{"title":"Bach","description":"\u003cp\u003eJohann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the Baroque period. He enriched established German styles through his mastery of counterpoint, harmonic and motivic organisation, and his adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor, two Passions, and over three hundred cantatas of which approximately two hundred survive. His music is revered for its technical command, artistic beauty, and intellectual depth.\u003cbr\u003e\u003cbr\u003eWhile Bach's abilities as an organist were highly respected during his lifetime, he was not widely recognised as an important composer until a revival of interest in his music during the first half of the 19th century. He is now generally regarded as one of the greatest composers of all time.\u003c\/p\u003e\r\n\u003cp\u003eTo a large extent, Bach's musical style fits in the conventions of his day, which is the final stage of the baroque style. When his contemporaries, such as Handel, Telemann and Vivaldi wrote concertos he did so too. When they wrote suites, he did so too. Similar with recitatives followed by da capo arias, four-part choral music, use of basso continuo etc. The specifics of his style lie with characteristics such as his skill in contrapuntal invention and motivic control and his talent for writing tightly woven music of powerful sonority. From an early age, he imbued himself with the compositions of his contemporaries and of prior generations, all of what was available from European composers, such as the French, the Italian, and those from all parts of Germany, and there is little of it that didn't appear in his own music.\u003cbr\u003e\u003cbr\u003eReligious music was at the centre of Bach's output for much of his life. The hundreds of sacred works he created are usually seen as manifesting not just his craft but a truly devout relationship with God. He had taught Luther's Small Catechism as the Thomaskantor in Leipzig, and some of his pieces represent it. The Lutheran chorale was the basis of much of his work. In elaborating these hymns into his chorale preludes, he wrote more cogent and tightly integrated works than most, even when they were massive and lengthy.[citation needed] The large-scale structure of every major Bach sacred vocal work is evidence of subtle, elaborate planning to create a religiously and musically powerful expression. For example, the St Matthew Passion, like other works of its kind, illustrated the Passion with Bible text reflected in recitatives, arias, choruses, and chorales; but in crafting this work, Bach created an overall experience that has been found over the centuries since to be both musically thrilling and spiritually profound.\u003cbr\u003e\u003cbr\u003eBach published or carefully compiled in manuscript many collections of pieces that explored the range of artistic and technical possibilities inherent in almost every genre of his time except opera. For example, The Well-Tempered Clavier comprises two books, each of which presents a prelude and fugue in every major and minor key, displaying a dizzying variety of structural, contrapuntal and fugal techniques.\u003c\/p\u003e","products":[{"product_id":"pasc319","title":"CANTELLI NBC Concert No. 29: Bach, Cherubini, R. Strauss (1952) - PASC319","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJ. S. BACH \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eChristmas Oratorio - \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 16px;\"\u003eSinfonia\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 16px;\"\u003e \u003c\/span\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eCHERUBINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony in D major \u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Tod und Verklärung\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1952\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 58:22\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eNBC Symphony Orchestra\u003cbr\u003eGuido Cantelli, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fWhat makes the concert a keeper is the extraordinary performance of the Strauss578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003ePristine’s Cantelli series continues to unearth material not otherwise available. This 1952 NBC concert is quite new to me. Andrew Rose’s source was a tape copy in the private collection of Keith Bennett (author of the recent Cantelli biography), and it seems to have presented quite a challenge to his transfer skills. While the sound is not up to the standard of the best Cantelli\/NBC sources, relatively rough and opaque, it is perfectly listenable. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eCantelli followed Toscanini in championing this rarity by Cherubini (the older maestro made his studio recording for RCA in the same year). The work is skillfully crafted, much preoccupied with counterpoint, and with many moments of genuine originality, including a notable penchant for Beethovenian harmonic touches—though Cherubini’s tend to be confined to the level of local effects, with none of Beethoven’s long-range power. Not surprisingly, Cantelli conducts a performance of impressive refinement and discipline. On the debit side, however, textures are excessively string-dominated, tending to heaviness. Tuttis become tiring to listen to, unrelenting and opaque (though the close-up, colorless recording no doubt does not help). For my money, it is all just too monumental for the music’s own good—it needs a lighter touch, more light and shade (as can be heard in Toscanini’s contemporaneous studio recording, despite the use of what sounds like an equally large string section). \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe Bach adds little to the disc’s attractions, in its very dated performance style—slow, heavy, and legato, with no harpsichord continuo. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eWhat makes the concert a keeper is the extraordinary performance of the Strauss. The slow introduction is clear-eyed, precise, and unusually articulate at a robust dynamic level—again the close recording may be the culprit, but this patient sounds suspiciously hale, far from death’s door! The ensuing Allegro molto agitato is unforgettable, in its combination of Cantelli’s trademark virtues—solidity, precision, clean articulation, and lucid contrapuntal textures—with expressive intensity of an exceptional order: an elemental outpouring of tone from the NBC musicians, who play as though the concert will be their last! The final transfiguration is played quite swiftly and straight, and is all the more overwhelming for it. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe notes reprint an excerpt from Bennett’s Cantelli biography, which on this evidence could have used a little more copy-editing before seeing the light of day. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis is obviously self-recommending for Cantelli collectors, perhaps less so for the rest of us, but the Strauss really has to be experienced. \u003cbr\u003e\u003cb\u003e\u003cbr\u003eBoyd Pomeroy \u003c\/b\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis article originally appeared in Issue 36:1 (Sept\/Oct 2012) of \u003cem\u003eFanfare\u003c\/em\u003e Magazine.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC319.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eCantelli conducts Bach, Cherubini and Strauss for Christmas, 1952\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eNew transfers given a complete audio makeover with XR remastering\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eAll three of these recordings were restored from recordings in\nthe private collection of Keith Bennett, to whom we're very grateful. The\nCherubini and Strauss, from later BBC rebroadcasts, were in better condition\nthan the Bach, but all suffered considerable sonic deficiencies which I've been\nable to largely alleviate. I noticed some considerable variation in hiss, which\ntended to be at its highest at the beginning of the recordings. I've dealt to a\ndegree with this, as well as removing or reducing a considerable number of\naudience coughs, though some do remain.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\n\u003cb\u003eJ. S. BACH \u003c\/b\u003eChristmas Oratorio - \u003cem\u003eSinfonia\u003c\/em\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eCHERUBINI \u003c\/b\u003eSymphony in D major\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eR. STRAUSS\u003c\/b\u003e Tod und Verklärung \u003cbr\u003e\u003cbr\u003eBroadcast live from Carnegie Hall, New York City, 27 December 1952\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eGuido Cantelli \u003c\/b\u003econductor\u003cbr\u003e\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, December 2011\u003cbr\u003eCover artwork based on a photograph of Guido Cantelli\u003cbr\u003e\u003cbr\u003eTotal duration: 58:22\u003cbr\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\/PASC319.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC319.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eJohann Sebastien BACH (1685 - 1750)\u003c\/b\u003e Weinachtoratorium, BWV 248: Part 2, Sinfonia\u003c\/p\u003e\u003cp class=\"body\"\u003eSeven Performances with Three Orchestras Cantelli's Recorded Broadcasts\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003ctable border=\"1\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"177\"\u003e\n\u003cp class=\"body\"\u003eNBC Symphony Orchestra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"137\"\u003e\n\u003cp class=\"body\"\u003e24 December 1949\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\" width=\"79\"\u003e\n\u003cp class=\"body\"\u003e6:51\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eNBC Symphony Orchestra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e27 December 1952\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e6:53\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eBoth of the performances with the NBC Symphony Orchestra\n have been issued on CD. We ot the twenty-first century are very aware \nof the research which has been undertaken concerning performance \npractice in the eighteenth century and there are plenty of recordings \nwith period instruments available. But what, one wonders, would have \nbeen the reaction to these perfonnances for those present at either of \nthese concerts? It comes as no surprise that the orchestra's strings are\n superb and — ior monaural recordings of broadcasts — the woodwinds are \nclear enough. There are, mercifully, no interpretive quirks, but the \nmusicians were inflicted with a bronchial audience during the 1952 \nconcert.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eLuigi CHERUBINI (1760 - 1842)\u003c\/b\u003e Symphony in D major\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eSeven Performances with Four Orchestras\u003c\/p\u003e\u003cp class=\"body\"\u003eCantelli's Recorded Broadcasts and Selected Comparisons\u003c\/p\u003e\u003col\u003e\n\u003cli class=\"body\"\u003eLargo — Allegro\u003c\/li\u003e\n\u003cli class=\"body\"\u003eLarghetto cantabile\u003c\/li\u003e\n\u003cli class=\"body\"\u003eMenuetto. Allegro non tanto\u003c\/li\u003e\n\u003cli class=\"body\"\u003eAllegro assai\u003c\/li\u003e\n\u003c\/ol\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003ctable style=\"width: 685px;\" border=\"1\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"373\"\u003e \u003c\/td\u003e\n\u003ctd width=\"128\"\u003e \u003c\/td\u003e\n\u003ctd align=\"center\" width=\"47\"\u003e1\u003c\/td\u003e\n\u003ctd align=\"center\" width=\"30\"\u003e2\u003c\/td\u003e\n\u003ctd align=\"center\" width=\"36\"\u003e3\u003c\/td\u003e\n\u003ctd align=\"center\" width=\"31\"\u003e4\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cb\u003eCantelli\/NBC Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cb\u003e27 December 1952\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e\u003cb\u003e10:19\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e\u003cb\u003e6:37\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e\u003cb\u003e4:58\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e\u003cb\u003e4:35\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cb\u003eCantelli\/Philharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cb\u003e21 March 1954\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e\u003cb\u003e10:11\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e\u003cb\u003e6:33\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e\u003cb\u003e4:55\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e\u003cb\u003e4:31\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eCelibidaclie\/Orchestra della Fenice\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e31 October 1965\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e10:30\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e7:30\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e5:31\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e4:27\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eRenzetti\/Orchestra della Toscana*\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e14\/18 May 1987\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e10:10\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e8:06\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e5:08\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e5:00\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eToscanini\/NBC Symphony Orchestra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e10 March 1952\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e10:05\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e6:50\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e4:35\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e4:19\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eHave there been more than half a dozen recordings \nperformances of this symphony? Possibly not and for many, the name \nCherubini is merely that of an historical figure, 'a conservative \nrevolutionary' as The New Grove put it: probably his most well-known \nwork is the overture \u003cem\u003eAnacreon, ou L'amour fugitif\u003c\/em\u003e recorded by \nboth Furtwängler and Toscanini (and was scheduled for Cantelli's \nconcerts with the Philharmonic-Symphony Orchestra of New York in \nDecember 1956). However, it is well to bear in mind that Beethoven \nthought highly of his contemporary although, with the passing of the \nyears, we know that Beethoven was ahead of his time whereas Cherubini \nwas of it.\u003c\/p\u003e\u003cp class=\"body\"\u003eToscanini's insatiable curiosity often led him to the \nbyways away from the generally accepted repertoire of the period and for\n those who do not know this symphony his performance will refute any \nsuggestion that Cherubini was a dull old stick. The symphony has a \nvigorous first movement, with a melody in the second movement that \nlingers in the memory, a bucolic Haydnesque minuet followed by a cheeky \ntrio as near to Rossini as one could hope to find (surely one cannot \nhear it without smiling, at least inwardly) and ends with a vigorous \nfinale.\u003c\/p\u003e\u003cp class=\"body\"\u003eNo doubt the Maestro's enthusiasm sparked Cantelli's \ninterest. It is quite possible that after Cantelli's final concert with \nthe NBC Symphony Orchestra in the Fifteenth Season on 1 March 1952 he \nstayed on in New York to hear both Toscanini's concert the following \nweek — which included this work — and the Maestro's recording two days \nlater. Whether or not that speculation is misplaced, he must have spoken\n of the symphony with the Maestro which made such deep impression that \nhe included the symphony in his very next concerts in June with the \nOrchestra della Scala as well as giving a perfonnance with the \nPhilharmonia Orchestra during his next visit to London in October. Even \nmore interesting is that he included it in his next series of concerts \nwith the NBC Symphony Orchestra.\u003c\/p\u003e\u003cp class=\"body\"\u003eBoth of his performances are delightful with just a \ntouch more poise than Toscanini in the first, third and fourth movements\n but yielding to the older conductor's restraint in the second.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eRichard STRAUSS (1864-1949)\u003c\/b\u003e Tod und Verklarung, Op.24\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eEight Performances with Four Orchestras\u003c\/p\u003e\u003cp class=\"body\"\u003eCantelli's Recorded Broadcasts and Selected Comparisons\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eStrauss: 1929 \u003c\/b\u003e23:12\u003cb\u003e; 1939 \u003c\/b\u003e22:07\u003cb\u003e; 1944 \u003c\/b\u003e23:32\u003cb\u003e.\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003ctable style=\"width: 671px;\" border=\"1\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"354\"\u003e\n\u003cp class=\"body\"\u003eBohtn\/ Wiener Philhannoniker\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"252\"\u003e\n\u003cp class=\"body\"\u003e19 May 1963\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\" width=\"43\"\u003e\n\u003cp class=\"body\"\u003e23:04\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003eCantelli\/NBC Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003e21 December 1952\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003e23:28\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003eCantelli\/Philharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003e21 March 1954\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003e22:21\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eKarajan\/Philharmonia Orchestra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e2 \u0026amp; 3 July 1953\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e26:24\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eKarajan\/Wiener Philharmoniker*\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e22 - 30 June 1960\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e23:43\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eKarajan\/Berliner Philharmoniker*\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e4 November 1972 and 26 January 1973\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e26:53\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eKaraj an\/Berliner Philhamioniker*\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eJanuary 1982\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e25:20\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eKempe\/Dresden Staatskapelle*\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eJune 1970\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e22:17\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eReiner\/Wiener Philharmoniker*\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eSeptemberl956\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e23:52\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eSzell\/Cleveland Orchestra*\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eMarch 1957\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e23:54\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eToscanini\/NBC Symphony Orchestra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e1 Jatiuary 1938\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e23:05\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eToscanini\/Philadelphia Orchestra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e11 January 1942\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e23:27\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eToscanini\/Orchestra della Scala\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e5 July 1946\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e24:44\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eToscanini\/NBC Symphony Orchestra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e8 \u0026amp; 10 March 1952\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e24:47\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e The biographer Richard Specht stated that the programme \nfor this piece was based on Strauss's personal experience and it is true\n that Strauss was seriously ill in 1891 but only eighteen months after \nthe completion of the score. In 1894 the composer completely refuted \nSpecht's fanciful suggestion and stated that the idea of portraying a \nman close to death came to him some time in 1888.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe reader's attention is drawn once again to the fact \nthat Karajan's performance withe the Wiener Philharmoniker is not only \nthe quickest by a substantial margin but is also the nearest to the \ncomposer's own timings.\u003c\/p\u003e\u003cp class=\"body\"\u003eOne hesitates to draw attention to die fact that \nToscanini and Beecham — whose attitude to music-making was so very \ndifferent — had at least one quality in common: both had the ability to \nconvince the listener that under their direction a second-rate piece \ncould actually be made to sound much better than usually perceived. \nThere can be no doubt that \u003cem\u003eTod und Verklärung \u003c\/em\u003eis a lesser work \nthan Don Juan but it had — judging from the number of times Toscanini \nperformed the piece when other superior Strauss compositions received \nvery few perfomances (eg Ein Heldenleben) — a fascination for the \nconductor. His first commercial recording was with the Philadelphia \nOrchestra in 1942 but the broader paced performance with the NBC \nSymphony Orchestra ten years later is better in terms of clarity while \nstill avoiding any feeling of mawkishness. It is worth comment that many\n musicians regarded the rehearsal of the work for this 1952 performance \nas a highlight of their careers.\u003c\/p\u003e\u003cp class=\"body\"\u003eNo doubt Cantelli benefitted for Toscanini's work with \nthe orchestra when he gave his performance a little over nine months \nlater and he certainly avoids all hint of extreme exaggeration by \nensuring that the shattering climax actually had expressive meaning.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e© Keith Bennett 2009\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e \u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eKeith Bennett is the author of \u003cb\u003eGuido Cantelli – Just Eight Years of Fame \u003c\/b\u003e(published\n 2009) which is only available from GC Publishers. For further details \neither write to GC Publishers, 21 Nunn Close, Martlesham, Woodbridge, \nSuffolk IP12 4UL, UK or e-mail\u003ca href=\"mailto:gcpublishers@keithbennett.waitrose.com\"\u003egcpublishers@keithbennett.waitrose.com\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":34131841421,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34131841485,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34131841549,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34131841613,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC319_52f9d365-3d9c-49ba-b37c-65370ea16d2f.jpg?v=1489572919"},{"product_id":"pacm004","title":"MAINARDI Bach: Suite No. 4 in E flat for Cello, BVW 1010 (1950) - PACM004","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003eBACH \u003c\/b\u003eSuite No. 4 in E flat for Cello, BVW 1010\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\" style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr data_liveedit_tagid=\"000000000D7722F0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\" style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded 23 January 1950\u003cbr\u003eDuration: 26:18\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM004.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003c\/b\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eEnrico Mainardi's 1950 Bach masterpiece\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eRemastered for finest sound quality\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEnrico Mainardi (1897-1976) was born in Milan and began playing cello\n at just three years old. At the age of eight he made his public debut, \nplaying a sonata by Beethoven, and subsequently toured Italy as a child \nprodigy. At just thirteen he played the Saint-Saëns concerto with Sir \nHenry Wood and his orchestra. The First World War forced him to give the\n instrument up for 4 years, and when he picked it up again he found he \nhad forgotten how to play.\u003c\/p\u003e\n\u003cp\u003eIn disgust, he studied composition and piano in Rome and only resumed\n cello studies at the age of 24, going to Berlin to study under Hugo \nBecker. Between 1929-31 he played under Erich Kleiber at the Berlin \nstate opera, and, in 1933, was appointed professor of cello at the \nAcademia di Santa Cecilia in Rome. In 1941 he succeeded Becker at the \nHochschule in Berlin. He was well known as a performer in Germany, \nItaly, Switzerland and Scandinavia, and as a teacher in France and \nEngland. \u003c\/p\u003e\n\u003cp\u003eAs a performer Maindardi went on to make a number of \nrecordings, both as a soloist and in small chamber ensembles, most \nfamously as a member of a Piano Trio alongside Edwin Fischer and \nWolfgang Schneiderhann. (NB. Edwin Fischer's interpretation of Bach's \nWell-Tempered Clavier features elsewhere on this site.) \u003c\/p\u003e\n\u003cp\u003eIt is \ninteresting to note that latterly there seems to have grown something of\n a cult following around Mainardi, most especially with regard to some \nof the more rare records he made with DGG in the 1950's, copies of which\n have been recently selling for several hundreds of dollars each on \nInternet auction sites.\u003c\/p\u003e\n\u003cp\u003eThis excellent recording was another \nwinner of a star award in The Record Guide reviews of the 1950's, and is\n well worth a place in anyone's collection. Another superb restoration \nby Peter Harrison of disk2disc.\u003c\/p\u003e\n\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH \u003c\/b\u003eSuite No. 4 in E flat for Cello, BVW 1010\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded 23 January 1950, Decca West Hampstead Studios, London\u003cbr\u003eIssued as Decca LL404\u003cbr\u003eDuration: 26:18\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM004.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM004.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f\u003c\/span\u003e","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":31418187789,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31418187853,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM004_fe8d87a3-c491-4599-9475-dc6b33ad4bc2.jpg?v=1487682375"},{"product_id":"pacm074","title":"CASALS Bach: Suites for Solo Cello (1936-39) - PACM074","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH \u003c\/b\u003eSuites for Solo Cello, BVW 1007-1012\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003eRecorded 1936-39\u003cbr\u003eTotal duration: 2hr 9:56\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cb\u003ePablo Casals, \u003c\/b\u003ecello\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fGramophone Historic Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIn these really splendid recordings, we have, if at one remove, the finest fruits of his great art.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003eThe \nsixth and seventh volumes of the Bach Society, which was formed by \nH.M.V. in 1934, contained the first, second, third and sixth Suites for \nvioloncello and this new volume, postponed for issue until now on \naccount of the war, completes the Series with the fourth and fifth \nSuites. \u003cbr\u003e \u003cbr\u003e Fred Gaisberg tells us in his book, \" Music on \nRecord,\" that Casals, at the age of thirteen, picked up a volume of the \nBach Suites in a music shop while looking round for some pieces to \nenlarge his repertoire. He was then playing in a restaurant and had \npersuaded the proprietor to devote one evening to chamber music. In \nlater years Casals was, Mr. Gaisberg says, \"the first of all \ninstrumentalists to play an entire Bach Suite at a public concert \"—a \nquite common occurrence to-day—and it was the Suite in B flat major, No.\n 4, that he once played to an audience of many thousands at the Albert \nHall. It is to Mr. Gaisberg that we owe, amongst so much else, these \nmagnificent records of a performance that perhaps has never been and now\n certainly could not be equalled anywhere in the world. \u003cbr\u003e \u003cbr\u003e One \ncan only guess at the immense labour and self-discipline that lay \nbetween the day when Casals first saw this music and his eventual \nmastery of it. I should be sorry to think that these records might only \ncome into the hands of 'cellists, for whom their acquisition is a \nforegone conclusion, and be avoided as a kind of caviare by the ordinary\n music lover. I would beg him, or her, to try, as samples, the Courante \nof the fourth Suite or the Prelude of the fifth. \u003cbr\u003e \u003cbr\u003e This music, \nrelying, except very occasionally, on the single melodic line (for \nharmony is rare) is a grand antidote if one has been soaking in \nluxuriant harmony or become conditioned to short-breathed melody. It is a\n discipline to listen—and it means genuine and concentrated listening—to\n this music : but the feeling of it being a discipline soon gives way to\n a sense of exhilaration and musical well-being. The Prelude of the \nfourth Suite, for example, begins like a technical exercise but this is \narrested by a pause after which, as Professor Westrup says in his \nexcellent notes, \"the music acquires an unexpected eloquence.\" The \nSarabandes in both Suites are of great beauty, the first being dominated\n by a dotted rhythm which Casals makes amazingly expressive. Above the \nSarabandes of the other Suite, a simple melodic line with a falling \ncadence very characteristic of Bach, there seems to hover another tune \nwhich we hear only in our mind's ear. \u003cbr\u003e \u003cbr\u003e But each movement has \nits special beauties and one can no more describe these than the superb \nplaying which brings the music to life. The light and shade, the use of \nrubato, technical things such as these are applied with magical skill \nbut it is the end to which they are applied that so deeply affects one, \nthe noble expression of this highly wrought and noble music. \u003cbr\u003e \u003cbr\u003e \nListening to these records, and especially to the fifth Suite, which is \nperhaps the finest of all, one realises afresh what our musical life has\n lost by Casals' refusal to play in this country but at least, in these \nreally splendid recordings, we have, if at one remove, the finest fruits\n of his great art.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003eThe Gramophone, August 1948, on Suites 4 \u0026amp; 5\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM074.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eCasals' finest recordings as never heard before\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eXR remastering strips away the decades to reveal incredible detail and nuance\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003eWhen one considers all of the recordings made in the \npost-1925 electrical recording era, but before the development of full \nfrequency range recordings in the 1940s, there can be few instruments \nmore suited to the restrictions of the technology at the time than the \ncello. The range of frequencies required to capture it well, thanks to \nits low register, generally falls within the capabilities of 1930 disc \nrecording, and this makes it a prime candidate for XR remastering. I've \nalready had considerable success with Casals - his 1938 recording of the\n Dvorák Cello Concerto (PASC 246) beat all others, old and new, to \nbecome Gramophone's recommended recording of the work in February 2011.