;\"\u003e (1:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cb\u003ePart 1\u003c\/b\u003e - Afternoon\u003cspan style=\"font-size: 12px;\"\u003e (2:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e The Procession\u003cspan style=\"font-size: 12px;\"\u003e (3:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Dance of the Miller's Wife (Fandango)\u003cspan style=\"font-size: 12px;\"\u003e (2:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e The Corregidor\u003cspan style=\"font-size: 12px;\"\u003e (0:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e The Miller's Wife\u003cspan style=\"font-size: 12px;\"\u003e (0:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e The Grapes\u003cspan style=\"font-size: 12px;\"\u003e (4:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cb\u003ePart 2\u003c\/b\u003e - The Neighbour's Dance (Seguidillas)\u003cspan style=\"font-size: 12px;\"\u003e (3:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e The Miller's Dance (Farruca)\u003cspan style=\"font-size: 12px;\"\u003e (3:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e The Bodyguard\u003cspan style=\"font-size: 12px;\"\u003e (0:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e The Miller's Wife\u003cspan style=\"font-size: 12px;\"\u003e (1:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e The Clock\u003cspan style=\"font-size: 12px;\"\u003e (1:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Dance of the Corregidor\u003cspan style=\"font-size: 12px;\"\u003e (1:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e The Corregidor and the Miller's Wife\u003cspan style=\"font-size: 12px;\"\u003e (2:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e The Miller\u003cspan style=\"font-size: 12px;\"\u003e (2:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e Final Dance (Jota)\u003cspan style=\"font-size: 12px;\"\u003e (6:12)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBarbara Howitt\u003c\/b\u003e (\u003ci\u003emezzo-soprano\u003c\/i\u003e)\u003cbr\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eALBÉNIZ \u003c\/b\u003e(\u003ci\u003eOrch. Arbós\u003c\/i\u003e) Ibéria Suite\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e Book 1 - 2. El Puerto\u003cspan style=\"font-size: 12px;\"\u003e (4:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e Book 2 - 3. Triana\u003cspan style=\"font-size: 12px;\"\u003e (4:35)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTURINA \u003c\/b\u003eLa Procesión del Rocío, Op. 9\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e 1. Triana en fête\u003cspan style=\"font-size: 12px;\"\u003e (2:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e 2. La Procession\u003cspan style=\"font-size: 12px;\"\u003e (5:40)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGRANADOS \u003c\/b\u003e(\u003ci\u003eOrch. de Grignon\u003c\/i\u003e) Danzas españolas\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e 5. Andaluza\u003cspan style=\"font-size: 12px;\"\u003e (4:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e 2. Oriental\u003cspan style=\"font-size: 12px;\"\u003e (4:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e 6. Rondalla aragonesa\u003cspan style=\"font-size: 12px;\"\u003e (4:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e \u003cb\u003eFALLA \u003c\/b\u003eLa Vida Breve - Danza Española No.1\u003cspan style=\"font-size: 12px;\"\u003e (3:12)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eEnrique Jordá\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 Enrique Jorda\u003cbr\u003e\u003cb\u003eEl sombrero de tres picos\u003c\/b\u003e\u003cbr\u003erecorded Walthamstow Assembly Hall, 23-24 November 1959\u003cbr\u003ePresented in stereo\u003cbr\u003e\u003cb\u003eOther recordings\u003c\/b\u003e\u003cbr\u003erecorded La Maison de la Mutualité, Paris, 28 February 1950\u003cbr\u003ePresented in Ambient Stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 71:56\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_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC757.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC757.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo \u0026 Ambient Stereo 24-bit FLAC","offer_id":55095290757454,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo \u0026 Ambient Stereo 16-bit FLAC","offer_id":55205503402318,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo \u0026 Ambient Stereo MP3","offer_id":55205503435086,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC757_5bc2f6da-b409-4797-b0a2-01bef2b959f1.jpg?v=1763113276"},{"product_id":"pasc757-cd","title":"JORDÁ conducts Spanish Music (1950\/1959) - PASC757 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC757.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CD (+MP3)","offer_id":55094971826510,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":true},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205503369550,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC757_792b73cd-c4d8-4de9-bcfb-ab59c987b92f.jpg?v=1762255110"},{"product_id":"pabx049","title":"RODZINSKI NBC 1938 Broadcasts Complete (1938) - PABX049","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eALBÉNIZ\u003c\/b\u003e Ibéria - El Corpus en Sevilla\u003cbr\u003e\u003cb\u003eBACH\u003c\/b\u003e Toccata \u0026amp; Fugue in D minor\u003cbr\u003e\u003cb\u003eBACH\u003c\/b\u003e Two Chorales\u003cbr\u003e\u003cb\u003eBARBER\u003c\/b\u003e Symphony in One Movement\u003cbr\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Coriolan Overture\u003cbr\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 1\u003cbr\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Piano Quartet No. 1\u003cbr\u003e\u003cb\u003eDEBUSSY\u003c\/b\u003e Prélude à l'après-midi d'un faune\u003cbr\u003e\u003cb\u003eDEBUSSY\u003c\/b\u003e Nuages \u0026amp; Fêtes\u003cbr\u003e\u003cb\u003eDOHNÁNYI\u003c\/b\u003e Suite for Orchestra\u003cbr\u003e\u003cb\u003eDVOŘÁK\u003c\/b\u003e Symphony No. 8\u003cbr\u003e\u003cb\u003eGLINKA\u003c\/b\u003e Ruslan and Ludmila - Overture\u003cbr\u003e\u003cb\u003eHINDEMITH\u003c\/b\u003e Mathis der Maler Symphony\u003cbr\u003e\u003cb\u003eHUMPERDINCK\u003c\/b\u003e Hänsel und Gretel - Prelude\u003cbr\u003e\u003cb\u003ePROKOFIEV\u003c\/b\u003e Symphony No. 1\u003cbr\u003e\u003cb\u003eRAVEL\u003c\/b\u003e Pavane pour une infante défunte\u003cbr\u003e\u003cb\u003eRESPIGHI\u003c\/b\u003e Ancient Airs and Dances\u003cbr\u003e\u003cb\u003eSCHREKER\u003c\/b\u003e Der Geburtstag der Infantin\u003cbr\u003e\u003cb\u003eSCRIABIN\u003c\/b\u003e Symphony No. 3\u003cbr\u003e\u003cb\u003eSHOSTAKOVICH\u003c\/b\u003e Symphony No. 5\u003cbr\u003e\u003cb\u003eSTAROKADOMSKY\u003c\/b\u003e Concerto for Orchestra\u003cbr\u003e\u003cb\u003eSTRAVINSKY\u003c\/b\u003e Firebird Suite\u003cbr\u003e\u003cb\u003eJ. STRAUSS II\u003c\/b\u003e Die Fledermaus - Overture\u003cbr\u003e\u003cb\u003eJ. STRAUSS II\u003c\/b\u003e Tales from the Vienna Woods\u003cbr\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Also sprach Zarathustra\u003cbr\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Rosenkavalier Waltzes\u003cbr\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Till Eulenspiegels lustige Streiche\u003cbr\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Symphony No. 5\u003cbr\u003e\u003cb\u003eVIVALDI\u003c\/b\u003e Concerto in D minor\u003cbr\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Die Meistersinger - excerpts\u003cbr\u003e\u003cb\u003eWEBER\u003c\/b\u003e Oberon - Overture\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eBroadcast recordings, 1938\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eArtur Rodziński\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC767.