\u003cbr\u003e\u003cbr\u003eHowever, nothing prepared me for the possibilities lying\n hidden in the grooves of his Cello Suites recordings of 1936 to 1939, \nwhich have surpassed all expectations. I was already familiar with \nissues on both EMI and Naxos (the latter a considerable improvement on \nthe former), but neither offers the listener the full-bodied tone of \nCasals' cello, the crispness of his sound, the sense of immediacy and \nclarity which lay hidden in these recordings for so many decades.\u003cbr\u003e\u003cbr\u003eMy first task was to take the disparate recordings and \nbring some homogeneity to the sound of the instrument - each suite was \ninitially processed separately, using a common reference in order to \niron out differences in the recording equipment and locations used \nduring the recording sessions. Thereafter I brought them together to \ncontinue what was at times a tricky restoration - revealing so much \nmusical detail also reveals much else that is unwanted. Occasionally \nthis may still be heard, but it should not distract you from one of the \nmost remarkable restorations it has been my pleasure to undertake.\u003cem\u003e\u003cbr\u003e\u003cbr\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e\u003c\/em\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\n\u003cp\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH \u003c\/b\u003eSuites for Solo Cello, BVW 1007-1012\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eSuite 1: Paris, 2 June 1938, Eng. M. Cailly, issued in Bach Society Volume 7, DB.3671-3673\u003cbr\u003eSuites 2 \u0026amp; 3: Abbey Road, London, 25 November 1936, issued in Bach Society Volume 6, DB.3399-3404\u003cbr\u003eSuites 4 \u0026amp; 5: Paris, 13 June 1939, Eng. M. Cailly, issued in Bach Society Volume 8, DB.6538-6540\u003cbr\u003eSuite 6: Paris, 3 June 1938, Eng. M. Cailly, issued in Bach Society Volume 7, DB.3674-3677\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, February 2011\u003cbr\u003e Cover artwork based on a photograph of Pablo Casals\u003cbr\u003eTotal duration: 2hr 9:56\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cb\u003ePablo Casals, \u003c\/b\u003ecello\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM074.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM074.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":31975446349,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975446413,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975446477,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975446541,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM074_93a6aaa1-d6ab-4990-bcd8-b8369063bef0.jpg?v=1487681988"},{"product_id":"pasc447","title":"CORTOT Concertos, Volume 2: Schumann \u0026 Bach (1927-37) - PASC447","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003ePiano Concerto\u003cb\u003e\u003cbr\u003eBACH \u003c\/b\u003eBrandenburg Concertos\u003cb\u003e\u003cbr\u003eBACH (arr. Cortot)\u003c\/b\u003e Organ Concerto No. 5\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio recordings, 1927-1937\u003cbr\u003eTotal duration: 2hr 0:27  \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003eAlfred Cortot, \u003c\/b\u003epiano, conductor\u003cb\u003e\u003cbr\u003eLondon Symphony Orchestra\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eLandon Ronald, \u003c\/b\u003econductor\u003cbr\u003e\u003cb\u003eGabriel Bouillon\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eRoger Cortet\u003c\/b\u003e, flute\u003cbr\u003e\u003cb\u003eJacques Thibaud\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eOrchestre de l'Ecole Normale de Musique de Paris\u003c\/b\u003e\u003c\/p\u003e\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC447.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eCortot's Concerto Recordings, Volume Two - as performer, conductor and arranger\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"The second movement, for the trio alone, is an everlasting retreat of beauty\" - The Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThese recordings demonstrate three sides of Cortot's musicianship: \nhis second (of three!) outing as soloist in the Schumann Concerto, a \nfine 1927 recording; his conducting of the six Brandenburg Concertos, \nwhich include an outing as piano soloist in the fifth (it is unclear \nwhether he plays harpsichord in the other concertos), recordings of \nconsiderably variable sound quality; and his own arrangement for piano \nof Bach's Organ Concerto No. 5, itself a re-working of a concerto by \nVivaldi for two violins and cello, well-recorded in 1937.\u003c\/p\u003e\u003cp\u003eEach recording presented a variety of technical challenges, and some \nnoisy sides in the Brandenburgs proved exceptionally troublesome. \nCapstan pitch stabilisation has been deployed throughout, to \nconsiderable effect in solidifying the sound, whilst XR remastering has \ndone much to improve the tonal balance of each recording.  \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e  Piano Concerto in A minor, Op. 54 \u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded: Queen's Hall, London, 22 June 1927\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eIssued as HMV DB.1059-62, Matrix Nos. CR 1398-1405\u003c\/span\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eAlfred Cortot\u003c\/b\u003e, piano\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003eLondon Symphony Orchestra, conductor: \u003cb\u003eLandon Ronald\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e \n\u003cspan style=\"font-size: x-small;\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cb\u003eBACH\u003c\/b\u003e  Brandenburg Concertos, BWV 1046-1051\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"bodybigblue\" style=\"font-size: small;\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded: Salle de l'Ecole Normale, Paris\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eConc erto No. 1: 1 June, 1933, HMV DB.2033-34, 2.PG.806-809\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eConc erto No. 2: 30 May, 1933, HMV DB.2035-36, 2.PG.801-803\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eConc erto No. 3: 2 December, 1931, HMV DB.1259-60, 0W.1024-27\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eConc erto No. 4: 29 May, 1933, HMV DB.2037-38, 2PG.797-800\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eConc erto No. 5: 16-17 May, 1932, HMV DB.1783-84, 2L.411-414\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eConc erto No. 6: 4 December, 1931, HMV DB.1626-27, 2W.1033-36\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eAlfred Cortot\u003c\/b\u003e, conductor, piano (concerto No. 5)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eGabriel Bouillon\u003c\/b\u003e, violin (concerto No. 4)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eRoger Cortet\u003c\/b\u003e, flute (concertos Nos. 4, 5)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eJacques Thibaud\u003c\/b\u003e, violin (concerto No. 5)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eOrchestre de l'Ecole Normale de Musique de Paris\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e \n\u003cspan style=\"font-size: x-small;\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cb\u003eBACH arr. Cortot\u003c\/b\u003e  Organ Concerto No. 5 in D minor, BWV 596\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded: Abbey Road Studio 3, 18 May 1937\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eIssued as HMV DB.3261-2, Matrix Nos. 2EA. 4930-32\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eAlfred Cortot\u003c\/b\u003e, piano\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC447.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC447.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":31975487245,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975487373,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975487501,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975487565,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC447_fc33b925-fd80-48dc-8274-1b75c0acfca0.jpg?v=1487682026"},{"product_id":"pakm050","title":"E. POWER BIGGS Soler: Concertos for 2 Organs; Bach: Eight Little Preludes and Fugues (1954-59) - PAKM050","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSOLER \u003c\/b\u003eSix Concertos for Two Organs*\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cbr\u003eBACH\u003c\/b\u003e Eight Little Preludes and Fugues\u003cb\u003e \u003c\/b\u003e\u003c\/span\u003e\u003cb class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 1954\/5 \u0026amp; 1959\u003cbr\u003eTotal duration: 77:40\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cbr\u003e E. Power Biggs \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003eorgan\u003cbr\u003e \u003cb\u003e*Daniel Pinkham \u003c\/b\u003eorgan=\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fYou owe it to yourself to own these performances578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis CD brings back some pleasant \nmemories for me—not necessarily of the Soler concertos for two organs, \nwhich was music I’d never heard before, but of E. Power Biggs. In my \nhappy but misspent youth, the recordings of both Biggs and Virgil Fox \nbrought me much delight. I was blissfully unaware that Fox had attacked \nBiggs for his stated belief that 18th-century organ music should be \nplayed, whenever possible, on period organs, partly because Biggs made \nthose antique instruments sing and dance with almost as much alacrity as\n Fox’s own recordings. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThat was the delight of Biggs. He \nlooked like your crabby next-door neighbor who was always chasing kids \noff his lawn, but his playing was always lively, emotional, and moving. \nThis recording was made roughly a year after he persuaded Harvard to \ninstall a three-manual, Baroque-styled Flentrop organ in the \nBusch-Reisinger Museum on the college’s campus. Playing opposite him was\n Daniel Pinkham (1923–06), for whom organ playing was a complement to \nactivities as a composer and educator. Pinkham studied composition with \nWalter Piston and Aaron Copland, harpsichord with Putnam Aldrich and \nWanda Landowska, and organ with Biggs himself. He was the organist at \nKing’s Chapel in Boston, and a frequent guest on Biggs’s CBS radio \nprogram. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eNow, I have to admit not knowing how \nthis recording of the Soler concertos was made, but Biggs is playing his\n Flentrop on the left channel while Pinkham is playing his Hess organ on\n the right. Since the instruments were firmly ensconced in their \nrespective Boston-area venues, I’m assuming that Biggs recorded his \nportion and Pinkham filled in the second part. But what puzzles me even \nmore is how Soler expected two organists to play them in the 18th \ncentury. I’m not quite sure if they are playable on one organ, four \nhands, like some piano music. Some musicologists insist that, since the \nword \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eorganos\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e in \nthe work’s title refers to almost any keyboard instrument, they could be\n played on two harpsichords. This would certainly explain a lot. \nMusically, these are truly delightful, dance-like pieces, with sometimes\n surprising turns of phrase. (One of the melodies in the opening \nmovement of the last concerto sounds like Eden Ahbez’s hit song \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNature Boy.\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e) \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe preludes and fugues written by \nJohann Tobias Krebs (1690–1762), a pupil of Bach, were thought for \nnearly two centuries to have been written by Bach himself and thus \nassigned BWV numbers (553–560). Regardless of the authorship, they are \nfine pieces of music. Biggs recorded these on his own while making a \ntour of Europe in 1954–55, using portable recording equipment. For an \namateur recording engineer, he did a pretty good job of compensating for\n the European voltage and current differences, but there were moments of\n unstable pitch and a variety of electrical hums that Andrew Rose has \nremoved. As usual with Biggs, the performances are lively and buoyant, \nand I for one am glad to have heard them. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eIf you are a fan of the Soler concertos, Biggs, or Pinkham, you owe it to yourself to own these performances. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eLynn René Bayley\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 35:6 (July\/Aug 2012) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM050.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eWonderful wide stereo renditions of Soler's Concertos for 2 Organs\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003ePlus Bach played on historic European organs in superb XR-remastered Ambient Stereo\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThe stereo Soler concerto recordings were transferred \nfrom a near-mint US Columbia pressing sent to Philips in Europe as a \nsample for possible licensing, whilst the Bach came from a near-mint \nPhilips white-label test pressing. Whilst the Soler was clearly \nwell-recorded, and makes excellent use of the stereo process - a rare \nexample where the novel effect of spacing two instruments widely apart \nactually works - the Bach (who probably didn't actually write the works \nin question himself) was far more problemmatic.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe recordings were made by Power Biggs himself, using \nportable equipment brought over from the US in a series of European \nchurches which presented all sorts of voltage and AC current problems \nfor the intrepid organist to solve. Although he made a reasonably good \ngo of converting, for example at one church, 165V at 50 Hz to 110V at 60\n Hz, the results were most definitely variable, pitches were less than \nstable or accurate, and a wide variety of induced electrical hum \nfrequencies were recorded.\u003c\/p\u003e\u003cp class=\"body\"\u003eFortunately all of these issues are now resolveable, and\n the judicious application of Ambient Stereo processing coupled with \nconvolution reverberation gives a sense of real space and presence to \nthese older mono recordings.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSOLER \u003c\/b\u003eSix Concertos for Two Organs* \u003cspan class=\"bodymidarial\"\u003e \u003cb\u003eFIRST RECORDING\u003c\/b\u003e\u003c\/span\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003ci\u003eRecorded 30 March 1959 Busch-Reisinger Museum, Harvard University\u003c\/i\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodymidarial\"\u003e\"In this recording Mr. Biggs' Flentrop is heard on the left and Mr. Pinkham's Hess on the right\" \u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBACH\u003c\/b\u003e Eight Little Preludes and Fugues\u003cb\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e[NB. Now believed to be by Johann Tobias KREBS]\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e Prelude and Fugue No. 1 in C major, BWV 553 \u003cbr\u003e\u003ci\u003e- Silbermann organ at Ebersmunster, Alsace\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e Prelude and Fugue No. 2 in D minor, BWV 554 \u003cbr\u003e\u003ci\u003e- St. Jacobi Church at Lübeck, Germany\u003c\/i\u003e\u003cbr\u003e \u003cbr\u003ePrelude and Fugue No. 3 in E minor, BWV 555 \u003cbr\u003e\u003ci\u003e- Pilgrimage Church at Absam, Austria\u003c\/i\u003e\u003cbr\u003e \u003cbr\u003ePrelude and Fugue No. 4 in F major, BWV 556 \u003cbr\u003e\u003ci\u003e- Prescher organ at Monchsdeggingen, Germany\u003c\/i\u003e\u003cbr\u003e \u003cbr\u003ePrelude and Fugue No. 5 in G major, BWV 557 \u003cbr\u003e\u003ci\u003e- Gabler organ at Ochsenhausen, Germany\u003c\/i\u003e\u003cbr\u003e \u003cbr\u003ePrelude and Fugue No. 6 in G minor, BWV 558 \u003cbr\u003e\u003ci\u003e- Moreau organ at Gouda, Holland\u003c\/i\u003e\u003cbr\u003e \u003cbr\u003ePrelude and Fugue No. 7 in A minor, BWV 559 \u003cbr\u003e\u003ci\u003e- Schnitger organ at Neuenfelde, Germany\u003c\/i\u003e\u003cbr\u003e \u003cbr\u003ePrelude and Fugue No. 8 in B flat major, BWV 560 \u003cbr\u003e\u003ci\u003e- St. Johannis Church at Luneburg, Germany\u003c\/i\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAKM050.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM050.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":8335021572157,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":8335021604925,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":8335021637693,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM050_0bb4ee4b-a2d4-4480-bf04-ccebf76d5c84.jpg?v=1526976139"},{"product_id":"pakm063","title":"FEINBERG Bach: The Well-Tempered Clavier (1958-61) - PAKM063","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003eBACH \u003c\/b\u003eDas wohltemperierte Klavier, BWV 846–893\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio Recordings · 1958-61\u003cbr\u003eTotal duration: 3hr 43:03 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eSamuil Feinberg, \u003c\/b\u003epiano\u003cem\u003e\u003c\/em\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is now my performance of choice for this work. Its legendary status among keyboard cognoscenti is fully deserved578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI have been known to say that I’m even \nhappy to have Bach played on a kazoo, just so that someone, somewhere, \nis playing Bach. But while I do delight in having Bach played in any \nform, I also have decided preferences. When it comes to the works for \nclavier, while I cheer on every pianist who takes them in hand, my own \nBach collection—with the exception of Glenn Gould’s classic 1955 account\n of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGoldberg Variations\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e—contains\n only performances on the harpsichord. At least, it did until now. When \nthe weekly email advertisement arrived from Andrew Rose of Pristine \nAudio, announcing this set as his latest release, I read through it as a\n kind of curiosity item and then clicked on the attached sample audio \nfile. About 30 seconds later I was pounding out an email to Joel \nFlegler, begging for a review copy to be sent to me, as I stared at my \ncomputer speakers in dumbfounded amazement. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSeveral weeks later, after receiving \nthis set and listening to it multiple times, I can still find myself \nstaring at my stereo system speakers in dumbfounded amazement. Simply \nput, the playing here is interpretive genius of the highest order. While\n obviously possessing the powerful, deep-in-the-keys touch of the \nRussian school of pianism, Feinberg is first notable for the light \nrestraint he employs throughout the cycle of 48 pieces instead, with \nvery sparing use of any pedals. There is also a limpid fluidity that \nmaintains momentum through gracefulness of flow rather than driving \nrhythm. Not that a keen sense of rhythm is absent; another facet of \nFeinberg’s playing is extraordinary rhythmic clarity. Without any need \nfor exaggerated accent, he always subtly conveys the downbeat of every \nmeasure, maintaining the metrical pulse so necessary to Bach’s music. \nWhile tempos are generally brisk, they are never rushed or hectic. A \nthird remarkable feature is Feinberg’s uncanny ability to bring out \nevery polyphonic line and fugal voice in perfect balance to every other \none, so that the structural clarity of Bach’s work is as brilliantly \nrefracted as light through a flawless diamond. Finally, while some \nprevious commentators (Allen Evans in 18:2 in these pages, Jonathan \nWoolf on MusicWeb International in July 2006) have remarked on \nFeinberg’s extensive use of rubato and ritards, I find the application \nof those to be relatively restrained compared to some other pianists and\n invariably well judged. (Feinberg does tend to take the second half of a\n prelude or fugue slightly slower than the first half, and to apply most\n of his agogic touches and tempo adjustments there, perhaps as an \nalternative to the ornamentation that a harpsichordist might add \ninstead.) \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe foregoing can be illustrated with \nreferences to some particular instances. Right at the start, in the \niconic C-Major Prelude of Book I (CD 1, track 1), Feinberg immediately \navoids the trap into which so many performers fall of trying to vary the\n succession of pairs of ascending three-note arpeggios by inserting \nunnatural pauses or accents; instead, he merely adds just a touch of \nextra weight to the first note of every six-note group to establish the \npulse and keep the flow uninterrupted. The C\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e♯\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e-Minor\n Fugue of Book I (CD 1, track 8) is a sterling example of his ability to\n maintain an absolutely steady sense of rhythm with a clear downbeat \npulse but no hint of metronomic rigidity. Any question as to his ability\n to dash off rapid passage-work is immediately laid to rest by his \nsparkling accounts of the C-Minor and D-Major preludes of Book I (CD 1, \ntracks 3 and 9). In the C\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e♯\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e-Major\n Fugue of Book I (CD 1, track 6) he adroitly brings out the dance rhythm\n underlying the overlapping fugal voices, and also provides a typical \noccurrence of his adjusting the latter part to a slightly slower tempo. \nThe immediately succeeding C\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e♯\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e-Minor\n Prelude (CD 1, track 7) is a model instance of his ability to apply \nsubtle agogic touches for expressive effect. In the A-Minor Fugue of \nBook I (CD 2, track 16), Feinberg maintains an unflagging sense of \nmomentum, with a brief but magical touch of dynamic shading down to \npiano shortly after the 3:00 mark, and a marked but entirely appropriate\n ritard at the end. The monumental B-Minor Prelude and Fugue that close \nBook I (CD 2, tracks 23 and 24) have the sense of cumulative finality \nand closure that can come only from a superb architectonic balance of \nthe 22 preceding numbers. Both the C-Major Prelude that opens Book II \n(CD 3, track 1) and the F \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e♯\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e-Major\n Prelude that opens that book’s second half (CD 4, track 1) are oases of\n spiritual serenity. The E-Minor Fugue of Book II (CD 3, track 20) \ndisplays Feinberg’s pointed rhythmic sense, while the B-Major Fugue (CD \n4, track 22) demonstrates his abilities both to balance fugal voices and\n to distinguish them from one another with an adroit use of accents. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWho, then, was Samuil Yegenyevich \nFeinberg (1890–1962)? Born in Odessa, he entered the Moscow \nConservatory, where he was a pupil of Alexander Goldenweiser for piano \nand of Nikolai Zhilyayev for composition. After graduating in 1911, he \nbegan a career as a concert pianist, winning praise from Scriabin for \nhis performances of the latter’s compositions, and in 1914 he presented \nthe first complete concert performance in Russia of Bach’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eWTC\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n In 1922 he joined the faculty of the Moscow Conservatory, where he \nstayed until his death. While remaining active as a concert pianist, he \nalso composed three piano concertos, 12 piano sonatas (recorded complete\n a decade ago by Nikolaos Samaltanos and Christophe Sirodeau for BIS), \nand a number of shorter piano works, and also created numerous \ntranscriptions for piano of works by a variety of composers ranging from\n Frescobaldi to Borodin. In addition to his Bach recordings (which go \nbeyond the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eWTC\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e), \nhe is particularly noted for the ones he made of Scriabin’s music. \nFeinberg’s own thoughts on interpretation can be found at \nbrightcecilia.com\/forum\/showthread.php?t=2994 and \narbiterrecords.org\/catalog\/samuil-feinberg-in-sound-and-thought\/. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003ePristine dates these Melodiya \nrecordings to between 1958 and 1961; the web site of the International \nFeinberg-Skalkottas Society and other sources date them to 1958–59. They\n are in decent monaural sound, slightly boxy and with a bit of residual \nhiss. There have been previous CD issues on Russian Disc and Monopole; I\n have not heard any of those issues, but previous experience with those \nlabels gives me the confidence to say that Andrew Rose has surely \nproduced a much superior edition, and those other ones are no longer \navailable in any case. The CDs themselves (packaged in two sets of \nslimline two-CD cases) only come with track listings on back tray cards,\n and a brief front tray insert with a reproduction of a photo of \nFeinberg at the piano and the aforementioned Allan Evans review; as is \nusual with Pristine Audio, additional notes are to be found online at \nthe web site. Those who prefer to pay for online downloads also can get a\n free copy of a score of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eWTC\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e with that. (Sorry, no fries or supersize instead.) \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eI never imagined that I would ever prefer a pianistic version of Bach’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eWTC\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n to one played on a harpsichord; but, unless and until I find a \nharpsichord rendition that works the same kind of magic as does \nFeinberg, this is now my performance of choice for this work. Its \nlegendary status among keyboard \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ecognoscenti\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is fully deserved, and I am honored to have the opportunity to place it both in the\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Fanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e Classical Hall of Fame, and on my 2014 Want List. Truly extraordinary, indeed! \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames A. Altena\u003c\/b\u003e\u003cbr\u003eThis article originally appeared in Issue 38:3 (Jan\/Feb 2015) of Fanfare Magazine. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM063.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eOne of the all-time great recordings of Bach's 48 - Feinberg's interpretation is nothing short of brilliant\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"We\n have here one of the finest cycles of Bach's forty-eight ever recorded,\n surpassing Fischer, Richter, Gould, and most others\" - Fanfare, 1994\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThese recordings were recorded in Moscow for mono LP release by \nMelodiya between 1958 and 1961. Since then their legend has only grown -\n by 2010 they were listed alongside versions of the Well-Tempered \nClavier by Edwin Fischer (Pristine PAKM001) and Andras Schiff in \nGramophone magazine's 250 greatest classical recordings, despite their \nintermittent and limited availability.\u003cbr\u003e\u003cbr\u003eIn preparing them for this\n release I've endeavoured to both clarify and fill out the rather flat \nsound of the original through XR remastering, bringing a greater sense \nof clarity to the sound. The instrument itself feels more solid with the\n application of pitch stabilisation, which has worked both on issues of \nflutter and more long-term pitch instability.\u003cbr\u003e\u003cbr\u003eAmbient Stereo \nprocessing, when chosen, makes a good job of extracting the room \nambience from the original recordings and giving it dimension, whilst \nretaining the mono image of the piano itself, and is my recommended \nlistening format. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cli\u003e\n\u003cb\u003eBACH \u003c\/b\u003eThe Well-Tempered Clavier, Book 1\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003eRecorded c.1958-61, Moscow\u003cbr\u003eIssued as Melodiya D-05268-05273  \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eBACH\u003c\/b\u003e The Well-Tempered Clavier, Book 2\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003eRecorded c.1958-61, Moscow\u003cbr\u003eIssued as Melodiya D-05106-05110\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAKM063.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM063.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":31975532685,"sku":null,"price":64.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975532813,"sku":null,"price":44.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975532877,"sku":null,"price":44.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975533005,"sku":null,"price":36.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM063_86187477-8478-4eb2-bda0-3c8ecdee5450.jpg?v=1487682070"},{"product_id":"pakm001","title":"FISCHER Bach: The Well-Tempered Clavier (1933-36) - PAKM001","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cb\u003eBACH \u003c\/b\u003eDas wohltemperierte Klavier, BWV 846–893\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 1933-1936\u003cbr\u003eIssued across 64 sides as The Bach Society Issues Volume 1-5\u003cbr\u003eTotal duration: 3hr 52:33 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eEdwin Fischer, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003epiano\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fBill Rosen's Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"TIMESb\"\u003eBach’s Well-Tempered Clavier (WTC) is not a great \npiece of music like the “Eroica” symphony or “The Rite of Spring”. \nRather, it is a musical window on the pulsating field of energy which \nsurrounds us and which we perceive as the Universe. Andrew Rose of \nPristine Audio, by dint of enormous labor and artistry, has rescued this\n historical performance, previously comfortably residing in the EMI \nHouse of the Dead, and given it the breath of life to bring us its \nmeaning for today’s world. It reveals Edwin Fischer as a brilliant, \nvirile, imaginative pianist fully equal to all the challanges of the \nWell-Tempered Clavier. \u003cbr\u003e\u003cbr\u003eWhile listening to this work, I enjoyed \nthe thought that so many great musicians have experienced the same music\n I was hearing. Beethoven was introduced to the work at age ten by his \nteacher and began his teenage day by playing several preludes and \nfugues. Beethoven said in later years, “it is far more than just a brook\n (German: Bach); it is an ocean”. Mozart studied the WTC sufficiently to\n write new preludes for six of the fugues; one wonders why? Both \nShostakovich and Rodion Shchedrin were inspired to write their own \ncanonical 24. \u003cbr\u003e\u003cbr\u003eThe recordings available of the Well Tempered \nClavier are without number. In my own collection, they range from \nMieszeslav Horzowski, who recorded a few preludes and fugues at his \n100th birthday concert to Albert Wong, who recorded all of Book II at \nthe age of 10 and also wrote the program notes. I never considered Edwin\n Fischer more than an “historically important” pianist. I respected him \nfor his Bach concerti, for his Beethoven “Emperor” Concerto with \nFurtwangler and for being the first pianist to record Bach’s WTC. I can \nnow say that, as a result of listening to Pristine Audio’s restoration, \nthat judgment is completely wrong. Edwin Fischer is a great pianist, one\n of the greatest pianists of the first half of the 20th century. His \nrecording of the Bach WTC can be matched by few of the many pianists or \nharpsichordists of the post World-War II period. I know that this is a \nlot to claim; I shall try to substantiate it in the paragraphs that \nfollow. \u003cbr\u003e\u003cbr\u003eIt is often said that keyboard technique improved \ngreatly after WWII and that some of the greats of the past could be \noutplayed by today’s 13-year-old girl piano student (e.g. Cortot, \nGieseking). Not so Fischer—listen to his technique in Book 1: IX, XV; \nBook II: VI, XX. Unlike Glen Gould, his technique does not dazzle and is\n never obtrusive, but is always in the service of the music. \u003cbr\u003e\u003cbr\u003eThe\n incredible variety of color with which Fischer invests the preludes is \nto me unmatched: playful, innocent, laughing, pouting, sad, and on and \non. There are few tempo or dynamic markings and here Fischer’s great \nEuropean tradition really shows in the confident and daring range of his\n choices, in his lack of fear and trembling before one of the great \nedifices of European culture. \u003cbr\u003e\u003cbr\u003eCounterpoint is good for us, we \nare told. We are to follow it and appreciate it. Fischer shows us that \nvoices, entries, counter-subjects and stretti don’t matter. He plays the\n music and a fugue as simply an essay in inevitability—always alive, \nalways forward moving. Listen to Book 1: VIII; Book 2: V, XIII, XXII. \u003cbr\u003e\u003cbr\u003eThere\n is an occasional failure. Book 1: XXIV is the worst. The grief-stricken\n B minor prelude has a moving base with a contrapuntally dissonant \ntwo-part treble reminiscent of the opening chorus of the “St John \nPassion”. Bach indicates that each part is to be repeated. Fischer does \nnot take the repeats. The fugue is marked Largo. Fischer plays it more \nlike an Andante, robbing it of its burden of grief. A rare failure in a \ngreat performance. \u003cbr\u003e\u003cbr\u003eOne must sum up by saying that a great \nrestoration job has made it possible to hear a revelatory performance. \nWhen I hear Gould perform these works, I think, “How great a pianist \nGould is or sometimes how great Bach is”. When I hear this Fischer \nperformance, I think how happy I am to be alive. \u003cbr\u003e\u003cbr\u003eReviewer: Bill Rosen\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM001.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eEdwin Fischer's classic world's-first recording of Das wohltemperierte Klavier\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eThe recording that inspired the creation of Pristine Classical\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eTwenty years after the commencement of this monumental recording, \nSackville-West and Shawe-Taylor, noting that this was still the only \nrecording available in England of Bach's epic 48 Preludes and Fugues, \ndelighted in Edwin Fischer's achievement: \"quiet, self-possessed, \nbeautifully sensitive to the great variety of moods in this long chain \nof masterpieces.\"\u003cbr\u003e\u003cbr\u003eTheir chief worry, that \"the recording...is a \nlittle dim by modern standards\", needs no longer concern the modern \nlistener - these new restorations really do take the breath away and \nreveal the true mastery of these recordings. \u003cbr\u003e\u003cbr\u003eGone is the dull \nand, frankly, bizarre piano tone of certain other audio restorations of \nthis recording. Here is the sound of a piano being played gorgeously by \none of the 20th century's greatest pianists, in a seminal recording \nwhich still stands as the benchmark for interpreters of Bach the world \nover.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\n\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAKM001.jpg578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAKM002.jpg578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM001.pdf578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":34051823629,"sku":null,"price":44.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":34051823693,"sku":null,"price":36.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM001_67034693-2e2c-4090-8c30-3844ebc21960.jpg?v=1489499347"},{"product_id":"pakm062","title":"GOULD Bach: Goldberg Variations (1955) - PAKM062","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBACH \u003c\/b\u003eGoldberg Variations\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 10, 14 \u0026amp; 16 June, 1955, Columbia 30th Street Studios, New York\u003cbr\u003eTotal duration: 38:33\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eGlenn Gould, \u003c\/b\u003epiano\u003c\/span\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIt was in any case always good but here certainly sounds fuller in Ambient Stereo...578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eIt would be otiose to attempt a detailed critical commentary on this \niconic, landmark recording by the 22-year-old Glenn Gould. Most admirers\n will already own this, the alpha version, and also the omega of 1982, \nmade just before his death at fifty. They are both essential listening \nto those who can tolerate Gould’s vocalise and interpretative \neccentricities; those who cannot will already know to leave this alone. \u003cbr\u003e   \u003cbr\u003e\n Most previous issues from Sony and Naxos have either supplemented the \nGoldbergs with some complementary pieces such as fugues or a Partita, or\n have paired the two recordings. Pristine choose here to leave the \nVariations unadorned at a mere 38 and a half minutes, Gould having \nchosen the first time around to ignore repeats. That might seem unduly \nparsimonious or reverential to some collectors. However, sound engineer \nAndrew Rose has marginally reduced some of the extraneous noises and \nenhanced the depth of the original, mono piano sound. It was in any case\n always good but here certainly sounds fuller in Ambient Stereo. \u003cbr\u003e   \u003cbr\u003e\n Unfortunately, as a corollary to that process, the thuds and thumps of \nthe original have become more pronounced. I am not sure that I do not \nprefer the slightly drier ambience of my 1992 20-bit re-mastering from \nSony; indeed I have become so used to it that I fancy Gould’s conception\n is better served by the slightly more distanced, mono sound. \u003cbr\u003e   \u003cbr\u003e\n In short, if you already own this in a previous Sony incarnation, I \nwouldn’t rush to replace it with this from Pristine. Convert though I am\n to the Ambient Stereo re-mastering process, I do not think that on this\n occasion I would recommend this Pristine issue over the one from Sony.  \n \u003cbr\u003e   \u003cbr\u003e \u003cb\u003e\u003ci\u003eRalph Moore\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003e\u003c\/span\u003e\u003c\/b\u003e\n\u003cspan class=\"TIMESb\"\u003eMusicWeb International, December 2013\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM062.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eOne of the great recording of the 20th Century - Gould's Golberg Variations, XR remastered\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\" There is no doubt whatever in my mind that Gould is superior in every way\" \u003cbr\u003e- The Gramophone, 1958\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eREVIEW - UK LP ISSUE\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\nWith two piano versions and two harpsichord versions, competition is now\n equal, at least numerically. As A.R. left the matter, in his review of \nthe Leonhardt performance, the better of the two harpsichord versions \nwas Landowska’s. Of the two pianists, there is no doubt whatever in my \nmind that Gould is superior in every way. Some of his tempi may be fast,\n but his is a speed connected with urgency more than with show or \nbrilliance. He carries a phrase through a gigantic upward or downward \nsweep, effortless, controlled, and clear as crystal. Those listeners \nwho, unlike Count Kayserling, fall asleep rather than keep awake through\n this forty-five minute ritual, will have no difficulty in keeping their\n eyes and ears open when they play this new Philips recording.\u003cbr\u003e\u003cbr\u003eGould\n has some of the clearest keyboard counterpoint I have heard for a long \ntime and (unlike Demus) is sparing in his use of the pedal. Compare, for\n instance, the two versions of Variation 11, or of 14. In both cases \nGould is faster, but the odd thing is that he is also clearer. Demus \nproduces a thick, rather muddy sound, makes too much of descending bass \nfigures, and plods rather than plays. Sometimes I found it hard to \nbelieve that two corresponding variations were really the same music!\u003cbr\u003e\u003cbr\u003eThe\n Philips disc is helped by really splendid recording, with the piano \ntone full and sonorous, yet capable of the fine expressiveness required \nfor Variations 21 and 25. This is a performance that I shall treasure, \nfor it has the kind of architecture in tone which is often longed for \nbut rarely found.\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003eD.S., The Gramophone\u003c\/b\u003e, January 1958\u003cbr\u003e \u003cem\u003eReview of Philips SBL.5211\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003eGlenn Gould's legendary 1955 recording of \nthe Goldberg Variations needs no introduction. From the very first it \nwas recognised as a classic - not just in the review reproduced here, \nbut two years earlier in Harold Schonberg's \"Letter from America\", in \nwhich he wrote a single line: \"An interesting Columbia debut is that of \nGlenn Gould, a young Canadian pianist who played Bach's Goldberg \nVariations with some original ideas that never sound eccentric.\" \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003eOn more than one occasion I've been asked \nwhether it might be possible to excise Gould's extraneous noises, to \nwhich the answer is, in some cases, yes, in others, not yet... In this \nnew XR remastering this was not the aim, though some have gone. Rather, \nmy intention was to improve the sound of the piano. My hope was to find \nsignificant tonal improvements - an A-B comparison with the best \nexisting transfers suggests this has been achieved, with the piano now \nappearing as a full, three-dimensional instrument where before it was \nrather flat and dull. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003eI resisted the temptation to pad out this \nrelease with extra material. This is the Gould Goldberg, and it's never \nsounded better.\u003cbr\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBACH \u003c\/b\u003eGoldberg Variations\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 10, 14 \u0026amp; 16 June, 1955, Columbia 30th Street Studios, New York\u003cbr\u003eFirst issued on Columbia ML 5060\u003cbr\u003eProducer and XR remastering engineer: Andrew Rose\u003cbr\u003e Cover artwork based on a photograph of Glenn Gould\u003cbr\u003eTotal duration: 38:33\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eGlenn Gould, \u003c\/b\u003epiano\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAKM062.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM062.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":31975599565,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975599629,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975599693,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975599757,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM062_1efee847-9be1-457f-a250-469b990fe2ae.jpg?v=1487682160"},{"product_id":"pakm068","title":"GOULD Bach: Goldberg Variations, 2 Partitas (CBC live 1954\/1957) - PAKM068","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBACH \u003c\/b\u003eGoldberg Variations\u003cbr\u003e\u003cb\u003eBACH\u003c\/b\u003e Partitas Nos. 5 \u0026amp; 6\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eLive broadcast and studio recordings, 1954 \u0026amp; 1957\u003cbr\u003eTotal duration: 75:44\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eGlenn Gould, \u003c\/b\u003epiano\u003c\/span\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fOf supreme historical interest ... an unalloyed joy578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eEighteen twenty-nine was a major year in the history of Bach reception: That’s when Mendelssohn’s performance of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSt. Matthew Passion\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n led to a major re-evaluation of Bach’s standing. But you can argue that\n 1955 was just as significant: That’s when Glenn Gould made the first of\n his two studio recordings of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGoldberg Variations\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Whatever you think of Gould as a performer, it’s hard to deny that the \nspirited Bach of his early years had a profound and lasting (albeit \ncomplex) influence on subsequent performances, and that the 1955 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGoldbergs\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n in particular has served as a point of orientation for performers \n(especially keyboard performers) for over 60 years now. I can’t think of\n any other Bach recording—not even Casals’s recording of the cello \nsuites—with that kind of aura. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eGould hadn’t even hit his 23rd birthday\n when he made that recording. Still, it didn’t come from nowhere, and \nthis live CBC broadcast from a year earlier gives us a kind of rough \ndraft of the canonical performance to come. It’s generally slower \n(sometimes markedly so); in spots, it’s more conventionally “Romantic” \n(try the end of Variation 7); and it differs in detail, especially \ndetail of articulation, throughout. But in its underlying outlook (in \nparticular, in its punchy bass lines and the way Gould gives each \ncontrapuntal line its own rhythmic profile), it clearly looks ahead to \n1955. It’s therefore of supreme historical interest. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOf course, claiming “historical \ninterest” is often a way of damning with faint praise—but in this case, \nat least, the recording has enormous intrinsic interest as well. It’s a \nbit disconcerting to find your own words quoted at you in the program \nbooklet of a CD—especially when they’re more than 20 years old. \nFortunately, my enthusiasm for this performance of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGoldberg Variations\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n which is reprinted on Pristine’s reissue, has remained undimmed. Gould \nwas famously allergic to live performance, which he abandoned \nmid-career—and it’s easy to assume that he didn’t thrive in front of an \naudience or away from the editing machines. And, I suppose, \npsychologically and ideologically, he didn’t. But in his idiosyncratic \nway, he was a charismatic stage presence—and as I’ve argued before (see \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n 35:4), his live performances (and that includes both his live \nbroadcasts and his actual concerts) have a virtuoso sense of occasion \nthat has always made me regret his decision to retreat from the concert \nhall. Certainly, listening to this broadcast, which almost paradoxically\n combines freshness (it often sounds as if the wonders of the music were\n being discovered for the first time) and self-confidence, is an \nunalloyed joy. It would be worth owning even if it were the only thing \non the CD; the generous addition of the two Partitas—the bulk of a \nsensational studio disc issued the year after the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGoldberg\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es—makes this scrupulously remastered offering that much more attractive. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003ePeter J. Rabinowitz\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eThis article originally appeared in Issue 40:3 (Jan\/Feb 2017) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM068.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eGlenn Gould's earliest Goldberg Variations - live Canadian radio broadcast, 1954\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eXR remastering brings to life this landmark recording - plus the 1957 Partitas 5 \u0026amp; 6 remastered\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThis release offers two sides to the young Glenn Gould: his very earliest known recording the \u003cem\u003eGoldberg Variations\u003c\/em\u003e\n (and one in which his characteristic humming or singing is absent), \nfollowed by a studio recording from three years later of two Bach \nPartitas (by which time his fame was rapidly spreading, and that humming\n most certainly can be heard!)\u003c\/p\u003e\u003cp\u003eThe \u003cem\u003eVariations \u003c\/em\u003ederive from a CBC live radio broadcast \nperformance of which Gould had a private recording made onto 33rpm \nacetate discs - no other copy is known. It first surfaced on a Sony CD \nin 1995 and has received a number of releases since then on various \nlabels, including several on Sony. Each has suffered from a number of \nchronic defects, the most notable of which are pitch instability, piano \ntone and disc surface noise, swish, scuffs and so forth. Various \nengineers have had varied success in tackling some of these faults; this\n restorations aims to resolve as many as are now technically possible. \nFor the first time the piano is pitched accurately and with much greater\n stability; tone is much improved; a plethora of intrusive surface \nnoises have been either eradicated or diminished; general background \nnoise from the disc is greatly reduced. There remains some unfortunate \nbut mild distortion that is inherent in the recording, but overall this \nis an enormous step forward from previous issues, and what was perhaps \nlittle more than a curiosity can now be fully appreciated on its own \nterms as perhaps never before.\u003c\/p\u003e\u003cp\u003eThe 1957\u003cem\u003e Partitas 5 and 6\u003c\/em\u003e were of course much better \nrecorded, taped under proper recording studio conditions. Nevertheless \nsome pitch issues between takes have been resolved here for the first \ntime, and the piano tone has also benefited from XR remastering. Put \ntogether these two recordings paint a vivid picture of the young \npianist, both live and in the studio.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH  \u003c\/b\u003eGoldberg Variations, BWV 988\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH  \u003c\/b\u003ePartita No. 5 in G major, BWV 929\u003c\/span\u003e \u003c\/span\u003e\u003cspan\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH  \u003c\/b\u003ePartita No. 6 in E minor, BWV 930\u003c\/span\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp style=\"padding-left: 30px; display: inline !important;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003eGlenn Gould\u003c\/b\u003e, piano\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cb\u003eGoldberg Variations\u003c\/b\u003e: Broadcast live, 21 June 1954, CBC Canada\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eAcetate discs from the Gould archive\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cb\u003ePartitas\u003c\/b\u003e: Recorded 29 \u0026amp; 31 July, 1 August 1957\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eColumbia 30th St. Studio, New York City\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eIssued in the US as Columbia Masterworks ‎ML.5186 \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eIssued in the UK as Philips ABL.3234\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAKM068.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM068.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":31975601101,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975601165,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975601229,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM068_1b00271b-8916-49f2-9e4e-feeec9d5a416.jpg?v=1487682163"},{"product_id":"pacm075","title":"HEIFETZ Bach: Sonatas \u0026 Partitas for Solo Violin (1952\/1925) - PACM075","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH \u003c\/b\u003eSonatas and Partitas for solo violin, BWV1001-1006\u003cbr\u003e\u003cb\u003eBACH \u003c\/b\u003ePartita No. 3 in E major BWV 1006, Menuetts I \u0026amp; II\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eRecorded 1952 \u0026amp; 1925\u003cbr\u003eTotal duration: 2hr 9:01\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cb\u003eJascha Heifetz, \u003c\/b\u003eviolin\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fGramophone Historic Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fPerhaps these discs are Heifetz's greatest achievement in the recording studio578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003eTo \nmy shame, I had not heard these performances before, yet although I \nwould hardly wish normally to listen consecutively to six unaccompanied \nviolin works, I have several times heard these three discs through in \nrapt fascination. Heifetz is a violinist, not a scholar, and as such \nprobably is not considered highly these days as a Bach player. But so \nmuch the worse for the people who do the rating, for these performances \nare practically as good as the music itself. \u003cbr\u003e \u003cbr\u003e Their prime \ncharacteristic is an absolute and unflinching clarity which perfectly \nconveys the music's power and directness—in the complex opening Adagio \nof Sonata No. 3, for example. Add to this an unswerving integrity of \nline, even in the fugues which, the Second Partita's Chaconne \nnotwithstanding, are the most astonishing movements of the astonishing \nworks. \u003cbr\u003e \u003cbr\u003e Hear, too, the fullness and variety of tone \nthroughout—how many voices the violin is proved to have during the \nChaconne! —the sustained expressive force of movements such as the \nAllemande of Partita No. 1 or the richly elaborated Grave of the Second \nSonata, and the wonderful resilience of quick pieces like the Gigue from\n Partita No. 2, a true sublimated dance. \u003cbr\u003e \u003cbr\u003e Perhaps these discs are Heifetz's greatest achievement in the recording studio.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"bodybigblue\"\u003eThe Gramophone, June 1973\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM075.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003e\"Heifetz's greatest achievement in the recording studio\"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eBach's solo Sonatas and Partitas in superb new XR remastering\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eThese recordings, remarkably for a violin player who had\n such a long and illustrious career, represent the only complete set of \nBach's Sonatas and Partitas for Solo Violin recorded by Heifetz. Prior \nto the 1952 recordings he made a handful of recordings in 1935 for HMV \nwhich appear to have been unissued at the time in favour of Yehudi \nMenuhin's discs - records suggest some of Heifetz's 1930s EMI Bach \nrecordings finally saw release in the mid-1970s.\u003cbr\u003e\u003cbr\u003eI have also included his very first recording of any of \nthese works, a 1925 early electric which partnered a short piece by \nCouperin on a single side of a one-off disc which appeared both in the \nUK on HMV and in the USA on Victor.\u003cbr\u003e\u003cbr\u003eThe 1952 recording has suffered at the hands of a number\n of remastering engineers, not least RCA Victor's own - a CD issue of \nthese recordings I've heard can only be described as vile. Hopefully \nnobody will say the same of this new remastering, which aims to restore a\n clarity and directness of tone to this wonderful set of performances \nthat has been all-too-often absent elsewhere.\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH \u003c\/b\u003eSonatas and Partitas for solo violin, BWV1001-1006\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded\n 21st October 1952 (Sonata No. 1 \u0026amp; Partita No. 3), 22nd October 1952\n (Sonata No. 3), 23rd October 1952 (Partita No. 1), 24th October 1952 \n(Sonata No. 2, Partita No. 2), RCA Victor Studios, Hollywood, \nCalifornia, USA.\u003cbr\u003eFirst issued as RCA Victor 3 LP set LM 6105.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH \u003c\/b\u003ePartita No. 3 in E major BWV 1006, Menuetts I \u0026amp; II\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded\n 29th December, 1925, Victor Studios, Camden, New Jersey, USA, issued in\n the USA as Victor 6564 and in the UK as HMV DB945, Matrix Number CVE \n34072\u003cbr\u003e\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, February 2011\u003cbr\u003e Cover artwork based on a photograph of Jascha Heifetz\u003cbr\u003eTotal duration: 2hr 9:01\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cb\u003eJascha Heifetz, \u003c\/b\u003eviolin\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover 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Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":31975643533,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975643661,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975643789,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975643917,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM075.jpg?v=1638956275"},{"product_id":"pasc468","title":"HORENSTEIN Bach: Six Brandenburg Concertos (1954) - PASC468","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH \u003c\/b\u003eSix Brandenburg Concertos\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio recordings, 1954\u003cbr\u003eTotal duration: 1hr 40:00\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eJascha Horenstein, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eWiener Soloists\u003c\/b\u003e\n\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp class=\"bodybigblue\" data_liveedit_tagid=\"000000000D776290\"\u003e \u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: MusicWeb International \u0026amp; Fanfare578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fHorenstein's well executed and sometimes exciting performances578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHere’s a reissue of a 1954 monaural \nrecording from the Vox label. The accompanying booklet, if you can call \nit that—it’s printed on one side of a single sheet—has only of a list of\n performers (apparently a pick-up group), a brief producer’s note, and a\n concise \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e \nreview, not by me, from 1996. We occasionally stick multiple reviewers \non a new release, and I’ve seen blurbs in a booklet, but this is a first\n in my experience. What to do? \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWell, I’m in general agreement with the\n observations of my colleague, Richard Burke. He pointed out that Vox’s \nclaim that it was the first “original-instruments” \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBrandenburg\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n set is not quite accurate. The “Wiener Soloists” did use a violino \npiccolo, recorders, and violas da gamba, but modern instruments \notherwise. I agree that Jascha Horenstein’s tempos were, for the time, \n“startlingly up-to-date,” though I’m a little less convinced that the \n“slow movements never drag.” Burke’s assertion that “these are \nperformances of great distinction” may be a little overstated—I’d be \ninclined to drop the “great”—but these are nonetheless performances of \ninterest, and it’s good that they’ve been preserved. They are “certainly\n not,” in Burke’s estimation, “a first or second choice” for a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBrandenburg\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e set, but I agree with him that they are certainly worth hearing. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe producer’s note states that this \nset was revived to honor the late Nikolaus Harnoncourt. And, indeed, \nHarnoncourt did participate in Concerto No. 6, playing the viola da \ngamba part presumably written for the limited abilities of Prince \nLeopold of Cöthen. More noteworthy was the remarkable versatility of the\n Swiss composer and conductor Paul Angerer, who played solo violin, \nviolino piccolo, harpsichord, and recorder in the sessions. \nMysteriously, two trumpet players are listed in the roster of players. \nWhat was that all about? \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eSumming up: You can’t go wrong with these \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBrandenburg\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es, but you can do better. A must for Horenstein’s fans. Decent monaural sound. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eGeorge Chien\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 40:1 (Sept\/Oct 2016) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003eA typical performance of the \nBrandenburg Concertos given in 1954, the year of this recording, might \nhave used a sub-set of a modern instrument symphony orchestra, augmented\n by a harpsichord.\u003cbr\u003e \u003cbr\u003e Horenstein, however, assembled a group of \ntwenty-two players and used a mix of modern and period instruments.  \nAmong the latter are a violino piccolo, violas da gamba, recorders and a\n harpsichord.  The other winds and strings are modern instruments.  \nNikolaus Harnoncourt and Paul Angerer (both to become conductors and, \nin Angerer's case, also a composer) are among the players.\u003cbr\u003e \u003cbr\u003e As a\n comparison, I listened to a Philips recording made by Neville Marriner \nand the Academy of Saint Martin's in the Fields in 1980 (their second \nrecording of these works).  Marriner, like Horenstein, uses a \ncombination of modern and period instruments, many played by \ndistinguished guest artists including Jean Paul Rampal, Carl Pini, and \nHenryk Szeryng.\u003cbr\u003e \u003cbr\u003e Most of Marriner's tempos are faster than \nHorenstein's, but not by huge margins, and there are a few movements \nwhere Horenstein's are swifter.  I infer from this that Horenstein's \nspeeds are fast for their time.  The playing in both sets is alert and \npolished.\u003cbr\u003e \u003cbr\u003e Horenstein's sound is bright, full and clear, with \nthe horns excitingly forward in the First Concerto.  The strings, as the\n accompanying notes acknowledge, have an 'edge' and this adds a touch of\n astringency which devotees of 'historically informed' performances may \nenjoy, but which others may tire of, if too much is heard at one \nsitting.  It's better, perhaps, to hear each disc at a separate \nlistening session.\u003cbr\u003e \u003cbr\u003e Marriner's Philips sound is more refined, \nmarginally warmer and has the benefit of stereo engineering.  His horns \nin the First Concerto are more recessed, but still satisfying.  An \noddity in his set is the addition of a middle movement in the Third \nConcerto.  Officially, the work has only two movements and, according to\n the \u003cem\u003eOxford Dictionary of Music\u003c\/em\u003e, this has led to much \nspeculation by scholars concerning the 'missing' movement.  