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;\"\u003eRODZINSKI NBC 1938, Volume 1 (1938) - PASC731\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\n    Artur Rodziński was engaged by NBC to recruit, rehearse and generally\n    prepare the NBC Symphony Orchestra for the eventual arrival of Toscanini as\n    its primary conductor in the autumn of 1937. Although he had conducted a\n    ‘pilot’ broadcast on 2 November 1937, the first official broadcasts were\n    taken by Pierre Monteux, beginning 13 November 1937. Thereafter Rodziński\n    conducted a further three broadcasts immediately prior to Toscanini’s debut\n    on Christmas Day, 1937.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    After Toscanini’s NBC first concert season was completed, on 5 March 1938,\n    the orchestral concerts continued to be broadcast with a series of guest\n    conductors, including Monteux, Boult, Mitropoulos, Molinari, Howard Hanson\n    and, for three further engagements, Rodziński. In total, Rodziński conducted\n    the orchestra for seven concerts in 1938 – four more were scheduled in\n    December of that year during the orchestra’s second season, culminating in\n    his final performance of the year on New Year’s Eve.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    This release brings you the first two Rodziński NBC concerts of 1938,\n    broadcast live on 2 and 9 April 1938 from NBC’s Studio 8H, each scheduled to\n    run for 90 minutes, and each offering a pretty packed programme – so much so\n    that you may just make out the words of Milton Cross at the beginning of the\n    final item on disc two, excerpts from Wagner’s Die Meistersinger, which were\n    still being announced when the orchestra began playing, no doubt starting to\n    a carefully worked-out timing schedule.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Rodziński’s second broadcast of the year brought with it a real coup – for\n    the conductor, the orchestra, the NBC and indeed the nation: Shostakovich’s\n    Fifth Symphony. Premièred in Leningrad in November 1937 and played elsewhere\n    within the Soviet Union, and after the debacle of the composer’s Fourth\n    Symphony, withdrawn at the last minute under intense political pressure,\n    there was no shortage of orchestras and conductors wishing to take up and\n    première the new work outside of the country.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    As Halina Rodziński, the conductor’s wife, would later recall in her\n    memoirs: “Artur, thanks to his good connections with the composer, was\n    awarded the prize. NBC's John Royal, through the American ambassador in\n    Moscow, made the arrangements - at a huge price. The Soviet government\n    demanded the then unheard of sum of $5,000 for the premiere. Since\n    introducing the piece would be as much of a coup for the radio network as\n    for Artur, NBC's management did not object to the cost.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    After all the expense and effort in acquiring the score and parts, Artur was\n    a bit concerned the piece might not be all that was expected of it. His\n    reactions when he first examined it were far from favorable. There was a\n    coarseness to the sound of the scoring. The piece seemed overlong. Indeed,\n    Artur was not altogether sure he cared for it. In discussion with NBC, it\n    was decided to perform the work just as it had been delivered - without\n    cuts, without reservations. If the critics did not care for it, no one could\n    blame Rodziński.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Gradually, in rehearsals, the work began to take Artur's imagination, and\n    soon enough he even was in love with it. The piece entered his repertoire\n    and became one of his specialties.”\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Mrs. Rodziński’s memory here fails her somewhat. The version heard on 9\n    April, 1938, as revealed in this recording, was far from the complete work,\n    with substantial cuts that  reduced the symphony from about fifty minutes in\n    duration to a little over thirty. Nevertheless, the new work made a\n    favourable impression, and would go on to become one of Shostakovich’s most\n    played symphonies.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Whilst the present Shostakovich performance has been referred to in various\n    texts and discussions over the years, we believe this is the first time any\n    of these recordings have been made publicly available (it is interesting to\n    note that the recordings reveal several errors in Mortimer H. Frank’s\n    reference work charting the Toscanini’s career with the NBC orchestra,\n    suggesting he had not had access to them). Because of the length of the\n    broadcasts, once again I have been forced to cut announcements and other\n    speech content in order to fit each one onto a single Compact Disc. Sound\n    quality of these exceptionally rare discs, although generally good for their\n    age, is not uniformly perfect; at times the listener will have to make some\n    accommodations for slightly damaged sections, though I’m relieved to report\n    that the concerts themselves survive intact.\n\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;\"\u003eRODZINSKI NBC 1938, Volume 2 (1938) - PASC741\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003eArtur Rodziński, one of the best program makers who has conducted this season at the symphony concerts in Radio City, led the NBC Symphony Orchestra last night in a program of which the principal feature was the tone poem of Richard Strauss, after Nietzsche, “Also sprach Zarathustra”.\u003cbr\u003e\u003cbr\u003eThe performance was one of exceptional brilliancy and one that displayed to very marked advantage the virtuosity of the orchestra. Aside from its interpretive merits, it may be said that a presentation of this music which displays so much certainty and such high technical quality is rare. Add to this the authority and the fire of the reading.\u003cbr\u003e\u003cbr\u003e“Zarathustra” is anything but a simple score to interpret. The conductor’s handicap from the aspect of concert effect is the faint and enigmatical conclusion. This can so easily become anti-climax, to say nothing of the mystifying effect of the strange harmonic scheme. But the audience responded last night to a work which formerly baffled the public with unstinted enthusiasm.\u003cbr\u003e\u003cbr\u003eAnd this is noteworthy: the music triumphed in the complete absence of any programmatic explanation. Explanatory paragraphs would have been wholly in order. Strauss himself affixed lines from Nietzsche's poem to his score. The audience deserves a program note when this work is played.