Marriner has\n 'solved' this problem by inserting a brief Adagio identified by \nPhilips simply as 'BVW 1019a'.  Investigation shows this to be part of \nthe first version of the Sonata for violin and keyboard No. 6 in G \nMajor.  It sounds quite effective in the concerto.\u003cbr\u003e \u003cbr\u003e It is in the\n Sixth Concerto that the two conductors differ most in their approach \n(specifically in the last two movements).   The Second Movement is \nmarked Adagio ma non tanto ('Slow but not too much').  Horenstein \nignores the qualifier and directs a leisurely, 'heavenly' Adagio.  He \nfollows this without pause with a swift and energetic Final Movement \nAllegro.  This slightly unorthodox approach provides a contrast between \nthe two movements which is extremely exciting.  It is a master stroke by\n a master conductor.\u003cbr\u003e \u003cbr\u003e Marriner obeys the tempo marking of the \nSecond Movement and 'pushes' it slightly, without losing all repose.  \nHis following Allegro is comparatively leisurely with the result that \nthere is less contrast between the movements and less excitement than \nHorenstein finds.\u003cbr\u003e \u003cbr\u003e I rounded off my Brandenburg Concerto \nlistening sessions with some extracts from a period instrument set \nperformed by the Dunedin Consort conducted by John Butt and released on \nLinn Records. The Consort has ten musicians, one to a part, with Butt \nconducting from the harpsichord. As reported in Kirk McElhearn’s \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2013\/Dec13\/Bach_Brandenburgs_CKD430.htm\"\u003ereview\u003c\/a\u003e\n of this set, the pitch is a low 392 Hz and Butt is quoted as saying \nthat this ‘brings a warmth and glow to the sound’ which ‘tends to \nencourage a slightly slower but more subtle articulation for most \ninstruments’.\u003cbr\u003e \u003cbr\u003e I did find these qualities of warmth and subtlety\n in the extracts I heard and, whilst these are unmistakably \n‘historically informed’ performances, my ears weren’t taxed in a way \nthey might have been by a colder and more relentless approach. In the \nSixth Concerto, Butt doesn’t make the dramatic contrast Horenstein did \nbetween the last two movements, but in the Slow Movement he is more \nrelaxed than Marriner and faster than him in the Finale. The set has \nreceived enthusiastic reviews. \u003cbr\u003e \u003cbr\u003e In sum, Horenstein's well \nexecuted and sometimes exciting performances can be regarded as advanced\n for their time, a kind of 'half-way house' between the traditional \napproach to these works and modern renditions.  Making due allowance for\n their relatively unrefined string sound, they would make a worthwhile \nsupplement to much more recent recordings Bach lovers might have in \ntheir collections.\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cem\u003eRob W McKenzie\u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003eMusicWeb International\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC468.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eHorenstein's pioneering Period Instrument recording of Bach's Brandenburg Concertos\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"You can’t go wrong with these Brandenburgs ... A must for Horenstein’s fans\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cbr\u003e\u003cp\u003eThe release of this pioneering 1954 recording of Bach's Brandenburg \nConcertos has been brought forward to commemorate the life and work of \nthe great conductor Nikolaus Harnoncourt (1929-2016). In his notes for \nthis release, Misha Horenstein observes the presence in the orchestra \nhere of both Harnoncourt and Austrian composer and conductor Paul \nAngerer, suggesting: \"It is not inconceivable that both these musicians,\n and some of the others, derived inspiration for the future direction of\n their careers from their work on this recording of the Brandenburgs.\"\u003c\/p\u003e\n\u003c\/li\u003e\u003cli\u003e\n\u003cp\u003eThis new XR remastering brings a greater sense of life, space and \nclarity to the recordings, as well as correcting for the first time a \nnumber of pitch issues present on the original tapes.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH\u003c\/b\u003e Six Brandenburg Concertos, BWV.1046-51 \u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded in Vienna, 21-25 September 1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eOriginally published on VOX DL122\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWiener Soloists\u003cbr\u003eJascha Horenstein\u003c\/b\u003e, conductor \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cb\u003eWalter Schneiderhan\u003c\/b\u003e (solo violin)\u003cbr\u003e\u003cb\u003eDimiter Tortscanoff\u003c\/b\u003e (violin)\u003cbr\u003e\u003cb\u003ePaul Trimmel\u003c\/b\u003e (violin)\u003cbr\u003e\u003cb\u003eErnest Opawa\u003c\/b\u003e (violin)\u003cbr\u003e\u003cb\u003eRudolf Lindner\u003c\/b\u003e (violin)\u003cbr\u003e\u003cb\u003ePaul Angerer\u003c\/b\u003e (solo viola, violino piccolo, harpsichord, 2nd recorder)\u003cbr\u003e\u003cb\u003eKarl Troetzmueller\u003c\/b\u003e (viola, 1st recorder)\u003cbr\u003e\u003cb\u003eJosef de Sardi\u003c\/b\u003e (viola)\u003cbr\u003e\u003cb\u003eViktor Goerlich\u003c\/b\u003e (cello)\u003cbr\u003e\u003cb\u003eNikolaus Harnoncourt\u003c\/b\u003e (viola da gamba)\u003cbr\u003e\u003cb\u003eHermann Hoebarth\u003c\/b\u003e (viola da gamba)\u003cbr\u003e\u003cb\u003eEmil Kremer\u003c\/b\u003e (contrabass)\u003cbr\u003e\u003cb\u003eCamille Wanausek\u003c\/b\u003e (flute)\u003cbr\u003e\u003cb\u003eFriedrich Wachter\u003c\/b\u003e (oboe)\u003cbr\u003e\u003cb\u003eRudolf Spurny\u003c\/b\u003e (oboe)\u003cbr\u003e\u003cb\u003eJosef Koblinger\u003c\/b\u003e (oboe)\u003cbr\u003e\u003cb\u003eLeo Cermak\u003c\/b\u003e (bassoon)\u003cbr\u003e\u003cb\u003eFranz Koch\u003c\/b\u003e (horn)\u003cbr\u003e\u003cb\u003eKarl Buchmayr\u003c\/b\u003e (horn)\u003cbr\u003e\u003cb\u003eAdolf Holler\u003c\/b\u003e (trumpet)\u003cbr\u003e\u003cb\u003eJosef Ortner\u003c\/b\u003e (trumpet)\u003cbr\u003e\u003cb\u003eJosef Nebois\u003c\/b\u003e (continuo)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC468.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC468.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cb\u003eNotes on the recording\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium; font-family: georgia, palatino;\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003eby \u003cem\u003eMisha Horenstein\u003c\/em\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eNineteen\n fifty-four was a something of a moribund year for Horenstein in the \nconcert hall. A tour of Latin America in February and March, followed by\n a few appearances in France between June and December constituted his \nentire workload for that year. Also unproductive were his attempts to \nsecure full-time conducting positions in Berlin with the RIAS Orchestra \nand at the \u003cem\u003eStädtische Oper\u003c\/em\u003e, which fell on deaf ears. \"I don’t \nhave anyone in Berlin anymore who will take pains on one’s behalf\", he \ncomplained, \"and continually deal with the people who matter and suggest\n a name again and again.\" Closed doors also applied to his career, or \nlack of one, in the United States and in Britain, while the death of his\n close friend Karol Rathaus in November (followed nine days later by \nFurtwängler) shook him profoundly.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eThe situation was better in the recording studio. In June 1954 Horenstein was awarded the \u003cem\u003eGrand Prix du Disque\u003c\/em\u003e for his EMI recordings of Strauss's \u003cem\u003eMetamorphosen\u003c\/em\u003e and Stravinsky's \u003cem\u003eSymphony of Psalms \u003c\/em\u003e(PASC \u003cspan style=\"color: #0000ff;\"\u003e\u003ca href=\"https:\/\/web.archive.org\/web\/20160617151910\/https:\/\/www.pristineclassical.com\/pasc418.html\"\u003e418\u003c\/a\u003e\u003c\/span\u003e and \u003cspan style=\"color: #0000ff;\"\u003e\u003ca href=\"https:\/\/web.archive.org\/web\/20160617151910\/https:\/\/www.pristineclassical.com\/pasc428.html\"\u003e428\u003c\/a\u003e\u003c\/span\u003e),\n and in September he embarked on a further series of recordings for Vox \nRecords in Paris, Bamberg and Vienna, all within the space of two \nmonths. Nestled between these was the present edition of Bach's \u003cem\u003eBrandenburg Concertos\u003c\/em\u003e, recorded in Vienna during the third week of September 1954.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eMuch better known for his performances of 19\u003csup\u003eth\u003c\/sup\u003e and 20\u003csup\u003eth\u003c\/sup\u003e\n century music, this recording represented an unusual change of \ndirection for Horenstein. Its distinguishing feature is the use of \nperiod and modern instruments, one of the first recorded attempts to \nreproduce the original sound of Bach's orchestra in Cöthen and a \nprecursor of what later became known as the 'Historically Informed \nPerformance' movement that flourished in the late 1960s and beyond. \nHorenstein's thinking was way ahead of its time but it is unclear who or\n what influenced him to take up this experiment. It might have been \nHindemith, whom he met in 1949, or T.W. Adorno, an old friend from the \nWeimar era, whose debates on the subject of authentic performances of \nbaroque music during and after Bach's bicentenary year could have \ninspired him to adopt the idea.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eHorenstein\n spent much time and effort searching for the right combination of \nperiod instruments, not as easy to find then as now, and auditioning the\n musicians to play them. In the end he settled for a twenty-two piece \norchestra that featured a harpsichord, a violino piccolo, two recorders,\n two viole da gamba, two natural horns and a clarino trumpet in addition\n to modern instruments. This formation represented a revolutionary new \napproach to these masterpieces, which until then were usually performed \nin a romantic style, mostly by large orchestras with modern instruments,\n often with the keyboard part taken by a piano. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eThe\n players were drawn mainly from members of the Vienna Symphony Orchestra\n that included, most notably, the young Nikolaus Harnoncourt and Paul \nAngerer, both of whom later became important figures in the development \nof authentic performances of baroque and classical era music. It is not \ninconceivable that both these musicians, and some of the others, derived\n inspiration for the future direction of their careers from their work \non this recording of the Brandenburgs.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eThe\n recordings were originally released in early 1955 on two \nextra-long-playing LPs in a deluxe, white ersatz-leather-bound edition \n(Vox DL 122). The package included a ninety-page booklet with detailed \nanalytical notes, the complete score as well as a facsimile of Bach's \nflowery dedication as it appeared in the original manuscript, and was \nsold at a price lower than the three-disc competing versions. But \ndespite their cost advantage, the luxury format and the acknowledged \nrenown of the musicians who took part, contemporary reviews were \nunusually negative. \"The Vox ensemble under Horenstein\", complained a \nclearly irritated Andrew Porter in The Gramophone, \"merely plod along \nthrough yet another set of Brandenburgs\". Republished a number of times \nsince their first appearance, subsequent critical evaluation has been \nfar more charitable.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eAs\n one of the first examples of its kind there can be little doubt that \nthis recording contributed to the birth of the authentic performance \nmovement, even though it was primarily the composition of the orchestra \nand some surprisingly nimble choices of tempo (for that time), and less \nthe technical and stylistic aspects of Horenstein's interpretations, \nthat faithfully reproduced the Baroque sound. However, his subsequent \nuse of smaller ensembles and his preference for lighter textures in \nperformances of classical and early romantic music, as evidenced by his \nsecond reading of Beethoven's \u003cem\u003eEroica \u003c\/em\u003eand other recordings for Vox, appear to have been stimulated by his work on the Brandenburgs.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":12860954214461,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":12860954247229,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":12860954279997,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC468_cc5433e3-0db2-4c09-a1e8-9e6b77b893fa.jpg?v=1537612731"},{"product_id":"pacm102","title":"HUBERMAN Beethoven: 'Kreutzer' Sonata; Encores (1929-35) - PACM102","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003eBEETHOVEN \u003c\/b\u003eViolin Sonata No. 9 'Kreutzer'\u003cbr\u003eEncores by \u003cb\u003eBACH, BRAHMS, BRUCH, CHOPIN, ELGAR, SCHUBERT\u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\" style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr data_liveedit_tagid=\"000000000D7722F0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003eStudio recordings, 1929-1935\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eTotal duration: 78:06\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cb\u003eBronislaw Huberman, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eIgnaz Friedman, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eSiegfried Schultze, \u003c\/b\u003epiano \u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fBelongs in the collection of everybody who can even identify the picture of a violin. It’s one of the great recordings of all time. 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIsaac Stern once identified Bronisław Huberman as \none of the 10 greatest violinists of all time; for those unfamiliar with\n this titanic violinistic presence, who stopped making commercial \nrecordings in 1935, performances like those that Pristine has released \nin the last few years (the Beethoven concerto, Tchaikovsky concerto, \nBach concertos, Mozart concertos, and Lalo’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSymphonie espagnole\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e)\n should cement his place among younger listeners. And, as Mark \nObert-Thorn’s brief note points out, Huberman found a well-matched \npartner in pianist Ignaz Friedman for his second recording of \nBeethoven’s “Kreutzer” Sonata from September 11 and 12, 1930. From the \nvery first measure of the violin’s introductory solo, three things \nshould be clear: first, that Huberman’s reading will incorporate \nportamentos that nobody would attempt today; second, that he won’t \nproduce a polished sound with a silken bow stroke and a perfectly \ncalibrated vibrato; and third, that with these notes, he’s embarking on a\n stormy journey that will keep his listeners enthralled from departure \nto arrival. All that’s clear at once, but the details along the way \nstill produce a great deal of pleasure: the Janissary-like closing theme\n of the first movement’s thematic section, the percolating triplets in \nthe second movement’s first variation, the white-hot passagework in the \nsecond, and the demonic transition back into the main theme of the rondo\n finale. And, in the midst of all this, it turns out that those \nportamentos, just a few of the regular devices in his now antiquated \nexpressive armamentarium, begin to disappear into the message’s \nbackground, so powerfully does Huberman project his musical ideas. But \nin this case, he also enjoys as a foil a musician of his own stature, \nwho helps to propel the lift further into the stratosphere. A few \nrecordings changed my life when I first heard them: Fritz Kreisler’s of \nGrieg’s Third Violin Sonata, Jascha Heifetz’s of Saint-Saëns’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIntroduction and Rondo capriccioso\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n Nathan Milstein’s of Goldmark’s Violin Concerto, Joseph Szigeti’s of \nRavel’s Violin Sonata, and Michael Rabin’s of Wieniawski’s First Violin \nConcerto—and this one by Huberman. It’s a great satisfaction to have it \navailable in a remastering by Pristine—in particular, by Mark \nObert-Thorn.   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe rest of the program consists of short pieces. The strong accents in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n from Bach’s Solo Violin Sonata No. 2, recorded, like the other \nunaccompanied pieces by Bach in this program, on June 26, 1934, may \nsound less than subtle, as may also the rather heavy-handed approach the\n Sarabande and Double from the Solo Violin Partita No. 1; but, although \nObert-Thorn’s lament that Columbia didn’t bring out a complete set of \nthe sonatas and partitas may seem routinely rhetorical, every measure of\n these movements communicates something of interest. The rest of the \nprogram comes from sessions in London from 1929 to 1935, with Siegfried \nSchultze serving as pianist. Bach’s chorale prelude \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNun komm der Heiden Heiland\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n arranged by Huberman, and the Air from the composer’s Third Orchestral \nSuite, in the popular arrangement for the G-string by August Wilhelmj, \nappear in much cleaner recorded sound and make a more vibrant tonal \nimpression (with chorale prelude the clearer of the two, although both \nraise goose bumps—compare the relatively pedestrian recording by Mischa \nElman). Huberman doesn’t sound at first so far to the fore in Schubert’s\n \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAve Maria\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e; but \nhe gives easily as moving an account of it as did Jascha Heifetz did in \neither of his two recordings, the first of which I listened to \nobsessively from babyhood (actually, not almost) on my father’s 78-rpm \nrecording. The sound improves once again in Schubert’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMoment Musical\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n No. 3, transcribed by Leopold Auer, and Huberman sounds razor-sharp. \nHuberman’s own transcriptions of Chopin’s waltzes in C♯ Minor (with \ntrippingly fleet passagework in its center) and in G♭ Major (with \nswinging double-stops and again in superior recorded sound) lead to \nPablo Sarasate’s popular arrangement of Chopin’s Nocturne in E♭ Major. \nDavid Hochstein’s arrangement of Brahms’s Waltz in A♭ Major sounds \ndownright mesmerizing at its relaxed tempo. A soulful reading of Max \nBruch’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eKol Nidrei\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (the portamentos in this work seeming perfectly appropriate to its \ncantillation) leads to the program’s conclusion, Elgar’s miniature \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa capricieuse\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n which seems to have fallen somehow outside Huberman’s interpretive \npurview, at least in its staccato outer sections, although the central \nsinging section’s absolutely compelling.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis particular package by Pristine of a dynamic \nsonata performance with compelling ones of some of the repertoire’s most\n effective miniatures belongs in the collection of everybody who can \neven identify the picture of a violin. It’s one of the great recordings \nof all time. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eRobert Maxham  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 40:5 (May\/June 2017) of Fanfare Magazine.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI obtained this from Pristine Audio and \nimmediately set about writing a review, as the “Kreutzer” has long been \none of my desert island discs. I then noticed that Robert Maxham \nreviewed it in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e40:5,\n and concluded his review with the following sentence: “It’s one of the \ngreat recordings of all time.” Well, that does about sum it up. I \nwouldn’t even take up additional \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003espace\n except that I so firmly believe that this is a recording that all music\n lovers should own and I felt it was worth calling it once again to your\n attention. It is currently sitting on my short list for the year-end \nWant List.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe “Kreutzer” is a one-of-a-kind performance by \ntwo artists who were extremely individualistic in their music-making, \nbut who also knew how to listen to each other and to integrate their \nindividuality into a unified concept. “Old-fashioned” techniques like \nportamento and rubato are applied to a far greater degree that one would\n here in today’s more “puristic” (or, if you prefer, “sterilized”) \nworld. This is seat-of-the-pants playing, but not once do you feel that \nit is vulgar, or purely theatrical for the sake of showmanship. It is a \nperformance that approaches the music as if it were a brand new piece \nbeing discovered as it is being played.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe miniatures show the charming, witty, and \nvirtuosic aspects of Huberman’s art. It is an art the likes of which we \nare unlikely to encounter again, and we are the poorer for it. If you \nlove the violin, this disc is not optional. It is essential, especially \nin Mark Obert-Thorn’s remarkably clear and full-sounding transfer, which\n is leagues beyond all prior versions. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eHenry Fogel   \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\n\n      \n    \n  \n  \u003cbr\u003e\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003e\n\u003cspan style=\"font-size: 13px;\"\u003eThis article originally appeared in Issue 40:6 (July\/Aug 2017) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 13px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 13px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM102.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eHuberman's classic 1930 Kreutzer Sonata - and much more!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"This latest Kreutzer Sonata is by far the best we have\"\u003cbr\u003e- The Gramophone, 1931\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\nBronislaw Huberman’s recording career can be divided into three \nperiods.  After setting down four sides for Berliner in 1899, he made a \nseries of acoustic recordings for Brunswick in America (1921 – 1925), \nfollowed by electrical discs for Columbia in Berlin and London (1929 – \n1935).  Some of the Columbia discs were issued concurrently on Odeon, \nParlophon and American Decca with different matrix numbers.  The present\n collection completes the reissue of Huberman’s electrical recordings on\n Pristine, following prior releases devoted to the Beethoven Concerto \n(PASC 421), Bach and Mozart Concertos (PASC 397) and the Tchaikovsky \nConcerto, along with Lalo’s Symphonie espagnole and several encores \n(PASC 439).\u003cbr\u003e\u003cbr\u003eThe major work here is Huberman’s classic account of \nthe Beethoven “Kreutzer” Sonata with Ignaz Friedman.  The violinist had \nrecorded it earlier for Brunswick with his regular accompanist, \nSiegfried Schultze; but the six sides allotted for it then necessitated \nthe omission of repeats in the last two movements.  Here, it is \npresented complete, and with a partner as accomplished as the violinist \nhimself.  Like Huberman, Friedman was born in Poland in 1882; and as an \ninterpreter, he shared a similar craggy, individualistic approach.  This\n “Kreutzer” is truly a meeting of two like minds, as unforgettable a \nperformance as the later one by two Hungarians, Szigeti and Bartók (PACM\n 084).\u003cbr\u003e\u003cbr\u003eThe unaccompanied Bach excerpts were recorded at the tail \nend of his 1934 sessions in Vienna, and were issued as odd-side fillers \nto the Beethoven and Bach E major concertos.  The intensity and \nindividuality on display makes one wish that Columbia had seen fit to \nrecord him in the complete Bach Sonatas and Partitas, as HMV was \nconcurrently doing with Menuhin.  The remaining piano-accompanied solo \nsides spotlight Huberman in a variety of different short works, mainly \ntranscriptions.  His Bruch “Kol Nidrei” was originally coupled with the \nSchubert “Ave Maria” in a subtle plea for peaceful coexistence that fell\n on increasingly deaf ears in the years following its release.  In his \npenultimate session, he repeated two works he had originally recorded \nfor Berliner 36 years earlier, the Schubert Moment Musicale and the \nChopin Nocturne.  Although he would continue to concertize almost up to \nhis death twelve years later, he would make no more commercial \nrecordings after 1935.\u003cbr\u003e\u003cbr\u003eThe transfers on the present release came \nfrom a number of sources with varying amounts of surface noise.  The \n“Kreutzer” was taken from a relatively quiet mid-1930s American Columbia\n set.  The two unaccompanied Bach works could only be found on rather \nnoisy post-EMI merger English Columbia pressings, while the remaining \npiano-accompanied sides came from American, English and Australian \nColumbias as well as German Odeons.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eViolin Sonata No. 9 in A, Op. 47 “Kreutzer”\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 11 \u0026amp; 12 September 1930 in the Columbia Petty France Studios, London\u003cbr\u003eMatrix nos.: WAX 5730-2, 5731-3, 5732-3, 5733-3, 5736-2, 5737-1, 5738-3 \u0026amp; 5739-3\u003cbr\u003eFirst issued on Columbia LX 72 through 75\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eIgnaz Friedman,\u003c\/b\u003e piano \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH \u003c\/b\u003e Andante from Unaccompanied Violin Sonata No. 2 in A minor, BWV 1003\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 26 June 1934 in the Mittlerer Konzerthaussaal, Vienna\u003cbr\u003eMatrix no.: WHAX 46-2 ∙ First issued on Columbia LX 410\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH  \u003c\/b\u003eSarabande and Double from Unaccompanied Violin Partita No. 1 in B minor, BWV 1002\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 26 June 1934 in the Mittlerer Konzerthaussaal, Vienna\u003cbr\u003eMatrix no.: WHAX 45-2 ∙ First issued on Columbia LX 513\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH (arr. Huberman)\u003c\/b\u003e  Chorale Prelude, “Nun komm der Heiden Heiland”, BWV 62\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 14 May 1935 in EMI Abbey Road Studio No. 3, London\u003cbr\u003eMatrix no.: CAX 7428-3 ∙ First issued on Columbia LX 531\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH (arr. Wilhelmj)\u003c\/b\u003e  Air from Orchestral Suite No. 3 in D, BWV 1068\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 16 September 1930 in the Columbia Petty France Studios, London\u003cbr\u003eMatrix no.: WAX 5007-7 ∙ First issued on Columbia LX 107\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSCHUBERT (arr. Wilhelmj)  \u003c\/b\u003eAve Maria, D839\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 27 January 1931 in the Columbia Petty France Studios, London\u003cbr\u003eMatrix no.: WAX 5950-1 ∙ First issued on Columbia LX 155\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSCHUBERT (arr. Auer) \u003c\/b\u003e Moment Musical No. 3 in F minor, D780\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 5 February 1935 in EMI Abbey Road Studio No. 3, London\u003cbr\u003eMatrix no.: CA 14914-1 ∙ First issued on Columbia LB 25\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eCHOPIN (arr. Huberman)\u003c\/b\u003e  Waltz in C-sharp minor, Op. 64, No. 2\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 27 January 1931 in the Columbia Petty France Studios, London\u003cbr\u003eMatrix no:  CA 11131-2 ∙ First issued on Columbia LB 8\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eCHOPIN (arr. Huberman)\u003c\/b\u003e  Waltz in G-flat, Op. 70, No. 1\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 5 February 1935 in EMI Abbey Road Studio No. 3, London\u003cbr\u003eMatrix no.: CA 14912-1 ∙ First issued on Columbia LB 25\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eCHOPIN (arr. Sarasate)\u003c\/b\u003e  Nocturne in E-flat, Op. 9, No. 2\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 5 February 1935 in EMI Abbey Road Studio No. 3, London\u003cbr\u003eMatrix no.: CAX 7427-1 ∙ First issued on Columbia LX 531\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS (arr. Hochstein)\u003c\/b\u003e  Waltz in A-flat, Op. 39, No. 15\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 11 June 1929 in the Columbia Petty France Studios, London\u003cbr\u003eMatrix no.: WAX 5012-5 ∙ First issued on Columbia LX 107\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRUCH \u003c\/b\u003e Kol Nidrei, Op. 47\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 27 January 1931 in the Columbia Petty France Studios, London\u003cbr\u003eMatrix no.: WAX 5949-3 ∙ First issued on Columbia LX 155\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eELGAR  \u003c\/b\u003eLa capricieuse, Op. 17\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 29 January 1931 in the Columbia Petty France Studios, London\u003cbr\u003eMatrix no.: WAX 5951-2 ∙ First issued on Columbia LX 137\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eSiegfried Schulzte,\u003c\/b\u003e piano \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003eBronislaw Huberman,\u003c\/b\u003e violin\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM102.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM102.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eBeethoven Violin Sonata No. 9\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eThere are occasions when a work \nwhich has been recorded over and over again can by a new interpretation \nfill one with that first-time careless rapture. Such an experience was \nmine the other day with the new Kreutzer Sonata played by Huberman and \nFriedman on four light-blue Columbia discs. When I heard the Stokowski \nUnfinished Symphony I thought that it was a very good performance, but I\n did not feel tempted to dig out all my other Unfinished Symphonies and \nplay them over to establish a comparison. When I heard this new Kreutzer\n Sonata I took out every Kreutzer Sonata I had and played them all \nthrough twice over, reaching at the end a definite conclusion that this \nlatest Kreutzer Sonata is by far the best we have, and incidentally that\n the second best is the performance of Cortot and Thibaud in an H.M.V. \nalbum of red discs. Yet, suave and delightful as the Cortot and Thibaud \nversion is, it is not what Beethoven meant. “This is the Jew that \nShakespeare drew,” Pope is credited with having said of Macklin’s \nShylock, when for the first time Shylock was not played as a low-comedy \npart. The Kreutzer Sonata has come perilously near to declining into a \ndrawing-room piece, and it is a relief to find a couple of artists like \nHuberman and Friedman who are not afraid to let themselves go. At the \nsame time, there is never a moment when we suspect that either of them \nis trying to make us think how difficult it all is. Their fire and their\n fervour convey a sense of ease, and I for one do not mind in the least \nwhen some of Huberman’s top notes scrape. I feel that he had been \nsufficiently carried away by what he is playing to sacrifice his tone \nfor a moment, and it is difficult to persuade a great violinist to \nsacrifice his tone. I should not be surprised to he told that Friedman \nhad played one or two wrong notes, and I should not feel greatly shocked\n if he had.