\u003cbr\u003e\u003cbr\u003eThis does not lessen the music, but it can greatly conduce to a listener’s appreciation of the composer’s intention, if he knows, for example, that the magnificent introduction, which made Philip Hale think of “the portals of eternity swinging slowly asunder,” is Strauss’s evocation of the sunrise; that the pathetic and mystical passages immediately following, and the great hymn passionately intoned by organ and orchestra, is reference to religion upon which man pinned his faith; that the climax of frantic rejoicing while the great bell tolls in the orchestra is the song of Nietzsche’s victorious Over-man; and that the ending, in two keys, with the theme of Nature heard in the plucked basses, and the theme of the Ideal, like receding stars, soaring aloft, is Strauss’s comment upon the unsolvable riddle of the universe.\u003cbr\u003e\u003cbr\u003eBut the music made its mark and greatly moved the audience. It would have been still more imposing for those personally present if the performance had taken place in an auditorium with better acoustics than those of Studio H-8, which deadens sound and lessens the sonority of an orchestra. The effect of breadth as well as sheer body and brilliancy of sound in this place is thus modified, and blazing sonorities are part of the very conception of this score. But the effect was on the whole so adequate and eloquent that it would be captious to fuss over details. “Zarathustra” has waited longest of all Strauss’s tone-poems to come into its own. The sum of this occasion was a performances which carried it convincingly and in a very exciting way to the public.\u003cbr\u003e\u003cbr\u003eThe concert opened with the excellent Wertheim’s version of the Bach D minor Toccata and Fugue, a sonorous and effective performance of a masterpiece of universal meaning. After Strauss came the charming concert suite that Schrecker arranged from his ballet, “The Birthday of the Infanta.” It is not wildly modern music, nor highly original, but it is pleasing and admirably orchestrated material, put together with skill and taste by an expert craftsman.\u003cbr\u003e\u003cbr\u003eOther delightful music, more original than Schrecker’s, and destined to live much longer, completed the program and delighted the audience. The reference is to the overture to “Fledermaus” and the waltz “Tales From the Vienna Woods,” by Johann Strauss. He also could write music.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eOlin Downes\u003c\/b\u003e, \u003ci\u003eThe New York Times\u003c\/i\u003e, 17 April 1938\u003cbr\u003e\u003cbr\u003e\u003cbr\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;\"\u003eRODZINSKI NBC 1938, Volume 3 (1938) - PASC760\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eN.B. \u003c\/b\u003eThe first of these two concert broadcasts was longer than usual, and the only way to fit it onto a CD was to lose one of the pieces. With the Glinka overture too short to make the difference, after much thought we decided that a forgotten work by a pretty much forgotten composer, \u003cb\u003eStarokadomsky’s Concerto for Orchestra\u003c\/b\u003e, would be cut from the CD release. This work is present in all download versions of this release, and all CD buyers receive a download link to the recording in MP3 versions should they wish to hear the missing concerto.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIn December 1938 Artur Rodziński and the NBC Symphony Orchestra offered American radio audiences two exceptional programmes from Studio 8H in Radio City, separated by a single week but strikingly different in their musical terrain. Still early in the orchestra’s life, these broadcasts reveal an ensemble of formidable discipline and tonal punch, and a conductor whose flair for programming was matched by his ability to coax high-voltage playing from musicians already performing at the top of their game. Preserved on remarkably fine acetate discs and newly restored in Pristine’s XR and Ambient Stereo process, these concerts now emerge with a clarity, warmth and spatial naturalness that Studio 8H’s famously desiccated acoustic rarely allowed at the time.\n  \u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The 10 December 1938 broadcast opened with Glinka’s evergreen \u003cem\u003eRuslan and Lyudmila\u003c\/em\u003e Overture. Contemporary reviews singled out its sparkling character and the orchestra’s brilliance, noting that despite the modest studio acoustics the execution was consistently impressive. Under Rodziński the overture becomes a showcase of tensile rhythmic drive and peerless ensemble precision. The NBC strings, already one of the most agile sections in the country, dispatch Glinka’s perpetual-motion writing with an ease that belies the difficulty of the music.\n  \u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The centrepiece of that first broadcast was Tchaikovsky’s \u003cem\u003eSymphony No. 5\u003c\/em\u003e, a Rodziński speciality. Critics at the time praised his command of Tchaikovsky’s long spans and the orchestra’s powerful response, particularly in the sweeping finale. Rodziński shapes the symphony without indulgence: the opening motto is sombre yet flexible, the slow movement’s horn solo emerges with poised lyricism, the waltz glides without heaviness, and the finale surges with tightly controlled energy. These players may have been assembled for Toscanini, but in Rodziński they found a conductor who drew from them a comparable mixture of discipline and white-hot emotional commitment.\n  \u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    That programme also included the American broadcast premiere of Mikhail Starokadomsky’s \u003cem\u003eConcerto for Orchestra\u003c\/em\u003e, a 1933 work by a now little-known pupil of Myaskovsky. The score was described at the time as competently crafted and orchestrated with skill, even if its idiom owed more to Germanic symphonic practice than to the more modernistic Russian school. While the work’s historical footprint is small, its presence in this broadcast testifies to Rodziński’s willingness to present new Soviet repertoire to American listeners at a moment when few conductors were venturing far beyond the established Russian canon. Although too long to fit our CD programme, it is included complete in the download edition.\n  \u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The concert closed with Stravinsky’s \u003cem\u003eFirebird\u003c\/em\u003e Suite, which listeners reported as having considerably enlivened the atmosphere despite the dryness of the broadcast studio. Rodziński’s performance is taut, colourful and intensely dramatic, the NBC brass and percussion delivering Stravinsky’s climaxes with thrilling impact. Even in the early years of high-fidelity broadcasting, the sheer blaze of this performance must have made a vivid impression on listeners.\n  \u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    A week later, on 17 December 1938, Rodziński returned to Studio 8H with an entirely new programme, later reviewed in the New York Times’ “Other Music” column. The broadcast opened with Dvořák’s Symphony No. 4 — the work now recognised as his Eighth — already a favourite in the concert hall by that time. The critic praised the NBC Symphony’s “strong, clear and brilliant” playing, noting especially the finely balanced winds and the orchestra’s rhythmic vitality in a score whose pastoral lyricism can so easily turn heavy-handed. Rodziński gives the symphony a firm architectural profile, shaping its buoyant themes with affection but without sentimentality.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Hindemith’s \u003cem\u003eMathis der Maler\u003c\/em\u003e Symphony followed, a bold choice in 1938 when the composer was at the centre of cultural controversy in Europe. Reviews highlighted the NBC Symphony’s splendid discipline and the work’s vivid colour and firm structure under Rodziński, whose affinity for Hindemith’s muscular counterpoint is audible throughout. Far from the austerity sometimes associated with the composer, Rodziński finds warmth and expressive breadth in the score, especially in the luminous “Engelkonzert” movement.\n  \u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The second broadcast concluded with Richard Strauss’s \u003cem\u003eTill Eulenspiegel\u003c\/em\u003e, played with élan, razor-sharp precision and a wicked sense of humour. Contemporary accounts praised the performance’s personality and momentum, noting the orchestra’s quick responsiveness to Rodziński’s characterisation of Strauss’s mercurial antihero.\n  \u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    For these restorations Pristine has employed its XR remastering and Ambient Stereo techniques to address the inherent limitations of Studio 8H’s bone-dry acoustics. Wow and flutter have been eliminated, tonal edges softened, and a sympathetic convolution reverb drawn from one of the world’s finest symphonic halls has been added to restore a sense of breadth and natural resonance. The result is a pair of broadcasts that emerge with new presence and musical richness, preserving the sound of a great orchestra under an electrifying conductor at a pivotal moment in American radio history.\n  \u003c\/p\u003e\n\u003c\/div\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;\"\u003eRODZINSKI NBC 1938, Volume 4 (1938) - PASC767\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;\"\u003eBy the late 1930s the National Broadcasting Company had created something unprecedented in American musical life: a full-time symphony orchestra assembled specifically for radio. The NBC Symphony Orchestra was formed in 1937 primarily for the broadcasts of Arturo Toscanini, but before Toscanini’s first appearance on Christmas Day of that year the orchestra needed to be tested, disciplined and moulded into a working ensemble. That crucial preparatory work fell largely to the Polish conductor Artur Rodziński.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eRodziński had already established a formidable reputation in the United States through his transformative leadership of the Cleveland Orchestra. NBC engaged him first for a trial broadcast in November 1937, followed by three concerts in December that effectively served as the orchestra’s public dress rehearsal before Toscanini assumed the podium. Rodziński returned to conduct further NBC Symphony broadcasts in April 1938 and again in December of the same year. The present recordings preserve the last two of four concerts he conducted on consecutive weekends that December.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThese broadcasts therefore represent the closing chapter of Rodziński’s brief but significant association with the NBC Symphony Orchestra. The New Year’s Eve programme heard here would prove to be the final concert he conducted with the ensemble.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Christmas Eve broadcast opens atmospherically with the Prelude to Humperdinck’s \u003cem\u003eHänsel und Gretel\u003c\/em\u003e, music whose luminous orchestral writing made it a favourite seasonal curtain-raiser. From there Rodziński turns to Johann Sebastian Bach as orchestrated by Ottorino Respighi. Respighi’s Bach transcriptions were widely admired in the early twentieth century for their rich orchestral palette, and here two chorales from the set of \u003cem\u003eThree Chorales\u003c\/em\u003e were performed: \u003cem\u003eNun komm, der Heiden Heiland\u003c\/em\u003e and \u003cem\u003eWachet auf, ruft uns die Stimme\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe central work of the programme is Beethoven’s First Symphony, music that bridges the Classical world of Haydn and Mozart with the emerging individuality that would soon transform the symphonic form. Rodziński follows it with one of the most striking orchestral transformations of the twentieth century: Arnold Schoenberg’s orchestration of Brahms’s Piano Quartet in G minor. Schoenberg explained that one reason for making the arrangement was that he wanted to hear everything in Brahms’s densely written score more clearly than was possible in the original chamber version. The result is a dazzling re-imagining of the work in which Brahmsian architecture is expanded into a vibrant orchestral showpiece.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe New Year’s Eve broadcast presents an equally colourful programme. It begins with Alexander Siloti’s orchestral arrangement of a concerto from Antonio Vivaldi’s \u003cem\u003eL’estro armonico\u003c\/em\u003e. Siloti’s late-Romantic treatment of the Baroque original reflects the era’s fascination with adapting earlier music to the modern symphony orchestra.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eFrom there Rodziński launches into Alexander Scriabin’s Third Symphony, \u003cem\u003eLe Divin Poème\u003c\/em\u003e, a vast mystical canvas whose ecstatic climaxes and shimmering orchestration stand at the threshold of musical modernism. Scriabin’s ecstatic vision is followed by a sequence of orchestral miniatures: Ravel’s nostalgic \u003cem\u003ePavane pour une infante défunte\u003c\/em\u003e and two movements from Debussy’s \u003cem\u003eNocturnes\u003c\/em\u003e, \u003cem\u003eNuages\u003c\/em\u003e and the exuberant \u003cem\u003eFêtes\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe concert concludes in celebratory fashion with the first waltz sequence from Richard Strauss’s \u003cem\u003eDer Rosenkavalier\u003c\/em\u003e, music whose swirling Viennese rhythms provided a fitting close to a New Year’s Eve broadcast.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe original transmissions were introduced by NBC announcer Gene Hamilton. His commentary survives in full on the source recordings, but because the complete broadcasts run slightly longer than a standard compact disc allows, much of this material has been edited here in order to accommodate the music within a single CD. Short excerpts of Hamilton’s introductions to the Christmas Eve concert and his closing remarks at the end of the New Year’s Eve broadcast have been retained.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eDespite their broadcast origins the surviving recordings are remarkable for their warmth, dynamic range and clarity. In these new XR remasterings the sound reveals impressive orchestral colour, with quiet surfaces and extended frequency range that allow Rodziński’s incisive conducting and the NBC Symphony Orchestra’s brilliance to emerge with striking immediacy.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThese final NBC broadcasts not only complete Rodziński’s recorded association with the orchestra but also offer a vivid glimpse of American orchestral broadcasting at the end of the 1930s.