\u003cbr\u003e\u003cbr\u003eCompton Mackenzie, Editorial (excerpt), The Gramophone, January 1931\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":38674306061,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":38674306253,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM102_acb0e503-c5f3-4a20-acdd-49bba0f86c1d.jpg?v=1496233964"},{"product_id":"pasc475","title":"KLEMPERER in Geneva: Bach, Beethoven, Hindemith (1957) - PASC475","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHINDEMITH \u003c\/b\u003eNobilissima Visione\u003cb\u003e\u003cbr\u003eBACH \u003c\/b\u003eOrchestral Suite No. 3\u003cb\u003e\u003cbr\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 7\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003eLive broadcast recording, 1957\u003cbr\u003eTotal duration: 79:41\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eOtto Klemperer, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eOrchestre de la Suisse Romande\u003c\/b\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px;\"\u003e\n\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: MusicWeb International \u0026amp; Fanfare578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIn every movement, the OSR responds magnificently, playing with great concentration and faithfully producing the conductor’s trademark granitic Beethoven textures578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eAfter his enforced exile from Nazi Germany, Otto Klemperer endured \ntwenty or more years of wandering before finally making his home in \nSwitzerland. This CD presents a ‘live’ concert with the Orchestre de la \nSuisse Romande (OSR) and is a product of his residency in that country. \nThe performances are impressive for their ‘heroic scale’, as Peter \nHeyworth characterised Klemperer’s conducting in general. His attention \nto detail is accommodated within an unfailing sense of structure. The \nsource of this CD issue is a high-quality French FM re-broadcast of a \nlive recording.\u003cbr\u003e \u003cbr\u003e Paul Hindemith was one of two composers – the \nother was Igor Stravinsky – whose music helped to establish Klemperer’s \nreputation as a modernist during his tenure at the Kroll Opera in Berlin\n between 1927 and 1931. \u003cem\u003eNobilissima Visione\u003c\/em\u003e was a \n‘choreographic legend’ in one act and five scenes for which Hindemith \ncomposed the music. Massine devised the choreography and danced it. The \nSuite which was taken from the music is in three movements. It is \nblazing and powerful – ‘visionary’ indeed – and the OSR under Klemperer \nresponds with whole-hearted commitment to its demands, as it does to all\n the music played here.\u003cbr\u003e \u003cbr\u003e Each of the works performed in this \nconcert had been recorded in the studio by Klemperer with the \nPhilharmonia Orchestra two or three years previously. A performance of \u003cem\u003eNobilissima Visione\u003c\/em\u003e was probably his first recording for EMI. It was issued back-to-back with the Brahms\/Haydn \u003cem\u003eVariations\u003c\/em\u003e\n on a ten-inch medium play disc and was most recently reissued in a CD \nboxed set of Klemperer conducting twentieth century music – \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2013\/Aug13\/Klemperer_20century_4044012.htm\"\u003ereview\u003c\/a\u003e.\n In comparing this performance of the Hindemith with the OSR’s, due \nallowance must be made for the compromises of the ‘live’ recording \nprocess. Perhaps understandably, the Walter Legge\/Philharmonia regime at\n its zenith surpasses the ‘live’ production from Geneva’s Victoria Hall –\n but not by as much as you might expect.\u003cbr\u003e \u003cbr\u003e Klemperer’s direction \nvaried only a little: the OSR performance is just under a minute faster.\n What is noticeable is the superior balance achieved by Klemperer and \nLegge in the studio. In the EMI recording, the drum which accompanies \nthe solo flute (probably Gareth Morris) in the second movement’s March \nhas a very tangible, but not exaggerated, presence – a dramatic effect \nwhich the composer surely wanted. In the OSR production the drum is \nthere but is less present. In the fierce contrapuntal uproar which \nprevails at the conclusion of the third movement’s \u003cem\u003ePassacaglia\u003c\/em\u003e,\n the Philharmonia’s woodwinds are clearly discernible shrieking \nimpressively amid the din, the OSR’s less so. EMI’s clear yet \nfull-bodied, wide-ranging recording is, in short, a stunning example of \nhigh-fidelity mono sound, better than many a modern effort.\u003cbr\u003e \u003cbr\u003e For\n the OSR’s performance of Bach’s Orchestral Suite No. 3, Klemperer uses \nan orchestra of large if indeterminate size and there are few \nconcessions to ‘scholarship’. Yet what is clear from this performance \nand the Philharmonia recording he made in 1954 is that Klemperer was a \nBach interpreter of formidable power, intellect and concentration. The \nstudio performance has somewhat more clarity and may have used a smaller\n body of players and thus sounds a touch more ‘authentic’. The two \nreadings are very similar in outline and their total timings differ by \njust one second. Listeners without ‘HIP’ prejudices, or able to suspend \nthem for half an hour, will be impressed by these performances.\u003cbr\u003e \u003cbr\u003e\n The best is last – Beethoven’s Seventh Symphony. In assessing this \nrecording, my benchmark was Klemperer’s superbly recorded 1955 EMI \u003cem\u003emono\u003c\/em\u003e\n performance, not the one recorded in rather indifferent experimental \nstereo at the same time. Unfortunately, it is the latter version which \nhas been included in the conductor’s EMI\/Warner boxed set of Beethoven’s\n orchestral music. The mono performance was last available on a Naxos \nHistorical release, coupled with the 1955 mono recording of the Fifth \nSymphony. The mono Seventh received Legge’s full attention, resulting in\n superb balance. Just listen to the way the timpani reinforce the climax\n of the last movement and elsewhere.\u003cbr\u003e \u003cbr\u003e The 1955 performance is \nthe fastest of Klemperer’s studio renditions, but this OSR example \nshaves almost two minutes off it. In both readings, he maintains what \nhas been called his “inexorable forward momentum” without the need for \nrushing. In both recordings, the conductor, as is usual for him, \nexaggerates the great double hammer-blows in the first movement’s \u003cem\u003eAllegro\u003c\/em\u003e.\n Rather than impeding the momentum, this reminds us that a real \nconductor is in charge, not a mere time-beater. In every movement, the \nOSR responds magnificently, playing with great concentration and \nfaithfully producing the conductor’s trademark granitic Beethoven \ntextures. If this is not virtuoso orchestral playing, it is something \nvery close to it.\u003cbr\u003e \u003cbr\u003e In the OSR’s third movement \u003cem\u003eTrio\u003c\/em\u003e, \nsomething occurs which I have not noticed in any other Klemperer \nperformance of this music: there is a delightful ‘swing’ and lilt in the\n playing, achieved without the pronounced slowing down Furtwängler used \nin his 1950 EMI studio recording.\u003cbr\u003e \u003cbr\u003e I am almost certainly in a \nminority in disliking ‘express train’ speeds in the final movement. My \nobjection is two-fold. Firstly, if the repeat is omitted - as it usually\n is - a very fast tempo makes the movement sound too short in relation \nto the rest of the work. Secondly, the faster the speed, the harder it \nis to maintain full intensity. Furtwängler managed to bring it off in \nhis swift reading timed at 6:54; two seconds faster than Toscanini and \nthe BBC Symphony Orchestra. Walter took it even faster in his Sony \nstereo recording at 6:43 and didn’t quite bring it off. It was a \nslightly anti-climactic end to an otherwise great performance. Klemperer\n and the OSR allow themselves 7:41. It’s true that when they start this \nmovement, one senses a trudge may be coming – but only for a moment. \nVery soon, there is a feeling of being irresistibly drawn into a vortex \nby what has been called the conductor’s “terrifying intensity”. One \nsurrenders to it and is swept to an overwhelming conclusion. This is \nquite the finest Beethoven Seventh I have heard from Klemperer.\u003cbr\u003e \u003cbr\u003e\n Pristine offers an admirable high fidelity mono recording. It \nfaithfully conveys the warm, full, forward sound familiar to collectors \nof Ernest Ansermet’s recordings from the Victoria Hall. There is a \nslight tendency for the bass to ‘boom’ on occasion, which is easily \nignored. The audience is quiet. Its applause was apparently not \npreserved in the source of the recording and so is not heard here.\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cem\u003eRob W McKenzie\u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003eMusicWeb International\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eFor those who enjoy pigeonholing conductors (e.g. \nSzell and Toscanini are always fast and taut, with a bright, lean \nsonority; Furtwängler is always weighty, massive, and darker in color, \netc.) Otto Klemperer presents the ultimate challenge. Whether for purely\n musical reasons, his well-documented manic-depressive condition, or a \ncombination of both, Klemperer can sound like different conductors at \ndifferent times and places. I own recordings of Bruckner’s Fourth \nSymphony led by Klemperer ranging from 55:00 to 60:58, and Mahler’s \nSecond from 73:30 to 79:43. The general perception of those who know his\n work mainly from his EMI Philharmonia Orchestra recordings is to think \nof his conducting as always on the slow and weighty side, but that is \nsimply not true.   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003ePristine has made a major contribution to the \nKlemperer discography with this release of a complete broadcast concert \nby the Suisse Romande Orchestra from 1957 (with neither applause nor \nannouncements). This same concert was released on the Archiphon label \nearlier; I have not heard it, but that label’s track record would not \nencourage me to think the quality is even close to this. The source of \nPristine’s issue is a French FM radio rebroadcast, to which Pristine has\n added its XR processing, creating a bit more space around the \norchestral sound. The result is a superb mid-1950s sound quality equal \nto that of professional studio recordings.   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Hindemith is perhaps the biggest surprise here\n to those unfamiliar with the conductor’s EMI recording of the work, to \nwhich this is similar in interpretive outline. Klemperer’s tempos in \nthis piece are among the fastest on records. Here are a few comparisons \nfrom my own collection:  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eKondrashin 19:35  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eKlemperer 19:40 (this performance)  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMonteux 20:43  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eTortelier 23:31  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMuti 23:52  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHindemith 24:51  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eNot only is this performance quick, but it is \nlight-footed, even witty at times. The orchestra plays very well \nthroughout, save for a slightly askew entrance at the onset of the \npassacaglia finale. This is a performance of sweep and drama, with a \nrhythmic lift and a degree of intensity not quite present in the EMI \nrecording.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Bach is guaranteed to upset the HIP \nspecialists, with its big sonority, string playing with a fairly strong \nvibrato, and the huge ritard prior to the work’s conclusion. Klemperer \nwas from a generation that performed Bach regularly in a style more \ngrand than is the norm today. He recorded the four Orchestral Suites \ntwice for EMI, in 1954 and 1960. The performance here of the Third is \nfreer, more spontaneously inflected, and a bit more joyous than the \nstudio recordings, with the famous “Air” lovingly and affectionately \nmolded.   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eKlemperer recorded Beethoven’s Seventh Symphony \nfor EMI three times: in 1955, 1960, and 1968—the last being quite slow \nand weighty. A word often applied to this conductor, “granitic,” would \nfit all three recordings to varying degrees. That word is less \napplicable here. This performance is graceful, warmly lyrical and supple\n in the second movement, and the opening movement is moderately quick \nand very energetic. While the third and fourth movements are on the slow\n side, the well-sprung rhythms and an orchestral sonority somewhat \nlighter in texture than the studio efforts make this a more propulsive \nreading, and in my view an extremely successful one.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis will self-recommend to Klemperer collectors, \nbut the more general collector may well want to seek it out as an \nexample of one of the 20th century’s greatest conductors operating at \nhis peak. \u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eHenry Fogel  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\n      \n    \n  \n  \u003cbr\u003e\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003eThis article originally appeared in Issue 40:4 (Mar\/Apr 2017) of \u003ci\u003eFanfare\u003c\/i\u003e Magazine.\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC475.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eKlemperer's incredible 1957 Geneva Beethoven 7th\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"This\n is quite the finest Beethoven Seventh I have heard from Klemperer ... \nOne surrenders to it and is swept to an overwhelming conclusion\" - \nMusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eThis live radio recording, sourced here from a later, high-quality \nFrench FM rebroadcast, offers us nearly eighty minutes of Otto Klemperer\n at the height of his musical powers, some three years after he began \nhis run of extraordinary recordings with the Philharmonia Orchestra for \nEMI, thanks to the efforts of legendary producer Walter Legge.\u003cbr\u003e\u003cli\u003e\n\u003cbr\u003eDespite\n becoming the first principal conductor of the Philharmonia in 1959, it \nwas in Switzerland that Klemperer settled at this stage in his life, and\n this live 1957 radio broadcast is a rare example of him conducting the \nprimary orchestra of his adopted home. Recorded at Victoria Hall, \nGeneva, the venue for the orchestra's many Decca recordings (and thus, \none might expect, well-equipped and well-known to local sound \nengineers), the sound quality is excellent throughout following XR \nremastering, which has dealt effectively with a slightly over-forward \ntonal balance in the original.\u003cbr\u003e\u003cbr\u003eAlas our source material included \nno applause or other material from the original broadcasts, though \ntimings would have been very tight to include any additional content for\n this release.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHINDEMITH\u003c\/b\u003e Nobilissima Visione - Konzert-Suite (1938) \u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eJ. S. BACH\u003c\/b\u003e Orchestral Suite in D major, BWV1068\u003c\/span\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 7 in A major, Op. 97\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eOrchestre de la Suisse Romande\u003cbr\u003eOtto Klemperer\u003c\/b\u003e, conductor \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eBroadcast concert \u003cbr\u003eVictoria Hall, Geneva, Switzerland 6 March 1957\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC475.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC475.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":32417439885,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32417440077,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32417440269,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC475.jpg?v=1487682297"},{"product_id":"pasc465","title":"KLEMPERER in Philadelphia, Vol. 1: Bach, Beethoven, Brahms (1962) - PASC465","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH\u003c\/b\u003e Brandenburg Concerto No. 1\u003cb\u003e\u003cbr\u003eBRAHMS\u003c\/b\u003e Symphony No. 3\u003cb\u003e\u003cbr\u003eBEETHOVEN\u003c\/b\u003e Egmont Overture\u003cb\u003e\u003cbr\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 3 'Eroica'\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eLive stereo recordings, 1962\u003cbr\u003eTotal duration: 2hr 6:46\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eOtto Klemperer, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eThe Philadelphia Orchestra\u003c\/b\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis “Eroica” is one of Klemperer’s great statements of the work578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eLittle did I think when I wrote of \nKlemperer’s Beethoven Cycle with his own (well—Walter Legge’s own) \nPhilharmonia at the Vienna Festival in late May\/early June 1960 (see \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n 39:5) that I would have another chance to discuss the conductor’s \n“Eroica” during this calendar year. Andrew Rose offers here performances\n many of us long devoted to the conductor have always wished to own. \nAfter Klemperer renewed his career and his fame under the aegis of EMI \n(and Legge) during the 1950s, he was seldom able to return to the U.S. \nAn engagement to conduct at the Metropolitan Opera came to naught after \nthe conductor fell asleep smoking his pipe and set his bed afire. The \nstalwart maestro recovered, but his concerts with the Philadelphia \nOrchestra represent his only time of which I am aware in this country in\n the 1960s, and gradually he conducted less and less outside of London. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Pristine issue at hand is Volume 1 of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eKlemperer in Philadelphia\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Two more CDs comprise a second volume: Mozart, Schumann, and more \nBeethoven. The concerts were obviously programmed to present the veteran\n conductor in his core repertory. I mean no discredit to Klemperer when I\n say that these performances are as much notable for the great orchestra\n as for the great conductor. I doubt he would disagree with me had he \nthe opportunity. We have, on commercial discs and also on “pirates,” \ndocumentation of Klemperer leading many orchestras across Europe, as \nwell as a few from his Los Angeles days in the 1930s. It is no discredit\n to the orchestras of Vienna, Amsterdam, and Copenhagen as well as to \nthe Philharmonia, when I say that I hear in these collaborations with \nthe Philadelphia Orchestra a synergy and dynamic response that define \nwhat great orchestral playing is all about. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eTruth to tell, he could not have come \nto Philadelphia at a better post-war time. Although the great first \nchair players of the pre-war era had largely been replaced, those \nreplacements positively defined the orchestra, as much as Ormandy’s \nfamed string sonority: Gil Johnson, leading the trumpets; Mason Jones, \nan exceptional French horn in any era; Henry Charles Smith, heading the \ntrombones, and generally conceded to be the greatest player on his \ninstrument in America. I believe Ansel (also spelled Anshel) Brusilow \nhad succeeded Jacob Krachmalnik as concertmaster by this time (to be \nsucceeded in turn by Norman Carol). \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn general, the orchestra plays for \nKlemperer like musicians possessed, and the conductor seems to be \nthoroughly engaged. The Bach is not as gripping as the rest. It sounds \nlike a fairly good sized ensemble, and the sonics—otherwise quite \namazing throughout these selections—are a bit recessed. Perhaps the \nmicrophone set-up suitable for full orchestra was less so for the \nsmaller group. However, I have nothing but praise for what Rose has \naccomplished with these stereo broadcast tapes. We hear the Beethoven \nand Brahms, in particular, in the best possible representation of 1960s,\n stereo broadcast sound, and in Pristine’s XR technology, it is cleaner \nand has more presence, I suspect, than would have been the case at the \ntime. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs to the performances, I am \nparticularly fond of Klemperer’s EMI recording of the Brahms Third with \nthe Philharmonia (also his studio recording of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEgmont\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n with them). I still think, marginally, I prefer the last two movements \nof the studio recording, but the Philadelphia audience heard a \nmagnificent Third, and the brass playing throughout is superlative. \nKlemperer observed the first movement exposition repeat (unlike Walter \nand Koussevitsky, my two favorite interpreters of this work) and that \nadds to the impact of this performance (as well as his recording). I \nsuspect, had I been in the audience for this Brahms, I would have been \nswept away. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eNo question the Beethoven would have \nleft me greatly moved. Not only the Overture, which he always did well, \nbut this “Eroica” is one of Klemperer’s great statements of the work. \nHis 1955 and 1959 EMI recordings are cornerstones of my record library, \nthe 1955 disc ranks with Toscanini’s 1953 Carnegie performance and \npossibly Mengelberg’s 1930 recording, as my favorite(s). The 1960 Vienna\n performance by the Philharmonia is superb, and also his 1957 concert \nperformance with the Royal Danish Orchestra. But he demands everything \nthe Philadelphia has to give, and they respond to those demands in full \nmeasure. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMarcia Funebre\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n as always with Klemperer, is staggering. This is an amazing \nperformance, and part of what makes it so amazing is the orchestral \nexecution. Such playing cannot be gainsaid, nor taken for granted. Not \nnow, not ever. The horn section, led by Jones, has to be heard to be \nbelieved. Pristine’s sonics fully reveal their magnificence. No one \nshould be without this two-CD set. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eCritics in other publications have \nsaid the Schumann Fourth in Volume 2 is the greatest performance of the \nwork for all time. Hyperbole and panegyrics no doubt, but the quality of\n the playing on these two discs causes me to be eager to hear that \nperformance, and, also the Mozart “Jupiter” contained on those discs. \nWhere do I send my credit card information, Mr. Rose? Oh, and thanks to \nyou and the editor for what I already have! \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames Forrest\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 40:2 (Nov\/Dec 2016) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cli\u003eReview of Volumes 1 \u0026amp; 2:\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn October and November 1962, Otto \nKlemperer visited the United States for the first time in eight years, \nto conduct the Philadelphia Orchestra in a series of concerts in New \nYork, Washington, and Baltimore as well as Philadelphia. The 77-year-old\n conductor’s physical and mental health was precarious, and during this \nperiod he suffered from severe depression. Although Klemperer had long \npromoted the works of Bruckner and Mahler, which still enjoyed only \nlimited acceptance in the U.S., and had conducted much 20th-century \nmusic, he stuck close to what was then the mainstream in selecting works\n for this tour. The programs were heavily weighted toward Beethoven, \nincluding three of that composer’s symphonies (Nos. 3, 6, and 7) as well\n as the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEgmont Overture\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, along with one work each of J. S. Bach, Mozart, Schumann, and Brahms. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAccording to the account in Peter \nHeyworth’s biography of the conductor, critical response to these \nperformances was lukewarm, but audiences were more enthusiastic. \nKlemperer later criticized the orchestra in an interview, claiming that \nit was not as good as it had been when he conducted it decades earlier, \nnear the end of Stokowski’s tenure. I find it difficult to understand \nhis dissatisfaction, as the playing on these discs is for the most part \nexcellent, barring a few minor mishaps that are to be expected in a live\n performance, and the resulting performances are characteristic \nKlemperer. They display in abundance his typical concern for structure, \nphrasing, rhythmic precision, and balances; his ability to generate \ntremendous momentum at a comparatively deliberate pace; his probing for \ninner voices; and his striving to reveal each strand of the musical \nfabric distinctly, rather than in a homogenized blend. Not everyone, it \nmust be acknowledged, responds to the Klemperer style. Not too long ago,\n I was taken aback when an esteemed \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n colleague informed me that he “hated” several of Klemperer’s widely \npraised studio recordings. In reviews of these concerts, critics often \nobjected to the slow tempos, and although it is a myth that Klemperer \nwas always a slow conductor, the tempos in these performances are often \nquite deliberate even by comparison with a good many other Klemperer \nrecordings of the same works. There is, however, nothing here that is \noutlandishly slow, as is the case with some of the performances he \nrecorded for EMI at the very end of his career, such as the Bruckner \nEighth and Mahler Seventh symphonies. A critic reviewing one of the \nPhiladelphia Orchestra concerts complained that every note “was \ninspected, mulled over….Every phrase was … viewed through an aural \ntelescope.” This comment is a pejorative description of a phenomenon I \nview as positive. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAlthough there was a trend toward \nslower tempos in Klemperer’s performances as he aged, the progression \nwas not linear. For instance, the tempo in the first movement of this \nPhiladelphia performance of Mozart’s “Jupiter” Symphony is more \ndeliberate than in Klemperer’s 1968 live recording with the Vienna \nPhilharmonic (Testament) as well as his 1954 and 1962 EMI studio \nrecordings. As the movement begins, I am thinking, “This is too slow.” \nBut as the momentum builds, driven by forceful accents, incisive rhythm,\n and precise chording, I am soon captivated by the monumental grandeur \nof this conception. Grandeur is surely an essential element of the \n“Jupiter,” and it doesn’t get any grander than this. After a while, the \ntempo no longer seems slow at all. (Klemperer observes the exposition \nrepeat in both concert performances but not in the EMI recordings.) The \ntempo in the second movement differs little from that of the 1962 EMI \nrecording or the Vienna performance, although it is certainly deliberate\n by conventional standards. The playing evinces thoughtful, sensitive \nshaping by Klemperer and reminds us that his tempo control, although \ngenerally firm and unified, is by no means rigid. The pace in the \nMenuetto is similar to that in the later EMI recording, expansive and \ngrand but also kinetic, with more emphatic downbeats in the Philadelphia\n rendition. The finale is bracing, comparable in tempo to the 1954 EMI \nrecording. The vertical stresses are again stronger in the Philadelphia \nperformance, rendering the movement all the more majestic and heroic. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe movement timings in the \nPhiladelphia performance of Beethoven’s “Eroica” are similar to those of\n the 1959 EMI stereo recording. Those, along with a 1958 live \nperformance with the Stockholm Philharmonic (Medici Masters), are the \nmost expansive among the eight Klemperer performances I compared. The \n1960 live performance with the Philharmonia Orchestra in Vienna (Music \nand Arts) and the 1963 performance with the Vienna Symphony (Orfeo) are \nfaster, once again illustrating the non-linearity in the evolution of \nKlemperer’s tempo choices. The fastest of all, however, is a 1957 \nperformance with the Royal Danish Orchestra (Testament). Of the three \nmost expansive performances, I find the Philadelphia one the most \npersuasive. The Swedish orchestra plays well, but without the refinement\n or tonal weight and allure of the Philadelphians, who also surpass \nKlemperer’s own Philharmonia Orchestra, performing under studio \nconditions, in commitment and intensity. In the Philadelphia \nperformance, stresses are more forceful, climaxes more towering, and \ntension and momentum better sustained. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMarcia funebre\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is especially grim and cataclysmic. With its spaciousness, clarity, and\n bass definition, the Philadelphia recording is superior in capturing \nthe polyphony of the Klemperer sound. This is not an impetuous \nperformance, but it is a majestic and surely heroic one. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe “Pastoral” is from the same October\n 19 concert as the “Eroica,” the first concert of the Philadelphia \nseries. It is the slowest of the seven Klemperer recordings of this \nsymphony in my possession in all movements, and significantly so in the \nfirst three. The Philadelphia timing in the first movement (corrected to\n eliminate the pause between movements) is 14:06, as opposed to \n13:00–13:17 for the three Klemperer recordings chronologically closest \nto this one, the 1957 EMI recording, the 1960 Vienna Festival \nperformance with the Philharmonia Orchestra (Music and Arts), and the \n1964 live performance with the Berlin Philharmonic (Testament). (In all \nof his recorded performances of the “Pastoral,” Klemperer observes the \nexposition repeat.) As with the “Jupiter,” my initial reaction was that \nthe tempo is too slow, but with time I find more to appreciate in this \ngrand, monumental treatment, which builds a massive forward impetus \ndespite the deliberate pace. Other positive attributes include soaring \nclimaxes, insistent stresses, rich string sound, open texture, and \nsculpted detail. The second movement possesses many of those same \nvirtues, although with a timing a half-minute longer than in the EMI \nrecording, it is comparatively serene and quiescent, without the lyrical\n flow of that account or the more fervent expressivity of the 1960 \nVienna performance. The third movement relies on forceful accents and \ntonal weight rather than urgent forward movement for its energy, and its\n momentum once again builds gradually. But Klemperer then conjures quite\n a raging storm, proving once again that he could in fact conduct at a \nfast tempo when he so desired. With a timing only marginally longer than\n that of the EMI recording, the finale is urgent and fervent, once again\n with especially insistent stresses. The deliberate tempos in this \nperformance will no doubt try the patience of some listeners, and for \nthem the EMI recording or the Vienna Festival performance, with its more\n urgent pacing, joyful exuberance, and very good mono sound, would be \nbetter choices, but I value the Philadelphia account, especially for its\n rich, realistic orchestral sound and abundant instrumental detail. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Seventh Symphony receives a titanic\n performance, with towering climaxes. It is similar in outline to the \nsecond of Klemperer’s three EMI studio recordings, but a bit quicker in \nall movements and with the added charge of a live concert event. The \nfirst movement advances at a deliberate pace by conventional standards \nbut with inexorable force, enhanced by emphatic rhythm and powerful bass\n presence and definition. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegretto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e proceeds with the measured tread of a majestic funeral march. The scherzo is kinetic but unhurried, and the finale, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epace\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Wagner, is more triumphal and exultant than dance-like. This is not the\n swifter, lighter-weight Beethoven favored by many of today’s \nconductors, under the influence of “historically informed” practices, \nbut it is in my view superb Beethoven. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAt 9:50, the timing of the Philadelphia performance of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEgmont Overture\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is the longest of five recorded performances by Klemperer. Most \nperformances by other conductors take between eight and nine minutes, as\n Klemperer himself did in the earliest of his recordings, from 1927, \nwith the Berlin State Opera Orchestra (Archiphon). But this Philadelphia\n performance is of extraordinary force and power, exemplifying \nKlemperer’s aforementioned ability to generate tremendous momentum at a \nrelatively deliberate tempo. If anything, this performance has even \ngreater thrust than the somewhat faster EMI studio recording of 1957, by\n virtue of its still more emphatic stresses, greater tonal weight, and \nstronger bass presence. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eJudging by the number of recordings \nthat have surfaced, Klemperer apparently performed the symphonies of \nSchumann and Brahms much less often than those of Beethoven. There are \nonly two recordings of the Schumann Fourth, this Philadelphia \nperformance and the EMI studio recording of 1960. Both are excellent, \ndisplaying the characteristic Klemperer virtues. Tempos in both are \nmainstream, not slow. The Philadelphia performance is actually a bit \nquicker in the first movement, if a trace slower in the inner ones. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn addition to the 1957 EMI studio \nrecording, there are two other live recordings of the Brahms Third by \nKlemperer. He programed the work for his final concert of September 26, \n1971, with the New Philharmonia Orchestra, issued by Testament. Although\n retaining vestiges of the characteristic Klemperer style, this \nperformance, by far the slowest of the lot, bears sad witness to the \ndecline of his powers and the wisdom of his decision to give up \nconducting at that point, at age 86, two years before his death. The \nbrisk 1956 performance with the Vienna Symphony (Orfeo) will come as a \nsurprise to those who think Klemperer was always a slow conductor. The \nEMI and Philadelphia recordings fall in between those extremes in terms \nof tempo, but both have the continuity and consistency of pulse that I \nassociate with Klemperer. The Philadelphia performance is a bit more \nexpansive but amply kinetic in the first movement, with a more yielding \ntreatment of the second subject. As usual, the Philadelphia recording \noffers a richer string sound and more prominent bass. Klemperer’s \ninsistence on an open and transparent sound is especially beneficial to \nthe dense Brahmsian textures. As in all his recorded performances of \nthis work, Klemperer observes the exposition repeat. In the second \nmovement, the timings of the EMI and Philadelphia recordings are \nidentical, but the former is steady and serene, while the latter is a \nbit more flexible and yielding. There is also little difference in tempo\n between the two performances in the third movement, but the \nPhiladelphia performance again feels a bit looser and more flexible. \nLike the first movement, the finale is more expansive in the \nPhiladelphia performance, but stronger stresses and explosive climaxes \ngive it added power. The slow coda, however, is better controlled in the\n EMI recording. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe one truly questionable performance in these sets is that of the Bach \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBrandenburg Concerto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Klemperer was one of the few conductors of his generation who could \nturn out a convincing performance of Baroque music, but this one is not a\n success. The slow tempos don’t work here. The rhythm is lumbering, the \nbalance bass-heavy, and the textures uncharacteristically congested. \nThere is also some shaky ensemble and surprisingly ungainly playing by \nmembers of the orchestra. Despite poor sound and some scrappy playing, \nKlemperer did much better in his crisp and brisk 1946 Vienna recording \nfor Vox. A later Vienna performance, this time with the Philharmonic, \nfrom the 1968 Vienna Festival (Testament), is much more deliberate than \nthe Vox recording, but not so heavy-handed as the Philadelphia one and \nbetter played than both. The 1960 EMI studio recording with the \nPhilharmonia Orchestra is one of the few Klemperer recordings I don’t \nhave. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis is not the first appearance of \nKlemperer’s Philadelphia concerts on CD, as they were issued several \nyears ago on the Memories label, although that release gives different \ndates for some of the performances, and it is not certain that the exact\n same performances are involved. There were earlier CD issues of some of\n the performances as well, and prior to that airchecks of them \ncirculated in the tape underground. But the Pristine versions far \nsurpass those on Memories, as well as the tapes I have, in sound \nquality. They reproduce the sound of the orchestra with startling \nrealism, far more than one would expect from a 1962 radio broadcast, \nexcelling in spaciousness, detail, and bass presence and definition. I \ndo hear touches of congestion in some peaks, however. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThese sets are treasurable documents \nof a great conductor in concert with one of the greatest American \norchestras. They are essential for admirers of this extraordinary \nmusician and should appeal to anyone with an interest in the art of \norchestral interpretation. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDaniel Morrison\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 40:2 (Nov\/Dec 2016) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC465.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eKlemperer returns after 27 years to conduct the classics in Philadelphia in 1962\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"\u003cspan class=\"TIMES\"\u003eOne of Klemperer’s great statements\u003c\/span\u003e ... the Marcia Funebre, as always with Klemperer, is staggering. This is an amazing performance\" - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp\u003eI'm delighted to have been able to access superb transcriptions of \nstereo radio master tapes in the preparation of this first of two \nvolumes dedicated to Klemperer's autumn 1962 concerts with The \nPhiladelphia Orchestra, a rapturously-received return to the city where \nhe'd last conducted the orchestra in 1935 but failed in his bid to take \nthe helm from Leopold Stokowski, that role instead going of course to \nEugene Ormandy.\u003c\/p\u003e\n\u003cp\u003eIndeed it would be another two decades before Klemperer's \ninternational reputation was cemented, after falling under the wing of \nWalter Legge and taking charge of the Philharmonia Orchestra, and then \nundertaking a large number of highly successful recordings for EMI. Thus\n did the conquering hero return to Philadelphia at the age of 77, with a\n short series of concerts heavy on Beethoven, with strong support from \nBach, Mozart, Schumann and Brahms - sufficient to full four CDs, of \nwhich this volume offers the first two.\u003c\/p\u003e\n\u003cp\u003eSound quality is excellent throughout. I've tamed a slightly \nover-wide stereo image and used a light convolution reverberation \nderived from one of the world's foremost concert halls to bring a little\n extra realism to a slightly dry acoustic, whilst XR remastering has \nhelped bring out the full warmth of the Philadlephia Orchestra's sound.\u003c\/p\u003e\n\u003cp\u003e\u003cem style=\"font-weight: bold;\"\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH\u003c\/b\u003e Brandenburg Concerto No. 1 in F major, BWV 1046 \u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eConcert of 27 October 1962\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Symphony No. 3 in F major, Op. 90\u003c\/span\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eConcert of 3 November 1962\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Egmont, Op. 84 - Overture\u003c\/span\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eConcert of 27 October 1962\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 3 in E-flat major, Op. 55 'Eroica'\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eConcert of 19 October 1962\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eThe Philadelphia Orchestra\u003cbr\u003eOtto Klemperer\u003c\/b\u003e, conductor \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded live at the Academy of Music, Philadelphia\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC465.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC465.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":31975726797,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":31975726861,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":31975726925,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC465_0b8c983e-ef78-42d4-b6d1-f88c8184c2e7.jpg?v=1487682300"},{"product_id":"pasc425","title":"REINER conducts Bach (1949-53) - PASC425","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cb\u003eBACH\u003c\/b\u003e The Six Brandenberg Concertos, BWV.1046-1051\u003cbr\u003e\u003cb\u003eBACH\u003c\/b\u003e The Four Orchestral Suites, BWV.1066-1069\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio recordings · 1949-53\u003cbr\u003eProducer and Audio Transfer Engineer: Mark Obert-Thorn\u003cbr\u003eCover artwork based on a photograph of Fritz Reiner and an engraving of J. S. Bach\u003cbr\u003eTotal duration: 3hr 9:54\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan class=\"body\"\u003eSoloists and Chamber Group\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan class=\"body\"\u003eRCA Victor Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan class=\"body\"\u003eFritz Reiner, \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003econductor\u003c\/span\u003e\n\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fReiner’s Bach is awash in delicious orchestral colors and subtle nuances of phrasing578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI first came in contact with Fritz \nReiner’s Bach in 1979, when my Harvard roommate—Leonard Bernstein’s \ngodson—showed up with one of the LPs of the 1949 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBrandenburgs\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. Now we have the complete \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBrandenburgs \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eplus\n the 1952–53 orchestral suites on CD, and I have to say they are an \nessential part of the Reiner discography. As Reiner was born in 1888, \none might expect him to partake of the German Romantic tradition in \nBach, perhaps best exemplified by Willem Mengelberg. Actually, Reiner’s \nBach is unusually forward-looking for its period, especially the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBrandenburg\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es.\n The one notable Romantic touch throughout all these recordings is a \ntendency to end movements with a sizable ritard. The absence of a \nRomantic outlook is not to say that Reiner’s Bach lacks warmth. In fact,\n these are some of the most emotional performances of the concertos and \nsuites I’ve ever heard. Pablo Casals said that Bach should be played \nlike Chopin, in other words, passionately. Reiner agreed. If you find \nthis surprising from the stern-faced martinet who dominated orchestras, \nit’s well to recall that Reiner married three times and fathered a child\n out of wedlock. As with Sergei Rachmaninoff, an icy exterior masked a \ntinderbox of emotions. Reiner’s Bach is awash in delicious orchestral \ncolors and subtle nuances of phrasing. He was in his 60s when he made \nthese recordings, and they are the fruit of a lifelong search by a \nmaster conductor for the sound and meaning of Bach. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eReiner’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBrandenburg\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es\n are played by a small chamber group of strings joined by wind and brass\n soloists, plus a barely audible harpsichord continuo performed by the \ngreat Fernando Valenti. About another decade would pass before Max \nGoberman made the first recording of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBrandenburg\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es\n featuring one player per part (Pristine should consider reissuing the \nvast trove of great stereo recordings by Goberman). You might question \nwhy a titan of the orchestra like Reiner should consider directing these\n concertos with an ensemble that clearly could have performed them \nwithout a conductor. I think Reiner particularly enjoyed the challenge \nof taking a small group of instrumentalists and getting them to play \nwith the maximum of expressivity. For example, we have his wonderful \n1956 Chicago recording of Richard Strauss’s music for \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe bourgeois gentilhomme\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n featuring less than 40 players. At the time of his death, Reiner was \nscheduled to record Mozart’s Serenade No. 10 for 13 winds. This was a \ntype of music-making Reiner excelled at. My high school music teacher \nused to say there is nothing to conducting Bach; you just start and it \ngoes. Reiner’s Bach, like Leopold Stokowski’s very different take on the\n composer, belongs to a wholly different level of sentiment. For \ninstance, Oscar Levant in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eA Smattering of Ignorance\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n writes of Reiner’s pursuit of the smallest audible string sounds, \nplayed with a bowing Levant calls “Reiner-paralysis.” It’s there in his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBrandenburg\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eReiner’s First \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBrandenburg \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis a majestic conception, with beautifully integrated, relaxed tempos. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis particularly flexible and searching, as emotional a miniature in its way as the Intermezzo from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCavalleria rusticana\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n In No. 2, trumpeter William Vacchiano, Gerard Schwarz’s teacher, makes a\n glorious sound. Reiner here weaves a tapestry of intricate rhythms and \npiquant colors. The first movement of No. 3 goes at a stately tempo, \nlike a courtly dance. Reiner gets the maximum variation in dynamics from\n his strings. The last movement features a whirlwind of spiccato bowing \nfrom the violins. No. 4’s opening movement is wonderfully airy and \nbright, like a spring breeze. The string tone in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis reminiscent of Vivaldi, whose \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFour Seasons \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eonly recently had been recorded for the first time. Reiner revels in the counterpoint of the concluding \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePresto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Sylvia Marlowe substitutes for Valenti in the Fifth Concerto, giving an\n exceptionally fluid performance in the first movement, including use of\n a lute stop, on a beautiful harpsichord. One wonders how much Reiner \nwas involved in the slow movement, where the three soloists, heard by \nthemselves, play with gorgeous ensemble. I’ve always felt that the last \nmovement contains a quote of the aria “Bring Back My Acis,” from \nHandel’s opera \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAcis and Galatea\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Reiner gets an exceptionally rich string sound in the last concerto. \nWilliam Lincer and Nicholas Biro are listed as solo violinists, rather \nthan violists, on the album cover, when in fact there are no violins in \nthe piece. Lincer was principal viola of the New York Philharmonic, \nwhere he made a superb recording of Berlioz’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHarold in Italy \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewith Leonard Bernstein. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe RCA Victor Orchestra in the \norchestral suites is a fairly large ensemble, although not with as many \nstrings as a full symphony orchestra. Reiner adopts slow, stately tempos\n for the introductory sections of the four overtures, but for the most \npart his speeds are fairly sprightly. Yehudi Menuhin said that the test \nof a performance of the suites is whether you feel like dancing to them.\n Reiner certainly meets this requirement. The Overture of the First \nSuite has a glorious, burnished sound, with a more audible harpsichord \ncontinuo than in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBrandenburg\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es.\n In the Forlane, Reiner secures an undulating feel like a flowing \nstream. Flutist Julius Baker is as much the star of the Second Suite as \nthe conductor is. Reiner revels in the suite’s autumnal colors. He \nalready had recorded it once, in Pittsburgh in 1946. The Sarabande \nevinces a depth of feeling drawn from the dance’s Renaissance roots. In \nthe second Bourée, the harpsichordist sensitively uses the lute stop to \naccompany Baker. If you wish to explore the art of Julius Baker further,\n I would recommend his recording of Mozart’s Second Flute Concerto with \nFelix Prohaska. In the middle of the Third Suite’s Overture, Reiner \nemploys a solo violin in place of the whole section, adding to the \nrhythmic verve. The continuo instrument changes to organ in the famous \nAir, helping, along with pizzicato basses, to make this an especially \ntender moment. Only the sailors of the H. M. S. Pinafore could have \ndanced the concluding Gigue at the breathless tempo Reiner sets for it. \nThe opening of the Fourth Suite’s Overture is especially slow, with a \nsonority reminiscent of a Renaissance wind band. Reiner’s tempo for the \nmain section is jaunty, conjuring up visions of Fred Astaire. The second\n Bourée in Reiner’s treatment feels like the work of Lully or Marais. \nFor the second Menuet, Reiner chooses one instrument per part, along \nwith the harpsichord’s lute stop—decades before the Akademie fur Alte \nMusik, Berlin would make the first one instrument per part recording of \nall the suites. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003ePristine has provided me with a mono \nrelease of these recordings, although there are downloads available in \nambient stereo. Mark Obert-Thorn has secured agreeable sound throughout.\n I have one of the Harmony LPs Obert-Thorn used as source material for \nthe \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBrandenburg\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es.\n The LP sounds crisp and bright. Obert-Thorn has gotten a somewhat \nwarmer tone out of it than I would have expected, along with the \nexcellent balance typical of Columbia’s 30th Street Studio in New York. \nThe resonant, dark acoustic of the Manhattan Center contributes to the \nburnished sound quality of the suites. If you want these works on period\n instruments, I would recommend Philip Pickett in the concertos and \nTrevor Pinnock in the suites. Should you require stereo versions on \nmodern instruments, my preference for the concertos is Alexander Titov \ndirecting Orchestra “Opera” on High Definition Classics. In the suites, I\n like Yehudi Menuhin. There is nothing quite like Reiner, though. \nEverything about his performances bespeaks a technical expertise and \nemotional connection rarely found in this music. These are \ninterpretations to live with. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDave Saemann\u003c\/b\u003e\u003cbr\u003eThis article originally appeared in Issue 38:5 (May\/June 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC425.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFritz Reiner's brilliant Bach: The 6 Brandenburg Concertos and The 4 Orchestral Suites\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"A virtuoso reading, incisive, with sparkle and rhythmic pro­pulsion\" - The Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eA casual observer looking over Fritz Reiner’s pre-Chicago discography\n might well come to the conclusion that he was as much of a specialist \nin Bach as he was in the works of Richard Strauss, at least if measured \nby LP sides.  Besides the three discs devoted to the Brandenburg \nConcertos and the two featuring the Orchestral Suites, Reiner had \nrecorded an earlier version of the B minor suite in Pittsburgh, \noriginally coupled on 78s with Lucien Cailliet’s transcription of the \n“Little” Fugue in G minor (forthcoming on Pristine).  Yet, after \nbecoming music director of the Chicago Symphony, he made only one \nfurther Bach recording, the F minor piano concerto with André \nTchaikowsky, which was not released until years after Reiner’s death.\u003c\/p\u003e\u003cp\u003eNevertheless, as Philip Hart relates in his biography of the \nconductor, “Reiner experimented restlessly with the Baroque.”  From his \ndays in Dresden onward, he would include a harpsichord continuo in an \nera when it was not yet fashionable.  In his 1946 Pittsburgh Bach B \nminor suite, “he added a lower octave to the bass to secure a more \n‘symphonic’ nineteenth century sonority.”  But in the recordings from a \nfew years later presented here, he strove for lighter textures.  In \nthis, he was helped by the small forces employed for the Brandenburg \nConcerto recordings (four violins, two violi, two celli, two basses, \nwith other personnel as needed) and by the spare acoustics of Columbia’s\n 30th Street Studio, which gave a close-up intimacy to the proceedings. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eHis soloists in the Brandenburgs included the cream of New York \ninstrumentalists.  Violinist Hugo Kolberg had been Reiner’s \nconcertmaster in Pittsburgh; trumpeter William Vacchiano and violinist \nWilliam Lincer were playing in the Philharmonic, while oboist Robert \nBloom and flutist Julius Baker were at the time teaching and \nfreelancing.  Landowska pupil Sylvia Marlowe was harpsichord soloist in \nthe Fifth Brandenburg and Fernando Valenti played continuo elsewhere.    \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe style, both here and in the later Orchestral Suite recordings, \nwas what Hart called “a modified ‘authentic’ approach to Bach”, played \nwith modern instruments but aiming at Baroque textures and tempi.  This \nwas a period of transition for Baroque performance in general, between \nthe monumental Romantic approach heard in, for example, Stokowski’s \nBrandenburg Second (1929) and Furtwängler’s Brandenburg Third (1930) and\n the period instrument revival that would come to the fore in the \n1960s.  Seen in the context of their time, Reiner’s Bach recordings were\n on the progressive side of Baroque interpretation.  Still, he could not\n resist allowing some string slides in the Third Suite’s famous Air; and\n the Second Suite, while perhaps lighter in texture than the earlier \nPittsburgh version, is nonetheless markedly slower in tempo.\u003c\/p\u003e\u003cp\u003eWhile Columbia kept the Brandenburgs in the catalog throughout the \n1950s on three successive imprints (full-price Masterworks, then on \ntheir budget Entré and Harmony series), they have not seen an “official”\n reissue in over half a century.  French RCA re-released the Suites on \nLP in the early 1980s, but not subsequently on CD.  The present \ntransfers were made from Harmony LPs for the Brandenburgs and the French\n pressings of the Suites.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH  \u003c\/b\u003eThe Six Brandenburg Concertos \u003c\/span\u003e \u003cem\u003e \u003c\/em\u003e\u003cbr\u003e\n\u003cp\u003eSoloists and Chamber Group\u003cbr\u003eConductor: \u003cb\u003eFritz Reiner\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded in the Columbia 30th Street Studio, New York City\u003cbr\u003eFirst issued on Columbia ML 4281 through 4283\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e• \u003cb\u003eBrandenburg Concerto No. 1 in F, BWV 1046\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e \u003cbr\u003eHugo Kolberg (solo violin); Weldon Wilbur (solo horn); Robert Bloom (solo oboe). \u003cbr\u003eRecorded 28 October 1949.\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e• \u003cb\u003eBrandenburg Concerto No. 2 in F, BWV 1047 \u003c\/b\u003e \u003cbr\u003eWilliam Vacchiano (trumpet); Felix Eyle (solo violin); Julius Baker (flute); Robert Bloom (oboe). \u003cbr\u003eRecorded 2 December 1949.\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e• \u003cb\u003eBrandenburg Concerto No. 3 in G, BWV 1048 \u003c\/b\u003e \u003cem\u003e \u003c\/em\u003e\u003cbr\u003eRecorded 26 October 1949.\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e• \u003cb\u003eBrandenburg Concerto No. 4 in G, BWV 1049 \u003c\/b\u003e\u003cbr\u003eHugo Kolberg (solo violin); Julius Baker, Ralph Eichar (Tracks 10 \u0026amp; 12) and Frederick Wilkins (Track 11) (flutes). \u003cbr\u003eRecorded 21 October 1949.\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e• \u003cb\u003eBrandenburg Concerto No. 5 in D, BWV 1050 \u003c\/b\u003e\u003cbr\u003eSylvia Marlowe (harpsichord); Hugo Kolberg (solo violin); Julius Baker (flute). \u003cbr\u003eRecorded 3 November 1949.\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e• \u003cb\u003eBrandenburg Concerto No. 6 in B flat, BWV 1051 \u003c\/b\u003e\u003cbr\u003eWilliam Lincer and Nicholas Biro (solo violins). \u003cbr\u003eRecorded 27 October 1949.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH  \u003c\/b\u003eThe Four Orchestral Suites\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRCA Victor Orchestra\u003cbr\u003eConductor: \u003cb\u003eFritz Reiner\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded in Manhattan Center, New York City \u003cbr\u003eFirst issued on RCA Victor LM-6012\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e• \u003cb\u003eOrchestral Suite No. 1 in F, BWV 1066 \u003c\/b\u003e\u003cbr\u003eRecorded 14 October 1952\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e• \u003cb\u003eOrchestral Suite\u003c\/b\u003e\u003cb\u003e No. 2 in B minor, BWV 1067 \u003c\/b\u003e\u003cbr\u003eJulius Baker (flute)\u003cbr\u003eRecorded 30 April 1953\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e• \u003cb\u003eOrchestral Suite\u003c\/b\u003e\u003cb\u003e No. 3 in D, BWV 1068 \u003c\/b\u003e \u003cem\u003e \u003c\/em\u003e\u003cbr\u003eRecorded 8 October 1952\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e• \u003cb\u003eOrchestral Suite\u003c\/b\u003e\u003cb\u003e No. 4 in D, BWV 1069 \u003c\/b\u003e\u003cbr\u003eRecorded 23 October 1952\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC425.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC425.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":31975872845,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975872909,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975872973,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC425_659a4d88-f429-4779-85db-346d4e53fead.jpg?v=1487682457"},{"product_id":"paco126","title":"RICHTER Bach: St. Matthew Passion (1958) - PACO126","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cb\u003eBACH \u003c\/b\u003eSt. Matthew Passion, BWV \u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e244\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio recording, 1958\u003cbr\u003eTotal duration: 3hr 18:41    \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eIrmgard Seefried \u003c\/b\u003esoprano\u003cb\u003e\u003cbr\u003eAntoine Fahberg \u003c\/b\u003esoprano\u003cb\u003e\u003cbr\u003eHertha Töpper \u003c\/b\u003ealto\u003cb\u003e\u003cbr\u003eErnst Haefliger \u003c\/b\u003etenor\u003cb\u003e\u003cbr\u003eKieth Engen \u003c\/b\u003ebass\u003cb\u003e\u003cbr\u003eMax Proebstl \u003c\/b\u003ebass\u003cb\u003e\u003cbr\u003eDietrich Fischer-Dieskau \u003c\/b\u003ebass\u003cb\u003e\u003cbr\u003eMunich Bach Choir \u003c\/b\u003e\u003cb\u003e\u003cbr\u003eMunich Bach Orchestra\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eKarl Richter \u003c\/b\u003econductor\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fUnquestionably the finest of his interpretations of the work on disc ... those new to this classic recording will enjoy the sympathetic restoration here.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eKarl Richter played the harpsichord in the 1950 recording of excerpts \nfrom the Mass in B Minor directed in Leipzig by Günther Ramin. Ramin \nheld the same position at St Thomas that Bach had done. That Richter \nabsorbed much from his eminent but now somewhat overshadowed teacher \nseems self-evident from the famous studio recording Richter gave of the \nMass in 1961, a cornerstone of the LP library. The stylistic lineage is \nperhaps even more clear from the recordings both men made of the St \nMatthew Passion.\u003cbr\u003e \u003cbr\u003e Ramin’s was severely abridged with many \nomissions – some, indeed many, standard Leipzig ‘cuts’ at the time - \nwhich enables the work to fit on two CDs. Made in 1941 with the St \nThomas Choir, the Gewandhaus Orchestra and some of Germany’s leading \nsingers, it remains a remarkable document. It’s clear from the approach \nadopted by Richter in his famous recording of 1958 that the expressive \nbalances and stylistic approach explored by Ramin had been securely \npassed on – tight rhythms but with relaxed tempos (sometimes very \nrelaxed) with crisp, small ensembles, and a richly warm emotional \nengagement. His opening chorus which, remarkably enough, is slower than \nMengelberg’s is also a full minute slower than – but expressively \ncongruent with – Ramin’s 1941 reading. Thus it is for much of this 1958 \nrecording, one that by common consent eclipses the other studio and \nvideo recordings Richter left behind. With a more appropriate sense of \narticulation and a roster of first-rank soloists largely in fresh voice \nthis is unquestionably the finest of his interpretations of the work on \ndisc and one that still stands comparison with most others of the LP \nera.