\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\u003eRODZINSKI NBC\u003c\/b\u003e 1938 Broadcasts Complete (1938)\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;\"\u003eRODZINSKI NBC 1938, Volume 1 (1938) - PASC731\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 20px;\"\u003e\u003cb\u003eRODZINSKI \u003c\/b\u003eNBC 1938, Volume 1\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003edisc one\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (77:09)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e \u003cb\u003eBEETHOVEN \u003c\/b\u003eCoriolan Overture, Op. 62\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e (7:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e \u003cb\u003eBARBER \u003c\/b\u003eSymphony in One Movement, Op. 9\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e (20:13)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003eSymphony No. 1 in D major, Op. 25 , \"Classical\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 1st mvt. - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (3:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 2nd mvt. - Larghetto\u003cspan style=\"font-size: 12px;\"\u003e (3:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 3rd mvt. - Gavotta\u003cspan style=\"font-size: 12px;\"\u003e (1:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 4th mvt. - Molto vivace\u003cspan style=\"font-size: 12px;\"\u003e (2:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cb\u003eDEBUSSY \u003c\/b\u003ePrélude à l'après-midi d'un faune\u003cspan style=\"font-size: 12px;\"\u003e (10:40)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDOHNÁNYI \u003c\/b\u003eSuite for Orchestra, Op. 19\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 1. Andante con variazioni\u003cspan style=\"font-size: 12px;\"\u003e (10:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e 2. Scherzo\u003cspan style=\"font-size: 12px;\"\u003e (4:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e 3. Romance\u003cspan style=\"font-size: 12px;\"\u003e (4:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e 4. Rondo\u003cspan style=\"font-size: 12px;\"\u003e (8:08)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003edisc two\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (78:48)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e \u003cb\u003eWEBER \u003c\/b\u003eOberon - Overture\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eSymphony No. 5 in D minor, Op. 47\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eFirst performance outside the Soviet Union\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 1st mvt. - Moderato\u003cspan style=\"font-size: 12px;\"\u003e (10:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 2nd mvt. - Allegretto\u003cspan style=\"font-size: 12px;\"\u003e (5:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 3rd mvt. - Largo\u003cspan style=\"font-size: 12px;\"\u003e (9:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 4th mvt. - Allegro non troppo\u003cspan style=\"font-size: 12px;\"\u003e (6:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eRESPIGHI \u003c\/b\u003eAncient Airs and Dances, Suite No. 1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 1. Balletto detto 'Il Conte Orlando' (Molinaro)\u003cspan style=\"font-size: 12px;\"\u003e (2:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 2. Gagliarga (Galilei)\u003cspan style=\"font-size: 12px;\"\u003e (3:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 3. Villanella (Ignoto)\u003cspan style=\"font-size: 12px;\"\u003e (5:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e 4. Passo mezzo e Mascherada (Ignoto)\u003cspan style=\"font-size: 12px;\"\u003e (3:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cb\u003eALBÉNIZ \u003c\/b\u003eIbéria - 3. El Corpus en Sevilla\u003cspan style=\"font-size: 12px;\"\u003e (8:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cb\u003eWAGNER \u003c\/b\u003eDie Meistersinger von Nürnberg: Prelude to Act III - Dance of the Apprentices - Finale\u003cspan style=\"font-size: 12px;\"\u003e (12:07)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eArtur Rodziński\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by: Andrew Rose\u003cbr\u003eLive broadcast recordings, 2 \u0026amp; 9 April 1938\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003eStudio 8H, NBC Radio City, New York\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eCover artwork based on a photograph of Artur Rodziński\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 35:56\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;\"\u003eRODZINSKI NBC 1938, Volume 2 (1938) - PASC741\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eRODZINSKI \u003c\/b\u003eNBC 1938, Volume 2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e RADIO Introduction\u003cspan style=\"font-size: 12px;\"\u003e (1:25)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eJ. S. BACH\u003c\/b\u003e (arr. Wertheim) Toccata and Fugue in D minor, BWV 565\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Toccata\u003cspan style=\"font-size: 12px;\"\u003e (2:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Fugue\u003cspan style=\"font-size: 12px;\"\u003e (6:05)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Also Sprach Zarathustra, Op. 30\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Einleitung\u003cspan style=\"font-size: 12px;\"\u003e (2:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Von den Hinterweltlern\u003cspan style=\"font-size: 12px;\"\u003e (3:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Von der grossen Sehnsucht\u003cspan style=\"font-size: 12px;\"\u003e (1:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Von den Freuden-und Leidenschaften\u003cspan style=\"font-size: 12px;\"\u003e (1:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Das Grablied\u003cspan style=\"font-size: 12px;\"\u003e (2:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Von der Wissenschaft\u003cspan style=\"font-size: 12px;\"\u003e (4:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Der Genesende\u003cspan style=\"font-size: 12px;\"\u003e (5:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Das Tanzlied\u003cspan style=\"font-size: 12px;\"\u003e (5:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Nachtwandlerlied\u003cspan style=\"font-size: 12px;\"\u003e (6:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHREKER \u003c\/b\u003eDer Geburtstag der Infantin - Suite\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e 1. Reigen\u003cspan style=\"font-size: 12px;\"\u003e (1:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e 2. Aufzug und kampfspiel\u003cspan style=\"font-size: 12px;\"\u003e (2:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e 3. Die Marionetten\u003cspan style=\"font-size: 12px;\"\u003e (2:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e 4. Minuett der Tanzerknaken\u003cspan style=\"font-size: 12px;\"\u003e (2:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e 5. Die Tanze der Zwerges\u003cspan style=\"font-size: 12px;\"\u003e (0:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e 6. Mit der Wind im Fruhling\u003cspan style=\"font-size: 12px;\"\u003e (0:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e 7. In blauen Sandalen uber das korn\u003cspan style=\"font-size: 