\u003cbr\u003e \u003cbr\u003e In Ernst Haefliger he had one of the great Evangelists on \ndisc and the enormous advantage of Fischer-Dieskau’s bass solos. Irmgard\n Seefried is a splendid soprano, though not always quite ideally steady,\n and Hertha Töpper the reliable alto. His well-drilled Munich \ninstrumental and choral forces are resilient and attentive to his \ndemands, some of which can be rigorous and indeed onerous, when it comes\n to certain tempi decisions. But all these decisions are far preferable \nhere than in later recordings.\u003cbr\u003e \u003cbr\u003e As Pristine’s Andrew Rose \nobserves in his brief producer’s note, this early stereo was excellently\n recorded. Light ‘warming’ of the sound has been judiciously applied and\n some reverberation too: this won’t be to all tastes, and certainly not \nthose who prefer more of a facsimile of the original sound – in which \ncase one of the many reissues, not least DG’s own, will be the preferred\n option. However those new to this classic recording will enjoy the \nsympathetic restoration here.\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cem\u003eJonathan Woolf\u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003eMusicWeb International, June 2016\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO126.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eKarl Richter's 1958 Munich St. Matthew Passion\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e“A revelation .. a monumental achievement” - The Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eKarl Richter's classic 1958 St . Matthew Passion is a fabulous \ndemonstration of just how good some of the earliest commercial stereo \nrecordings of the late 1950s could sound. It appears on the Pristine \nlabel almost by chance - chosen as listening material whilst testing new\n LP replay equipment, I was so drawn into the music that I couldn't help\n but let it run, and run. All eight sides of it demonstrated to me how \nmuch superior the best vinyl pressings of the pre-CD era sound by \ncomparison to almost every modern \"vinyl revival\" LP I've heard thus \nfar.\u003c\/p\u003e\u003cp\u003eThus I had marvellous source material from which to work: XR \nremastering has served to \"warm up\" the sound, as well as dusting off \nthe upper-end cobwebs, whilst the tape hiss which has bothered listeners\n to earlier reissues has been all but eliminated. The lightest touch of \nconvolution reverberation, which reproduces the acoustic space and \ncharacteristics of a real selected concert hall, has served to soften \nsome of the rougher edges of DGG's early stereo sound and bring an extra\n sense of depth and realism to the proceedings.\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eErnst Haefliger,\u003c\/b\u003e Tenor (Evangelist, Arien)\u003cbr\u003e\u003cb\u003eKieth Engen\u003c\/b\u003e, Bass (Jesus)\u003cbr\u003e\u003cb\u003eIrmgard Seefried\u003c\/b\u003e, Sopran (Arien)\u003cbr\u003e\u003cb\u003eAntonie Fahberg\u003c\/b\u003e, Sopran (1. Magd, Pilati Weib) \u003cbr\u003e\u003cb\u003eHertha Topper\u003c\/b\u003e, Alt (Arien, 2. Magd)\u003cbr\u003e\u003cb\u003eDietrich Fischer-Dieskau\u003c\/b\u003e, Bass (Arien)\u003cbr\u003e\u003cb\u003eMax Proebstl\u003c\/b\u003e, Bass (Judas, Petrus, Pilatus, Hohepriester) \u003cbr\u003e\u003cb\u003eWalter Theurer, Wolfgang Haag\u003c\/b\u003e, Querflöte l\/ll \u003cbr\u003e\u003cb\u003eEdgar Shann\u003c\/b\u003e, Oboe \u003cbr\u003e\u003cb\u003eEdgar Shann, Kurt Hausmann\u003c\/b\u003e, Oboe d'Amore l\/ll \u003cbr\u003e\u003cb\u003eOtto Büchner\u003c\/b\u003e, Violine \u003cbr\u003e\u003cb\u003eOswald Uhl\u003c\/b\u003e, Viola da Gamba \u003cbr\u003eContinuo: \u003cb\u003eOswald Uhl\u003c\/b\u003e, Violoncello \u003cbr\u003e\u003cb\u003eKarl Kolbinger\u003c\/b\u003e, Fagott • \u003cb\u003eFranz Ortner,\u003c\/b\u003e Kontrabass \u003cbr\u003e\u003cb\u003eEkkehard Tietze, Hedwig Bilgram\u003c\/b\u003e, Orgel \u003cbr\u003e\u003cb\u003eMünchner Chorknaben\u003c\/b\u003e • Einstudierung \u003cb\u003eFritz Rothschuh\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMünchener Bach-Chor\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eMünchener Bach-Orchester\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eKarl Richter\u003c\/b\u003e conductor\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO126.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO126.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":31975880013,"sku":null,"price":48.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":31975880077,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":31975880141,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO126.jpg?v=1487682469"},{"product_id":"paco074","title":"ROGER WAGNER CHORALE Walton, Bach, Vaughan Williams (1960) - PACO074","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eWALTON \u003c\/b\u003eBelshazzar's Feast\u003cb\u003e\u003cbr\u003eJ. S. BACH \u003c\/b\u003e Cantata No. 4: Christ lag in Todes Banden, BWV4\u003cb\u003e\u003cbr\u003eVAUGHAN WILLIAMS\u003c\/b\u003e Mass in G minor\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded in stereo in London and Hollywood, 1960\u003cbr\u003eTotal duration: 79:52\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003eVarious Soloists\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRoyal Philharmonic Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eC\u003c\/span\u003e\u003cspan style=\"font-size: 14px;\"\u003eoncert Arts Orchestra \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003eThe Roger Wagner Chorale\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003eRoger Wagner\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003e, conductor \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is a really good Belshazzar's Feast and it took me quite by surprise578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"Br\"\u003eThese are all stereo recordings sourced from the collection of Edward \nJohnson. Pristine are pretty sure that these recordings, taken down from\n American LPs, have not been reissued before. They have been treated, so\n we are assured, to a great deal of technical tender love and care. The \nresults sound good - probably as good as they have ever sounded.  \u003cbr\u003e\n\u003cbr\u003e\nThis is a really good \u003ci\u003eBelshazzar's Feast\u003c\/i\u003e and it took me quite by \nsurprise. This 50+ year old recording opens the door on a reputation \nthat has slipped silently into the mist. This Wagner deserves better. I \nwonder what else he recorded. All Waltonians should get this and compare\n it with the other greats: Previn's for EMI and my other outsider - also\n American - Ormandy on Sony. The oak-sturdy ‘bassy’ baritone is John \nCameron: his projection is all lofty oratory, condemnation and \nexultation. The choir has been drilled to precision and combines the \npower of a massive engine with the precision of a scalpel. If Wagner has\n injected the faintest trace element of Hollywood glow it certainly \nsuits the music. The instrumental detail is magnificently well rendered \nin stereo. One small detail: this recording sports the work's best anvil\n sound ever. It rings true and loud.  \u003cbr\u003e\n\u003cbr\u003e\nWhile the Bach is old-fashioned big-band stuff you might enjoy its \ncaramelised and super-smooth remission from HIP rigour. Certainly it \nswims against the torrent of the times. True-blue adherents of \nauthenticity might like to try it when they need something to rail \nagainst. The RVW Mass is right at the opposite pole to the EMI Classics \none of yore. This is more broodingly passionate Rachmaninov \u003ci\u003eVespers\u003c\/i\u003e\n than Byrd. I liked it, having found myself only fleetingly engaged by \nthe Willcocks EMI version. Whether this is authentic RVW I doubt. It may\n even enrage some but in it we hear the composer as urgent pilgrim. It’s\n more a matter of ardour than ascetic devotion and as such is more in \ntouch with the RVW presented in the television documentary: \u003ci\u003eThe Passions of Vaughan Williams\u003c\/i\u003e. \u003cbr\u003e\n  \u003cbr\u003e\nSome intriguing material here and a totally enjoyable \u003ci\u003eBelshazzar\u003c\/i\u003e that should shake some dust out of the rafters.\n      \u003cspan class=\"TIMES\"\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eRob Barnett\u003c\/b\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"TIMESb\"\u003e\u003c\/span\u003e \u003cspan class=\"TIMESb\"\u003eMusicWeb International, March 2014\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO074.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe Roger Wagner Chorale superb in three stereo 1960 recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eFirst release outside US for their Walton Belshazzar, Vaughan Williams Mass, and Bach Cantata 4\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThese transfers came from the generous collection of Edward Johnson, \nto whom I am once more grateful. The discs were both issued in the USA \nin 1961 but we do not believe elsewhere, nor have they been reissued \nbefore. XR remastering has done much to clarify diction and relieve a \nsomewhat \"plummy\" tonal quality, and I've attempted to ameliorate the \nrather unpleasant and obvious reverberation used on Belshazzar's Feast \nwith careful use of a modern convlution reverb. The average pitch of the\n recordings was around A=443Hz - given that altering this to 440Hz would\n have lengthened the overall duration to beyond that of a CD I elected \nto keep it. I've also dealt with quite a lot of pre- and post-echo, \nparticularly in the Walton recording.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cb\u003e\u003cspan class=\"bodybigblue\"\u003eWALTON \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodybigblue\"\u003eBelshazzar's Feast\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eJohn Cameron\u003c\/b\u003e baritone\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cb\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003eThe Roger Wagner Chorale\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cb\u003e Roger Wagner \u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003econductor\u003c\/span\u003e \u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded at Abbey Road Studio 1, London, 19-22 September 1960. \u003cbr\u003e Transfer from Angel S-36015. \u003cbr\u003e First issued in 1961 (USA only) on Capitol SP 8577 \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cb\u003e\u003cspan class=\"bodybigblue\"\u003eJ. S. BACH\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodybigblue\"\u003e \u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e Cantata No. 4: Christ lag in Todes Banden, BWV4\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\n\u003cb\u003e\u003cspan class=\"bodybigblue\"\u003eVAUGHAN WILLIAMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodybigblue\"\u003eMass in G minor\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003eDoralene McNelly \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003esoprano\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e Alice Ann Yates \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003ealto\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e Michael Carolan \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003etenor\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e Charles Scharbach \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003ebass\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e Paul Salamunivich \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003ecantor\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cbr\u003e Concert Arts Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodymidarial\"\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003e(Bach)\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003eThe Roger Wagner Chorale\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e Roger Wagner \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003econductor\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded in Hollywood in 1960. \u003cbr\u003e Transfer from Angel S-36014. \u003cbr\u003e First issued in January 1961 (USA only) on Capitol SP 8535\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eFront cover artwork based on a photograph of Roger Wagner\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, March 2012\u003cbr\u003eRecorded in stereo in London and Hollywood, 1960\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO074.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO074.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":33844165709,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":33844165837,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":33844165965,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO074.jpg?v=1489154847"},{"product_id":"paco010","title":"SCHERCHEN Bach: B Minor Mass (1950) - PACO010","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cb\u003eJ. S. BACH \u003c\/b\u003eMass in B minor, BWV.232\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr data_liveedit_tagid=\"000000000D7722F0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded in 1950\u003cbr\u003eDuration: 2hr 04:40\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eEmmy Loose\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (soprano)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eHilde Ceska\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (soprano)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eGertrud Burgstaler-Schuster\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (contralto)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eAnton Dermota\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (tenor)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eAlfred Poell (\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003ebass)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eVienna Akademie Kammerchor\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eVienna Symphony Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003econductor: \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eHermann Scherchen\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fBill Rosen's Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fNone, for me, has ever touched the infinite the way his does578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: medium;\"\u003eMy\n grandmother gave me $15 in 1951 for my 19th birthday. She told me to \nspend it on some good music. I was in college at the time and I rather \nbrashly asked the choir director, \"What is the greatest piece of music \never written?\" With not much hesitation, he answered, \"The Bach B Minor \nMass\". At the time, I was very much into classical music, but I was \nquite unfamiliar with Bach or Handel or the Baroque style. Nonetheless, I\n went to the largest record dealer in Los Angeles and bought the \nWestminster recording of Hermann Scherchen's performance of the B Minor \nMass. \u003cbr\u003e\u003cbr\u003eWhen I played it, I was horribly disappointed. I couldn't \nmake head or tails out of it. I thought the music was harsh, unmelodic, \nweird. I was tempted to return it. I particurly hated the long, opening \nKyrie. The orchestration with the harsh trumpets I thought primitive and\n brutal. I made several more attempts, but finally put the album away in\n a drawer.\u003cbr\u003e\u003cbr\u003eAbout six months later, our college (UCLA) chorus \nbegan to rehearse the Mozart Requiem. I was utterly taken with the great\n fugue (Kyrie Eleison) and its repetition at the end of the work. I was \nso entranced with the music that I couldn't get it out of my mind. I \ndecided to take the Bach B Minor out and give it another listen and \nsuddenly I understood it and felt it. I played it over and over and I \ncould hear nothing else for a while (although we kept rehearsing the \nMozart). Since then (I was 20), the Bach B Minor Mass and especially the\n opening Kyrie has always appeared to me as the acme of musical \nspirituality. The first voice of the opening fugue has always seemed not\n music, but a pulse of the universe.\u003cbr\u003e\u003cbr\u003eIn the ensuing 53 years I \nhave collected many B Minor Masses, many much more finely recorded than \nthe Scherchen. But none, for me, has ever touched the infinite the way \nhis does.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: medium;\"\u003eReviewer: Bill Rosen\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO010.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eScherchen's 1950 classic Bach B Minor Mass\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eWhen Bill Rosen's Bach LPs arrived it was with some trepidation that I\n began the restoration. Bill had generously offered to start a \nsponsorship scheme with a recording which is perhaps the most dear to \nhim. I took the first LP out of its polythene sleeve, carefully cleaned \nit and placed it on the turntable, apprehensive of the six sides I had \npromised to work on. \u003cbr\u003e\u003cbr\u003eThe stylus lowers gently onto the treasured\n vinyl and the opening Kyrie eleison begins. I am horrified. The sound \nis dreadful - as if the master tape had been thoroughly mangled, chewed \nand spat out by a particularly unruly tape machine (which I suspect it \nhad). The prospect of two hours of this is terrifying. \u003cbr\u003e\u003cbr\u003eAnd then,\n after about 36 seconds, a silence - a pause - and the orchestra comes \nin perfectly, and I breathe a sigh of relief. Although the condition is \nto be revisited more mildly for a couple of seconds later in the same \nside, there is otherwise no repeat of it. \u003cbr\u003e\u003cbr\u003eIt took me five days \nof work, on and off, to correct those opening few bars to the degree you\n can now hear. Had the entire recording been in a similar condition I'd \neither be working on it still, or more likely locked up! \u003cbr\u003e\u003cbr\u003eI \ndecided therefore to make the full 15'50\" of this opening available as \nour sample movement - I hope you'll enjoy it as much as both Bill and \nnow I do.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eJ. S. BACH \u003c\/b\u003eMass in B minor, BWV.232\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003eRecorded in 1950\u003cbr\u003e\u003cbr\u003eReleased as 3 Westminster LPs: WL 50-37 - 50-39\u003cbr\u003eDuration: 2hr 4:41\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eCD1:\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003e 64:06  \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e    \u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eCD2: 60:35\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eEmmy Loose\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (soprano)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eHilde Ceska\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (soprano)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eGertrud Burgstaler-Schuster\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (contralto)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eAnton Dermota\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (tenor)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eAlfred Poell (\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003ebass)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e Vienna Akademie Kammerchor\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e Vienna Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e conductor: \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eHermann Scherchen\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO010.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO010.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":33988753933,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":33988753997,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO010_f21c2ce7-60b9-4cc9-aec7-87eb70c0cb3d.jpg?v=1616665987"},{"product_id":"pakm065","title":"SPIVAKOVSKY Bach to Bloch, Volume 1 (1955-67) - PAKM065","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003eBACH-LISZT \u003c\/b\u003eThe Great Organ Fantasy \u0026amp; Fugue in G Minor BWV 542\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSonata No. 21 in C Major Op. 53 (Waldstein)\u003cbr\u003e\u003cb\u003eCHOPIN \u003c\/b\u003eBallade No. 1 in G Minor Op. 23\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eRomanze in F Major Op. 118 No. 5\u003cbr\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003ePrelude Bk. 1 No. 7, Ce qu'a vu le vent d'Ouest\u003cbr\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003ePrelude Bk. 1 No. 12, Minstrels\u003cbr\u003e\u003cb\u003eKABALEVSKY \u003c\/b\u003eSonata No. 3 in F Major Op. 46\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 1955-1967\u003cbr\u003eDuration 70:25\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eJascha Spivakovsky,\u003c\/b\u003e piano\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis central movement is a mere five minutes, yet under Spivakovsky’s fingers seems to speak of whole worlds578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eJascha Spivakovsky (1896–1970) is quite\n a find. His teacher, Moritz Maher-Marr, studied with Franz Liszt and \nAnton Rubinstein, and this is one instance where a heritage being passed\n down is audible. His series of concerts with Furtwängler is possibly \nhis most famous endeavor, although he was chosen by Richard Strauss to \nplay the solo in that composer’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBurleske\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. His brother was the famous violinist Tossy Spivakovsky. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe recordings here were made in \nSpivakovsky’s own music room at his home in Melbourne, Australia by the \npianist’s son, Michael Spivakovsky, who also oversaw the transfers in \nMelbourne before they were sent to France for Pristine to restore and \nremaster, and, in fact, to acoustically “rehouse.” \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Bach\/Liszt is awe-inspiring in its \nbreadth of touch and its perfectly judged dimunuendos. Lines are clear \nthroughout, and the whole exudes a tremendous sense of an awareness of \nthe work’s structure. The “Waldstein” first movement is fast but \nprecise, the staccato and accuracy clearly the result of fingers of \nsteel. One thing that sings throughout this performance is a sense of \nrightness, of knowing. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio molto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is simply stunning, a perfect pocket of Beethovenian stillness where \nsilences speak with Webernian potency. The finale creeps in with real \nmagic and golden tone. Beauty is important here, and so is pedal \ntechnique. Spivakovsky is not afraid to use the pedal, but he does not \nshy away from the pedal-free, either. The result is terrifically \nexciting, imaginative, and true to the spirit of Beethoven. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe same clarity characterizes \nSpivakovsky’s Chopin. Any blurrings are clearly intentional and have a \nclear point relating to the composer’s ongoing narration. This is \nthought through, an object lesson in how to pedal in Chopin. The 6\/4 \nsection becomes the ghost of a waltz; the coda is astonishing because, \nwithout losing any of its excitement, it is both intelligent and \naccurate. The crepuscular side of Brahms (op. 118\/5) emerges from the \nstrong chords of this Romanze’s opening. Spivakovsky apparently often \npaired the two particular Debussy \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePréludes\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n on offer here. Perhaps some detail is blurred by the recording in the \n“West Wind” here, but it remains an impressive, elemental, and explosive\n reading; there is no such problem in “Minstrels,” given in a \nperformance of great, almost cartoony, character. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003ePerhaps the greatest treasure of all is\n Kabalevsky’s Sonata No. 3. He gives the piece more backbone than does \nMoiseiwitsch in his famous October 1946 HMV account. A link to Prokofiev\n in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante cantabile\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n seems clear, and Spivakovsky seems equally clear that Kabalevsky can \nplumb just as great depths as that better-known composer This central \nmovement is a mere five minutes, yet under Spivakovsky’s fingers seems \nto speak of whole worlds. Similarly the finale, which seems on the \nsurface to make reference to the same spirit as does Shostakovich in \ncircus mode, is here a sparkling piece of wit, yet one that fits the \nsonata’s overall concerns perfectly. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eJust one thing, and I am probably \nbeing remarkably stupid, but why is it called “Bach to Bloch”? There is \nno Bloch here (apart from perhaps a mental “Bloch” on my part), \nalphabetically it goes further than “B” and it goes further than Bloch \nchronologically, too (Kabalevsky died in 1987). Anyway, this is \nwonderful. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eColin Clarke\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eThis article originally appeared in Issue 39:2 (Nov\/Dec 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM065.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eIntroducing Jascha Spivakovsky (1896-1970), \"One of the greatest pianists of our time\"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eFirst solo piano release from a brilliant pianist who never recorded commercially\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"text-align: center;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003e“Back in Russia when I was four years old, my mother dragged me through \u003cbr\u003esnowdrifts \u003c\/span\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003etwenty feet deep to hear an outstanding prodigy. YOU were that prodigy.”\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cem\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003e\u003cbr\u003eVladimir Horowitz, 1948\u003c\/span\u003e\u003c\/em\u003e \u003cem\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"text-align: center;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003e“The sensation of London. At the last evening concert in the Albert Hall it is estimated that \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003e3,000 people were unable to gain admission, and there were scenes of wild enthusiasm.”\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cem\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003e\u003cbr\u003eThe Mercury\u003cbr\u003e\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"text-align: center;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: small; font-family: georgia, palatino;\"\u003e“Supreme mastery of the instrument and brilliant \u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan style=\"font-size: small; font-family: georgia, palatino;\"\u003etechnique [and] that rarer quality to be described only \u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan style=\"font-size: small; font-family: georgia, palatino;\"\u003eas soul … \u003cbr\u003emuch as I want to hear Cortot, I want to \u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan style=\"font-size: small; font-family: georgia, palatino;\"\u003ehear Spivakovsky again still more”\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: small; font-family: georgia, palatino;\"\u003e\u003cem\u003e\u003cspan\u003e\u003cbr\u003eDover Express\u003c\/span\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eProducing this first volume of recordings by the pianist Jascha \nSpivakovsky has been something of a global endeavour. Co-ordinated by \nSpivakovsky's grandson, Eden Spivakovsky initially from Singapore, now \nin Australia, with transfers overseen by Spivakovsky's son, Michael at a\n renowned mastering studio in Melbourne, Australia, the choices for this\n volume were then sent to me in France for audio restoration and \nremastering. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eAfter much deliberation, this first volume concentrates on Jascha \nSpivakovsky's solo work - later volumes will include concerto and \nchamber music, the latter alongside Jascha's renowned violinist brother,\n Tossy Spivakovsky, and will delve further into the past. Most of the \npresent recordings were made by Jascha during rehearsals for concerts \nand broadcasts in Australia in the 1960s, and were recorded by Michael \nSpivakovsky onto a mono Tandberg reel-to-reel tape recorder using a \nstandard-issue microphone. They were not therefore intended for release,\n and it has been my task to elevate the quality of the recordings to a \nstandard which not only is acceptable to modern listeners but also does \nfull justice to Jascha Spivakovsky himself.\u003c\/p\u003e\u003cp\u003eUsing the most up-to-date audio restoration and remastering software,\n I've been able to correct pitch anomalies, compensate for the tonal \ninaccuracies of the microphone, eliminate electrical hum, greatly \ndiminish tape hiss, and digitally \"rehouse\" Jascha in one of the more \nintimate concert halls at Santa Cecilia, Rome, renowned for fine musical\n acoustics which complement the piano's tone, without introducing a wash\n of unnatural reverberation.\u003c\/p\u003e\u003cp\u003eThis page can only serve as an introduction to the incredible musical\n story of Jascha Spivakovsky - for a fuller picture I strongly recommend\n you visit \u003ca href=\"https:\/\/web.archive.org\/web\/20160327131238\/http:\/\/www.jascha.com\/\" target=\"_blank\"\u003ewww.jascha.com\u003c\/a\u003e and immerse yourself in an amazing musical voyage of discovery. As Damian Thompson of \u003cem\u003eThe Spectator\u003c\/em\u003e\n wrote to me a few days ago, in response to first hearing Jascha \nSpivakovsky: \"Greatest pianist I've never heard of? More like one of the\n greatest pianists I've heard.\"\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH-LISZT\u003c\/b\u003e The Great Organ Fantasy \u0026amp; Fugue in G Minor, BWV 542 \u003cbr\u003e\u003c\/span\u003e\u003ci\u003eRecorded Melbourne, November 1963\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Sonata No. 21 in C Major Op. 53 (Waldstein)\u003cbr\u003e\u003c\/span\u003e\u003ci\u003eRecorded Melbourne, around October 1967\u003cbr\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eCHOPIN\u003c\/b\u003e Ballade No. 1 in G Minor Op. 23\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003ci\u003eRecorded Melbourne, December 1966\u003c\/i\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003ci\u003e \u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Romanze in F Major Op. 118 No. 5\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003ci\u003eRecorded  c. October\/November 1955 (location unknown) \u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eDEBUSSY\u003c\/b\u003e Prelude Bk. 1 No. 7, \u003cem\u003eCe qu'a vu le vent d'Ouest\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003ci\u003eRecorded  c. February\/March 1958 (location unknown)  \u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eDEBUSSY\u003c\/b\u003e Prelude Bk. 1 No. 12, \u003cem\u003eMinstrels\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003ci\u003eRecorded  c. February\/March 1958 (location unknown) \u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eKABALEVSKY\u003c\/b\u003e Sonata No. 3 in F Major Op. 46\u003cbr\u003e\u003c\/span\u003e\u003ci\u003eRecorded Melbourne, c. May\/June 1962\u003c\/i\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eJascha Spivakovsky\u003c\/b\u003e, piano\u003cbr\u003e\u003cspan style=\"text-decoration: underline; color: #0000ff;\"\u003e\u003ca href=\"http:\/\/www.jascha.com\/\" target=\"_blank\"\u003e\u003cspan style=\"color: #0000ff;\"\u003ewww.jascha.com\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003ePrivate recordings were made in Jascha Spivakovsky's music room in Melbourne, Australia by Michael Spivakovsky\u003cbr\u003eTransfers by Crystal Mastering, Melbourne, Australia\u003cbr\u003eRestoration and XR remastering by Andrew Rose at Pristine Audio\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAKM065.