12px;\"\u003e (1:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e 8. Im roten Gewand im herbst\u003cspan style=\"font-size: 12px;\"\u003e (1:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e 9. Die Rose der Infatin\u003cspan style=\"font-size: 12px;\"\u003e (3:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e \u003cb\u003eJ STRAUSS II \u003c\/b\u003eDie Fledermaus - Overture\u003cspan style=\"font-size: 12px;\"\u003e (8:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e \u003cb\u003eJ STRAUSS II\u003c\/b\u003e Tales from the Vienna Woods\u003cspan style=\"font-size: 12px;\"\u003e (7:05)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eArtur Rodziński\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by: Andrew Rose\u003cbr\u003eLive broadcast recording, 16 April 1938, Studio 8H, NBC Radio City, New York\u003cbr\u003eCover artwork based on a photograph of Artur Rodziński\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 77:31\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;\"\u003eRODZINSKI NBC 1938, Volume 3 (1938) - PASC760\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 20px;\"\u003e\u003cb\u003eRODZINSKI \u003c\/b\u003eNBC 1938, Volume 3\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc one\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (75:27)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eRADIO \u003c\/b\u003eIntroduction\u003cspan style=\"font-size: 12px;\"\u003e (1:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cb\u003eGLINKA \u003c\/b\u003eRuslan and Lyudmila - Overture\u003cspan style=\"font-size: 12px;\"\u003e (5:44)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSymphony No. 5 in E Minor, Op. 64\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 1st mvt. - Andante - Allegro con anima\u003cspan style=\"font-size: 12px;\"\u003e (14:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 2nd mvt. - Andante cantabile con alcuna licenza\u003cspan style=\"font-size: 12px;\"\u003e (13:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 3rd mvt. - Valse. Allegro moderato\u003cspan style=\"font-size: 12px;\"\u003e (5:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 4th mvt. - Finale. Andante maestoso - Allegro vivace\u003cspan style=\"font-size: 12px;\"\u003e (11:57)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSTAROKADOMSKY \u003c\/b\u003eConcerto For Orchestra \u003ci\u003e[\u003c\/i\u003e\u003cb\u003e\u003ci\u003eDOWNLOADS ONLY\u003c\/i\u003e\u003c\/b\u003e\u003ci\u003e]\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1\u003c\/span\u003e st mvt. - Sinfonia\u003cspan style=\"font-size: 12px;\"\u003e (3:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2\u003c\/span\u003e nd mvt. - Passacaglia\u003cspan style=\"font-size: 12px;\"\u003e (8:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3\u003c\/span\u003e rd mvt. - Toccata\u003cspan style=\"font-size: 12px;\"\u003e (6:34)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003eThe Firebird (Suite)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Introduction\u003cspan style=\"font-size: 12px;\"\u003e (3:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Dance of the Firebird\u003cspan style=\"font-size: 12px;\"\u003e (1:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Dance of the Princesses\u003cspan style=\"font-size: 12px;\"\u003e (4:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e The Infernal Dance of King Kashchei\u003cspan style=\"font-size: 12px;\"\u003e (3:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Berceuse (Lullaby of the Firebird)\u003cspan style=\"font-size: 12px;\"\u003e (3:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Finale\u003cspan style=\"font-size: 12px;\"\u003e (5:42)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc two\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (79:39)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eRADIO \u003c\/b\u003eIntroduction\u003cspan style=\"font-size: 12px;\"\u003e (1:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003eSymphony No. No. 8 in G major, Op. 88\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 1st mvt. - Allegro con brio\u003cspan style=\"font-size: 12px;\"\u003e (9:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 2nd mvt. - Adagio\u003cspan style=\"font-size: 12px;\"\u003e (10:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 3rd mvt. - Allegretto grazioso – Molto Vivace\u003cspan style=\"font-size: 12px;\"\u003e (5:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 4th mvt. - Allegro ma non troppo\u003cspan style=\"font-size: 12px;\"\u003e (11:23)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eHINDEMITH \u003c\/b\u003eMathis der Maler Symphony\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 1st mvt. - Engelkonzert\u003cspan style=\"font-size: 12px;\"\u003e (9:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 2nd mvt. - Grablegung\u003cspan style=\"font-size: 12px;\"\u003e (4:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 3rd mvt. - Versuchung des heiligen Antonius\u003cspan style=\"font-size: 12px;\"\u003e (13:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cb\u003eR. STRAUSS\u003c\/b\u003e Till Eulenspiegels lustige Streiche\u003cspan style=\"font-size: 12px;\"\u003e (14:09)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eArtur Rodziński\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by: Andrew Rose\u003cbr\u003eLive broadcast recordings, 10 \u0026amp; 17 December 1938\u003cbr\u003eStudio 8H, NBC Radio City, New York\u003cbr\u003eCover artwork based on a photograph of Artur Rodziński\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 55:37 (CDs: 2hr 35:07)\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;\"\u003eRODZINSKI NBC 1938, Volume 4 (1938) - PASC767\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 20px;\"\u003e\u003cb\u003eRODZINSKI NBC 1938, Volume 4\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc one\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (79:45)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e RADIO Introduction to Christmas Eve Program\u003cspan style=\"font-size: 12px;\"\u003e (0:28)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cb\u003eHUMPERDINCK\u003c\/b\u003e Hänsel und Gretel - \u003ci\u003ePrelude\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:00)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBACH\u003c\/b\u003e (arr. Respighi) Chorales from the \u003ci\u003eOrgelbüchlein\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Nun komm, der Heiden Heiland, BWV 659\u003cspan style=\"font-size: 12px;\"\u003e (5:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Wachet auf, ruft uns die Stimme, BWV 645\u003cspan style=\"font-size: 12px;\"\u003e (4:10)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 1 in C major, Op. 21\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 1st mvt. - Adagio molto - Allegro con brio\u003cspan style=\"font-size: 12px;\"\u003e (6:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 2nd mvt. - Andante cantabile con moto\u003cspan style=\"font-size: 12px;\"\u003e (6:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 3rd mvt. - Menuetto: Allegro molto e vivace\u003cspan style=\"font-size: 12px;\"\u003e (3:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 4th mvt. - Finale: Adagio - Allegro molto e vivace\u003cspan style=\"font-size: 12px;\"\u003e (5:43)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e (arr. Schoenberg) Piano Quartet No. 1 in G minor, Op. 25\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e 1st mvt. - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (13:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e 2nd mvt. - Intermezzo: Allegro ma non troppo - Trio: Animato\u003cspan style=\"font-size: 12px;\"\u003e (8:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e 3rd mvt. - Andante con moto\u003cspan style=\"font-size: 12px;\"\u003e (8:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e 4th mvt. - Rondo alla zingarese: Presto\u003cspan style=\"font-size: 12px;\"\u003e (7:26)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc two\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (78:01)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eVIVALDI\u003c\/b\u003e (arr. Siloti) Concerto in D minor\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003efrom \u003ci\u003eL’estro armonico\u003c\/i\u003e, Op. 3 No. 11, RV 565\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e 1st mvt. - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (5:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 2nd mvt. - Adagio e spiccato\u003cspan style=\"font-size: 12px;\"\u003e (4:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 3rd mvt. - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (3:22)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCRIABIN\u003c\/b\u003e Symphony No. 3 in C minor, Op. 43 - \u003ci\u003eLe Divin Poème\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 1st mvt. - Lutte\u003cspan style=\"font-size: 12px;\"\u003e (17:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 2nd mvt. - Voluptés\u003cspan style=\"font-size: 12px;\"\u003e (8:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 3rd mvt. - Jeu divin\u003cspan style=\"font-size: 12px;\"\u003e (9:47)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cb\u003eRAVEL\u003c\/b\u003e Pavane pour une infante défunte\u003cspan style=\"font-size: 12px;\"\u003e (6:17)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDEBUSSY\u003c\/b\u003e Nocturnes\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Nuages\u003cspan style=\"font-size: 12px;\"\u003e (8:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Fêtes\u003cspan style=\"font-size: 12px;\"\u003e (6:01)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cb\u003eR. STRAUSS\u003c\/b\u003e\u003ci\u003eDer Rosenkavalier\u003c\/i\u003e Waltzes - First sequence\u003cspan style=\"font-size: 12px;\"\u003e (7:55)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e RADIO Conclusion to New Year's Eve Program\u003cspan style=\"font-size: 12px;\"\u003e (0:38)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by Artur Rodziński\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by: Andrew Rose\u003cbr\u003eLive broadcast recordings, 24 \u0026amp; 31 December 1938\u003cbr\u003eStudio 8H, NBC Radio City, New York\u003cbr\u003eCover artwork based on a photograph of Artur Rodziński\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 37:46\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_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PABX049.jpg578a9379d1e540bd96d26f03a79628d9tab3_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":59122623021390,"sku":null,"price":128.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":59122623054158,"sku":null,"price":88.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":59122623086926,"sku":null,"price":72.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX049.jpg?v=1773402612"},{"product_id":"pabx049-cd","title":"RODZINSKI NBC 1938 Broadcasts Complete (1938) - 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orchestral excerpts\u003cbr\u003e\u003cb\u003eTURINA \u003c\/b\u003eDanzas fantásticas, Op. 22\u003cbr\u003e\u003cb\u003eRIMSKY-KORSAKOV \u003c\/b\u003eCapriccio espagnol, Op. 34\u003cbr\u003e\u003cb\u003eGRANADOS \u003c\/b\u003eAndaluza - Danza española No. 5 in E minor, Op. 37\u003cbr\u003e\u003cb\u003eMOSZKOWSKI \u003c\/b\u003eSpanish Dances, Book 1, Op. 12\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, Paris 1953 and London 1956-57\u003cbr\u003eTotal duration: 1hr 19:11\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eAtaúlfo Argenta\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC774.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAtaúlfo Argenta’s career was one of the most brilliant and cruelly abbreviated in twentieth-century conducting. Born in Castro Urdiales in 1913, he first established himself as a pianist, studying in Madrid and Liège before further work in Germany brought him into contact with Carl Schuricht, who encouraged him towards the podium. Argenta’s rise was rapid. By 1947 he was sharing the direction of the Orquesta Nacional de España, and from 1950 he appeared regularly with the Orchestre de la Société des Concerts du Conservatoire in Paris. He also built an extensive recorded legacy in zarzuela, helping to preserve a repertory that was then poorly represented on disc. His sudden death in January 1958, aged only forty-four, halted a career that was plainly moving onto the widest international stage.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis collection brings together two complementary portraits of Argenta in Spanish and Spanish-inspired repertoire. The Paris recordings, made in mono in 1953, place him before a French orchestra in music by Albéniz and Turina. The later London sessions, recorded in stereo at Kingsway Hall over New Year 1956-57, show him commanding the London Symphony Orchestra in works by Rimsky-Korsakov, Granados and Moszkowski. Heard together, they move from Spain imagined by Spanish composers to Spain refracted through the colourful imagination of outsiders.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAlbéniz composed \u003cem\u003eIberia\u003c\/em\u003e between 1905 and 1909 as a cycle of twelve piano pieces, each demanding extraordinary refinement of rhythm, colour and touch. The five selections heard here were orchestrated by Enrique Fernández Arbós, who transformed the piano’s layered sonorities into a glittering orchestral fabric without losing their intricate rhythmic life. \u003cem\u003eEvocación\u003c\/em\u003e opens in a haze of memory; \u003cem\u003eEl Puerto\u003c\/em\u003e dances with bright coastal energy; \u003cem\u003eEl Corpus en Sevilla\u003c\/em\u003e grows from solemn procession to ecstatic celebration; \u003cem\u003eTriana\u003c\/em\u003e captures the swagger and pulse of Seville’s famous quarter; and \u003cem\u003eEl Albaicín\u003c\/em\u003e evokes Granada’s old Moorish district with hypnotic, nocturnal intensity. Argenta understands that this music needs both atmosphere and backbone: the perfume never obscures the dance.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eTurina’s \u003cem\u003eDanzas fantásticas\u003c\/em\u003e, written in 1919 and inspired by José Más’s novel \u003cem\u003eLa orgía\u003c\/em\u003e, offers three sharply contrasted visions. \u003cem\u003eExaltación\u003c\/em\u003e is founded on the Aragonese jota; \u003cem\u003eEnsueño\u003c\/em\u003e turns to the asymmetrical sway of the Basque zortziko; and \u003cem\u003eOrgía\u003c\/em\u003e erupts in an Andalusian farruca, full of heat, brilliance and barely contained abandon. Argenta binds the suite together with a strong dramatic curve, making the final dance feel not merely festive but inevitable.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eRimsky-Korsakov’s \u003cem\u003eCapriccio espagnol\u003c\/em\u003e is Spain seen through the eyes of a Russian master orchestrator. Its five linked sections set Asturian melodies amid a succession of instrumental solos, flashing percussion, guitar-like string writing and dazzling changes of colour. Argenta’s performance became one of the celebrated early stereo showpieces, valued not only for its spectacular sound but for the conductor’s ability to make virtuoso display feel rhythmically alive rather than merely decorative. Reviewing the original Decca programme, Paul Serotsky called it “a joy from start to finish” and praised its “peerless evocation” of Spanish character.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eGranados’s \u003cem\u003eAndaluza\u003c\/em\u003e provides a more intimate interlude, its supple melody and gently insistent rhythm handled with affectionate simplicity. Moszkowski’s \u003cem\u003eSpanish Dances\u003c\/em\u003e, originally written for piano duet and later orchestrated by Philipp Scharwenka and Valentin Frank, belong to the nineteenth-century European tradition of imagined Spain. They may be less authentically local than Albéniz or Turina, but their melodic abundance, deft scoring and buoyant rhythms make an irresistible finale.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAcross both orchestras and two very different recording environments, Argenta’s signature remains unmistakable: rhythmic lift, vivid colour, elegance without fuss, and excitement that never becomes crude. These performances preserve a conductor working at white heat, with an instinctive command of the music’s accent and gesture. In this new XR remastering, their brilliance, warmth and extraordinary vitality can once again take centre stage.\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eARGENTA\u003c\/b\u003e conducts España\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eParis recordings (46:14)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eALBÉNIZ\u003c\/b\u003e \u003ci\u003eIberia\u003c\/i\u003e - orchestral excerpts\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Book 1 No. 1 - Evocación\u003cspan style=\"font-size: 12px;\"\u003e (5:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Book 1 No. 3 - El Corpus en Sevilla\u003cspan style=\"font-size: 12px;\"\u003e (8:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Book 2 No. 3 - Triana\u003cspan style=\"font-size: 12px;\"\u003e (4:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Book 1 No. 2 - El Puerto\u003cspan style=\"font-size: 12px;\"\u003e (4:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Book 3 No. 1 - El Albaicín\u003cspan style=\"font-size: 12px;\"\u003e (7:18)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003ci\u003eOrchestrated by Enrique Fernández Arbós\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTURINA\u003c\/b\u003e \u003ci\u003eDanzas fantásticas\u003c\/i\u003e, Op. 22\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e I. Exaltación\u003cspan style=\"font-size: 12px;\"\u003e (5:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e II. Ensueño\u003cspan style=\"font-size: 12px;\"\u003e (6:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e III. Orgía\u003cspan style=\"font-size: 12px;\"\u003e (4:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eAtaúlfo Argenta\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded at Maison de la Mutualité, Paris\u003cbr\u003e12, 14-17 \u0026amp; 19 October 1953 (mono)\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eLondon recordings (32:57)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e \u003ci\u003eCapriccio espagnol\u003c\/i\u003e, Op. 34\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e I. Alborada\u003cspan style=\"font-size: 12px;\"\u003e (1:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e II. Variazioni\u003cspan style=\"font-size: 12px;\"\u003e (4:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e III. Alborada\u003cspan style=\"font-size: 12px;\"\u003e (1:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e IV. Scena e canto gitano\u003cspan style=\"font-size: 12px;\"\u003e (4:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e V. Fandango asturiano\u003cspan style=\"font-size: 12px;\"\u003e (3:18)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cb\u003eGRANADOS \u003c\/b\u003e\u003ci\u003eAndaluza\u003c\/i\u003e - Danza española No. 5 in E minor, Op. 37\u003cspan style=\"font-size: 12px;\"\u003e (4:08)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMOSZKOWSKI\u003c\/b\u003e \u003ci\u003eSpanish Dances\u003c\/i\u003e, Book 1, Op. 12\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e No. 1 in C major\u003cspan style=\"font-size: 12px;\"\u003e (1:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e No. 2 in G minor\u003cspan style=\"font-size: 12px;\"\u003e (4:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e No. 3 in A major\u003cspan style=\"font-size: 12px;\"\u003e (2:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e No. 4 in B flat major\u003cspan style=\"font-size: 12px;\"\u003e (2:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e No. 5 in D major\u003cspan style=\"font-size: 12px;\"\u003e (3:03)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003ci\u003eOrchestrated by Valentin Frank (Nos. 1, 3 \u0026amp; 4) and Philipp Scharwenka (Nos. 2 \u0026amp; 5)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eAtaúlfo Argenta\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded at Kingsway Hall, London\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e31\u003c\/span\u003e December 1956 \u0026amp; 1 January 1957 (stereo)\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR Remastered by Andrew Rose\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 1hr 19:11\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\/PASC774.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC774.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo \u0026 Ambient Stereo 24-bit FLAC","offer_id":60146946834766,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo \u0026 Ambient Stereo 16-bit FLAC","offer_id":60146946867534,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo \u0026 Ambient Stereo MP3","offer_id":60146946900302,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC774_7bf2b603-1dd4-4831-b66c-4abd8bc617e3.jpg?v=1786938683"},{"product_id":"pasc774-cd","title":"ARGENTA conducts España (1953\/57) - PASC774 - CD","description":"overviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CD (+MP3)","offer_id":60146908758350,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":true},{"title":"CD only in plastic sleeve (+MP3)","offer_id":60146907906382,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC774_060bf5aa-1487-4077-a717-12cfb011987d.jpg?v=1784208659"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/collections\/albeniz.jpg?v=1495803900","url":"https:\/\/www.pristineclassical.com\/collections\/composer-albeniz.oembed?page=2","provider":"Pristine Classical","version":"1.0","type":"link"}