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM065.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fDetailed Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\n    \u003cp\u003e\n        \u003cstrong\u003eJascha Spivakovsky\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003eBach to Bloch: Volume 1\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003eBach-Liszt Organ Fantasy and Fugue in G Minor BWV 542\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        Jascha Spivakovsky’s November 1963 recording of the Bach-Liszt Organ\n        Fantasy and Fugue in G Minor BWV 542 is a grand and noble\n        interpretation filled with passion and insight. The pianist had opened\n        recitals with this work as early as 1922, and in this performance four\n        decades later he presents Bach’s musical brilliance and the myriad\n        possibilities for playing his polyphonic compositions on the piano.\n        Liszt’s transcription enables a broader capacity of tonal and dynamic\n        variance than the organ for which the work was originally written and\n        Spivakovsky exploits a rich array of sonorities to express the dramatic\n        and emotional content of Bach’s oeuvre. He additionally reveals the\n        complex structure of Bach’s contrapuntal writing with the clarity of an\n        architectural blueprint through his transparent voicing and precise\n        articulation, using variation of touch, attack, dynamics, and pedaling\n        to project the themes, counter-themes, and bridge passages in\n        accordance with their musical significance. The mood is grand,\n        reverent, and noble in the Prelude, musical phrases being carefully\n        shaped and climaxes attentively built (Spivakovsky avoids peaking too\n        quickly in order to increase tension throughout this section). The\n        Fugue has a more ebullient atmosphere, being despatched with\n        crisply-defined touch, transparent and consistent voicing, and a\n        rhythmic pulse that is not rigid yet is steady and forward-moving. A\n        Delhi newspaper during Spivakovsky’s first tour of India in 1956 stated\n        that \"the grand introduction of the Fantasia and the deliciously clear\n        rhythm of the Fugue were rendered with superb artistry and\n        musicianship”, and the same qualities can be heard in this current\n        performance.\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003eBeethoven Sonata No.21 in C Major Op.53, ‘Waldstein’\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        Spivakovsky’s October 1967 recording of Beethoven’s Waldstein Sonata is\n        nothing less than extraordinary. It seems almost inconceivable that the\n        pianist should have been aged 70 at the time of this reading, the first\n        movement being taken at a remarkably brisk tempo yet played with\n        tremendous accuracy, clarity, and rhythmic certainty. Spivakovsky uses\n        minimal pedal (he seems almost not to be using it at all) and his\n        articulation is incredibly clean and even, each and every note sounding\n        clear while his exquisitely shaped phrasing highlights key musical\n        motifs. In the second movement, transparent voicing reveals the\n        composer’s rich harmonic textures while polished phrasing projects\n        melodic lines with tremendous lucidity. Particularly impressive are the\n        pauses between phrases: the silence never leads to a loss of musical\n        structure or tension but in fact adds to it. In the final movement,\n        attentive pedaling (as per Beethoven’s markings in the score) creates a\n        haze around the main melody while the undulating left hand\n        accompaniment is still clearly defined. Structure is revealed with\n        uncanny transparency through the use of skilled articulation and\n        phrasing, enabling multiple motifs to be underlined at the same time,\n        each phrase singing while specific notes are accented without breaking\n        the line. Sir Neville Cardus referred to Spivakovsky’s Beethoven\n        playing as \"an experience of mind and spirit and a sincere artist’s\n        submergence of self and technical awareness into the world of\n        Beethoven” and this breathtaking performance, fleet and virtuosic as\n        well as emotionally and intellectually profound, fits the renowned\n        critic’s description perfectly.\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003eChopin Ballade No.1 in G Minor Op.23\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        Although the piano used in this December 1966 recording of Chopin’s\n        First Ballade has some intonation issues, the performance is one of the\n        greatest ever recorded, Spivakovsky sounding spontaneous despite his\n        remarkable attention to detail. Melodic lines are presented like\n        sentences recited by a skilled actor, with a natural rise and fall,\n        with organic pacing and expression, the connectivity between lines well\n        thought through, always played with extraordinary subtlety. With his\n        adjustments to dynamics, tone, and nuance (via pedaling and timing),\n        Spivakovsky gives phrases priority over rigid metrical structure yet\n        never loses the pulse. He plays in the true Romantic tradition, with\n        rubato used in relation to the structure of the work, subtle\n        differences of time and shaping being used to highlight each repeated\n        structural or musical element. He underscores many of the same inner\n        voices highlighted in Josef Hofmann’s legendary 1937 Golden Jubilee\n        performance, yet whereas Hofmann’s burnished voices soar on a higher\n        sonic plane than the other layers, here they are coloured such that\n        they are clearly revealed within the overall texture of the work. This\n        powerful performance nevertheless eschews exaggerated climaxes and\n        contrived emotionality, the pianist ensuring that the performance\n        doesn’t peak too soon, holding back until the actual structural climax\n        of the work. A 1933 review from The Advertiser stated that \"Jascha\n        Spivakovsky gave us a new interpretation of Chopin's G Minor Ballade,\n        one that mattered. It was maturely conceived – not Spivakovsky at the\n        expense of Chopin.” Indeed, the pianist reveals here the best of the\n        Romantic tradition - inspired individuality and breadth of expression -\n        with the best of the newer approach to objective presentation of the\n        composer’s intent through respect of the text.\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003e\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003eBrahms Romanze in F Major Op.118 No.5\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        The recording of Brahms’s Romanze in F Major Op.118 No.5 in\n        October-November 1955 features a broad tempo and expansive rubato.\n        Spivakovsky does not highlight the primary melodic line so much as he\n        does the larger harmonic progression of the work, paying attention to\n        its counterpoint and overall structure, each section being distinct yet\n        seamlessly bridged with attentive adjustments of tempo and dynamics.\n        Each of the four initial presentations of the main melody in the\n        opening section is voiced differently, with adjustments to dynamics and\n        timing serving to highlight a variety of emotional expressions through\n        the same theme. Spivakovsky’s weighting of chords in the outer sections\n        is exquisite, while in the middle section both the melodic line and\n        inner voices are beautifully intertwined; the remarkable deceleration\n        before the more agitated central section, with each note’s timing and\n        decay seamlessly presented, anticipates the change in mood. Following\n        the luminous and penetrating middle section, he shapes the reprise into\n        a broad arch, following Brahms's written intentions, all the while\n        applying his unerring taste in phrasing and rubato to build the tension\n        and dynamics to a marvelous peak, drawing out passion and depth to\n        build to a carefully-identified climactic point near the end of the\n        work, and then a gorgeous fading out to a beautifully-timed\n        presentation of the final chord. It is little wonder that the pianist\n        was so widely acclaimed for his Brahms playing, in Europe (and Germany\n        in particular) in the ‘20s and ‘30s and in his Australian, American,\n        British, and other international appearances from the through the ‘30s\n        to ‘60s.\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003eDebussy: Two Preludes\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003eBook 1 No.7: \u003cem\u003eCe qu’a vu le vent de l’Ouest\u003c\/em\u003e\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003eBook 1 No.\u003c\/strong\u003e\n        \u003cstrong\u003e12: \u003cem\u003eMinstrels\u003c\/em\u003e\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        Two Debussy Preludes recorded in February\/March 1958 demonstrate\n        Spivakovsky’s brilliance at characterization and shifting tonal\n        palettes. In \u003cem\u003eCe qu\u003c\/em\u003e’\u003cem\u003ea vu le vent de l\u003c\/em\u003e’\u003cem\u003eOuest\u003c\/em\u003e\n        (What the West wind saw), fiery passion is fused with skilled voicing\n        and an array of tonal colours that brings to mind Debussy’s orchestral\n        writing (there is more than a passing resemblance to \u003cem\u003eLa Mer\u003c\/em\u003e).\n        The pianist told his son Michael that he imagined that “the wind would\n        sometimes be a gentle zephyr looking down over the landscape and at\n        other times blowing into a violent typhoon as it passed over raging\n        seas or volcanoes” - indeed, the Manchester Guardian in 1948 stated\n        that “Mr. Spivakovsky turned the west wind into a cyclone.” His massive\n        dynamic range is carefully exploited so that tension builds at an\n        appropriate pace, while careful pedaling and voicing serve to present\n        melodic subjects within a cathedral of sound, true to Debussy’s\n        impressionistic style.\n    \u003c\/p\u003e\n    \u003cp\u003e\n        In \u003cem\u003eMinstrels\u003c\/em\u003e, Spivakovsky captures the whimsical tone of\n        Debussy’s writing with a masterful application of rubato, creating a\n        sense of nervousness characteristic of this work, which depicts a\n        variety stage show: one can well imagine a bumbling entertainer almost\n        losing his balance during the opening trick. He plays with energy and\n        an almost childish, unfiltered naiveté as moods change moment by\n        moment. Dissonance is voiced transparently rather than harshly,\n        highlighting the humour and playful nature of this work with creative\n        timing and controlled dynamic contrast.\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003eKabalevsky\u003c\/strong\u003e\n        \u003cstrong\u003e \u003c\/strong\u003e\n        \u003cstrong\u003ePiano Sonata No.3\u003c\/strong\u003e\n        \u003cstrong\u003e in F Major Op.46\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        Spivakovsky’s May\/June 1962 account of Kabalevsky’s Piano Sonata No.3\n        rivals the legendary recordings of Horowitz and Moiseiwitsch.\n        Throughout the entire work, Spivakovsky lets the music speak while\n        still playing with a very individual approach. He plays with exquisite\n        clarity, his singing tone and lyrical phrasing revealing the beauty of\n        the main melodic subject of the first movement while careful tempo\n        adjustments and accenting underscore the work’s harmonic and structural\n        elements while his lilting, dancing touch keeps the music light on its\n        feet. As always, Spivakovsky’s treatment of transitions is thoughtfully\n        considered: note the delightful expansive broadening of tempo before\n        the return of the main subject in the first movement. His deep forging\n        of the long line in the second movement draws out the melancholic\n        atmosphere, which together with his transparent voicing of the\n        accompaniment highlights the sardonic harmonic flavour of the movement.\n        The various moods of the closing movement - from playful to passionate\n        to anguished - are woven together with care. Spivakovsky’s varied tonal\n        palette includes a sparkling sound in the upper registers in buoyant\n        moments, in contrast to a more expansive depth of tone in more dramatic\n        sections. Even in the work’s most passionate measures, the pianist\n        never bangs, resisting the common ‘combat boot’ accents one often hears\n        in such repertoire, instead letting clarity of texture and fullness of\n        tone be the basis of his dramatic framework. A lush reading that is a\n        miracle of articulation and subtle tempo variation and post-Romantic\n        expression.\n    \u003c\/p\u003e\n    \u003cp\u003e\n        - Mark Ainley\n    \u003c\/p\u003e\n\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":28551975075901,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":28551975108669,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":28551975141437,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":28551975174205,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM065_4601c90a-539c-49ad-9a3a-3cabc16e9534.jpg?v=1558686539"},{"product_id":"pakm067","title":"SPIVAKOVSKY Bach to Bloch, Volume 2 (1955-67) - PAKM067","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003eBach-Busoni\u003c\/b\u003e Chromatic Fantasy and Fugue\u003cb\u003e\u003cbr\u003eMozart\u003c\/b\u003e Piano Sonata No. 12 in F\u003cb\u003e\u003cbr\u003eBeethoven\u003c\/b\u003e Ecossaises in E Flat \u003cbr\u003e\u003cb\u003eBeethoven\u003c\/b\u003e Rondo in G major \u003cbr\u003e\u003cb\u003eChopin\u003c\/b\u003e Fantaisie Impromptu\u003cb\u003e\u003cbr\u003eChopin\u003c\/b\u003e Piano Sonata No. 2 in B flat Minor, “The Funeral March\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 1955-1967\u003cbr\u003eDuration 77:12 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eJascha Spivakovsky,\u003c\/b\u003e piano\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThere is wonderful stuff here, including a magisterial reading of the Bach-Busoni, grandly paced, and glowing with that “golden age” sonority578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003ePristine’s reissues of these recordings\n of this Russian-born pianist (volume three, featuring Beethoven \nsonatas, is on the way) are creating a bit of a stir among pianophiles, \nespecially those with an interest in historic performances. More than a \nfew respected critics are hailing Spivakovsky as a heretofore unknown \ngiant of the keyboard, taking his place alongside Horowitz, Richter, \nArgerich, and so on. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e critics Colin Clarke and Jim Svejda both offered high praise, with qualifications, for Volume 1. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs both of my colleagues have pointed \nout, these are not commercial recordings, but rather homemade ones by \nhis son, in post-World War II Australia, where Spivakovsky spent most of\n life. His biography is tragic in many ways, but also heroic in a \nmade-for-Hollywood kind of way. He was born in 1896 in Kiev to a \nlegendary family of Jewish musicians, and barely survived the Odessa \npogrom of 1905. Despite his early fame as a prodigy, his family decided \nto flee the virulent anti-Semitism of Tsarist Russia and landed in \nBerlin, where Spivakovsky continued his education at the highest level. \nAs a mature soloist, he performed with such podium masters as \nFurtwängler, Strauss, Knappertsbusch, Szell, and Monteux. In 1937, for \nthe second time in his life, he escaped persecution with bullets flying \nover his head. He became a proud Australian citizen in 1938, where he \ndied in 1970. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHere’s the rub; for reasons unknown, he\n did not make recordings. These three CDs may constitute his only \nlegacy. It’s puzzling; it is true that Australia did not have much of a \nrecording industry at the time, but he continued to concertize regularly\n after the war, with visits to Europe and America, including a Carnegie \nHall recital. One would assume that as a major performer he had some \nkind of agent representing him. Was he afraid of the microphone? We may \nnever know. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSvejda concludes that we cannot judge \nSpivakovsky’s place in piano history on the basis of these handful of \namateur recordings, and I have to agree. There is wonderful stuff here, \nincluding a magisterial reading of the Bach-Busoni, grandly paced, and \nglowing with that “golden age” sonority (kudos to Pristine restoration \nmaestro Andrew Rose for extracting that from the original tapes). The \nMozart is buoyant and brilliant, the Beethoven confident and richly \nvoiced. I was not bowled over by this Chopin, however, beginning with an\n overly brusque \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFantaisie-Impromptu\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n The sonata opens oddly, with an overly broad tempo and lurching \nrhythms. Once he settles down, this is very strong, recalling the \nfreedom and imagination of Rachmaninoff’s fabled recording. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eSo, we have here a glimmer of artistic greatness, and an incredible story. Maybe Spivakovsky \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ewas\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n one of the greatest pianists in history, but unless a new trove of \nundiscovered recordings comes to light, there is simply not enough \nevidence here to substantiate such a grandiose claim. I would certainly \nlook forward to the movie biography, however. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003ePeter Burwasser\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eThis article originally appeared in Issue 39:5 (May\/June 2016) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM067.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eJascha Spivakovsky: Second splendid volume from the brilliant pianist\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eMore unreleased recordings from the Spivakovsky family archive, XR remastered by Andrew Rose \u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eFollowing on from the well-received first volume, this second release\n by Jascha Spivakovsky continues to concentrate on his solo work. The \npresent recordings were made by Jascha during rehearsals for concerts \nand broadcasts in Australia in the 1950s and 1960s, and were recorded by\n Michael Spivakovsky onto a mono Tandberg reel-to-reel tape recorder \nusing a standard-issue microphone. They were not therefore intended for \nrelease, and it has been my task to elevate the quality of the \nrecordings to a standard which not only is acceptable to modern \nlisteners but also does full justice to Jascha Spivakovsky himself.\u003c\/p\u003e\u003cp\u003eUsing the most up-to-date audio restoration and remastering software,\n I've been able to correct pitch anomalies, compensate for the tonal \ninaccuracies of the microphone, eliminate electrical hum, greatly \ndiminish tape hiss, and digitally \"rehouse\" Jascha in one of the more \nintimate concert halls at Santa Cecilia, Rome, renowned for fine musical\n acoustics which complement the piano's tone, without introducing a wash\n of unnatural reverberation.\u003c\/p\u003e\u003cp\u003eThis page can only serve as an introduction to the incredible musical\n story of Jascha Spivakovsky - for a fuller picture I strongly recommend\n you visit \u003ca href=\"http:\/\/www.jascha.com\/\" target=\"_blank\"\u003ewww.jascha.com\u003c\/a\u003e and immerse yourself in an amazing musical voyage of discovery. \u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBach-Busoni-Spivakovsky\u003c\/b\u003e Chromatic Fantasia and Fugue in D Minor BWV 903 \u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003ci\u003eRecorded 1962\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cb\u003eMozart\u003c\/b\u003e  Sonata No 12 in F Major K332 \u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003ci\u003eRecorded 1966\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cb\u003eBeethoven-d'Albert\u003c\/b\u003e  Ecossaises in E Flat Wo 083 \u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003ci\u003eRecorded February 1967\u003c\/i\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003ci\u003e \u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cb\u003eBeethoven \u003c\/b\u003e Rondo in G Major Op 51 No 2\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003ci\u003eRecorded  February 1967 \u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eChopin  \u003c\/b\u003eFantaisie Impromptu in C sharp Minor, Op Posth 66\u003cem\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003ci\u003eRecorded  1955  \u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eChopin\u003c\/b\u003e  Sonata No 2 in B Flat Minor (The Funeral March Sonata)\u003cem\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003ci\u003eRecorded November, 1963\u003c\/i\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eJascha Spivakovsky\u003c\/b\u003e, piano\u003cbr\u003e\u003cspan style=\"text-decoration: underline; color: #0000ff;\"\u003e\u003ca href=\"http:\/\/www.jascha.com\/\" target=\"_blank\"\u003e\u003cspan style=\"color: #0000ff;\"\u003ewww.jascha.com\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003ePrivate recordings were made in Jascha Spivakovsky's music room in Melbourne, Australia by Michael Spivakovsky\u003cbr\u003eTransfers by Crystal Mastering, Melbourne, Australia\u003cbr\u003eRestoration and XR remastering by Andrew Rose at Pristine Audio\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAKM067.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM067.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fDetailed Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\n    \u003cp\u003e\n        \u003cstrong\u003eJascha Spivakovsky\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003eBach to Bloch: Volume 2 \u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003e\n            Bach-Busoni-Spivakovsky: Chromatic Fantasia \u0026amp; Fugue in D Minor\n        \u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        In his dramatic 1962 performance of Bach’s famous Chromatic Fantasia\n        and Fugue in D Minor, Spivakovsky uses the Busoni edition, to which he\n        adds a number of small amendments of his own, primarily doubling some\n        notes and adjusting registers so as to highlight a climactic phrase. As\n        with the Bach-Liszt work featured in Volume 1, Spivakovsky’s\n        transparency and precision reveal the structure of the work with\n        astounding clarity through his attentive voicing, varied articulation,\n        and subtle nuancing. Pedaling is used with the utmost subtlety to\n        sustain sonorities and clear them at the right moment, adding gravitas\n        and drama to the reading. While trained in the Romantic tradition,\n        Spivakovsky takes a remarkably direct approach to Bach, although he\n        applies rubato and tempo adjustments at connecting passages to draw\n        attention to shifts in musical direction and structure (notice the\n        extended trills and the occasional delay at the end of a phrase). The\n        idiomatic declamatory oratorial style of Bach’s writing is underscored\n        in the mindful emphatic voicing of key musical phrases and with a\n        natural rise-and-fall cadence, presenting phrases as if they were sung\n        by the human voice. Spivakovsky’s full-bodied sonority exploits the\n        varied tonal and dynamic range that both the piano and this arrangement\n        make possible, his comprehensive technique used solely to reveal the\n        character and structure of the work. As the Neue Preußische Zeitung in\n        Berlin stated in 1925, \"he filled Bach's Chromatic Fantasy and Fugue\n        with vital substance.”\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003eMozart: Sonata No.12 in F Major K.332\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        Spivakovsky’s 1966 account of Mozart’s Sonata in F Major is a robust\n        interpretation that reflects the revolutionary spirit of the composer’s\n        writing. The pianist did not view Mozart’s music as effeminate or\n        dainty (as did many of his contemporaries and as do some present-day\n        pianists), playing instead with directness and strength fused with the\n        utmost sensitivity. Indeed, The Age in Melbourne stated in 1947 about\n        the pianist’s playing of this sonata, “With so many pianists essaying\n        sonatas on Mozart, it was a rare pleasure to hear the recitalist\n        declare the master's excellence free from blemish and with the charm\n        associated with his name.” Spivakovsky is clean and precise in his\n        delivery while his discreet pedaling, seamless finger legato, and\n        defined articulation are extremely sensitive while being neither\n        delicate nor flowery. Voicing is beautifully balanced between the hands\n        and the crispness of articulation is varied to give shaping to\n        phrasing. The first movement features crystalline phrasing and\n        transparent voicing together with pronounced accenting that\n        nevertheless does not break the melodic line. In the second movement we\n        hear an ideal balance of finger legato and detached articulation\n        brilliantly used to shape the phrasing, while the mood shift brought\n        about by a change in key from minor to major is underscored through a\n        slight dynamic and tempo increase. The vitality of the closing movement\n        is remarkable, with Spivakovsky’s impeccable dexterity and rhythmic\n        precision (he was in his 70th year at the time) moving the work forward\n        in its optimistic spirit. A bold and dramatic yet attentively nuanced\n        reading of a classical masterpiece.\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003eBeethoven-d’Albert: Ecossaises in E-Flat Major Wo.083\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003eBeethoven: Rondo in G Major Op.51 No.2\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        Recordings from February 1967 find the 70-year-old Spivakovsky playing\n        two Beethoven ‘encores’ with his full range of pianistic skills to\n        highlight their charm and humour. The delightful bounce and ebullient\n        rhythm in the d’Albert version of the Ecossaise, which the pianist\n        often played as an encore, bring to the work an utterly infectious\n        charm. Even in what might be considered a trifle, Spivakovsky’s\n        musicality is on display, with attentive and creative tempo adjustments\n        serving to bridge different sections while his varied articulation and\n        clear voicing shape phrasing and give dimension to the character of the\n        work.\n    \u003c\/p\u003e\n    \u003cp\u003e\n        The Mail in Adelaide stated in 1922 that \"Nothing more deliciously\n        exquisite has been heard at any of these recitals than Beethoven's\n        wonderfully graceful Rondo in G Major” and in this reading of that work\n        45 years later, we hear delightfully clear runs and trills, rhythmic\n        vitality, and poised voicing, all with the pianist’s glowing sonority\n        and crystalline transparency.\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003e\n            Chopin: Fantaisie Impromptu in C-Sharp Minor Op. Posth 66\n        \u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        The 1955 recording of Chopin’s famous Fantaisie Impromptu may be one of\n        the most impassioned on record, finding Spivakovsky at his most bold\n        and impetuous. Some listeners might be taken aback by this fiery\n        reading, but it is worth noting that the pianist is following the score\n        precisely (he was using the Peters edition), from tempo indications to\n        pedal markings. That said, the performance is also imbued with an\n        individual approach to voicing and rubato - as was expected from\n        pianists trained in the Romantic tradition - as well as with other\n        pianistic hallmarks of the period: beautiful tone, crafted phrasing,\n        balanced voicing between hands, and the highlighting of left hand\n        harmonic support. For all the depth, power, and momentum in this\n        interpretation, there is an abundance of subtlety and sensitivity that\n        listeners primarily focused on Spivakovsky’s tempo and boldness might\n        miss because they are so used to more sentimental readings of this\n        famous work. Particularly noteworthy is the pianist’s attention to\n        connecting phrases and sections, where the last note of one phrase is\n        of consistent tonal colour and dynamic level as the first of the next,\n        particularly noticeable as he enters and leaves the middle section. The\n        soaring melodic line in the middle section, while despatched with\n        directness and an absence of sentimentality, is brimming over with\n        emotion through its clarity and skilled adjustments of tone, dynamics,\n        and timing. As can always be expected in a Spivakovsky performance,\n        rubato takes into account the structure of a phrase and its location\n        within the overall work and is used to draw attention to a key musical\n        element or to prepare the listener for what is coming next. A thrilling\n        reading that emphasizes both the ‘fantaisie’ and spontaneous\n        ‘impromptu’ aspects of the composition’s title.\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003eChopin: Sonata in B-Flat Minor Op.35, ‘\u003c\/strong\u003e\n        \u003cstrong\u003eFuneral March’\u003c\/strong\u003e\n        \u003cstrong\u003e\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        Spivakovsky’s November 1963 reading of Chopin’s famous ‘Funeral March\n        Sonata’ is one that demonstrates his insightful and individual approach\n        to the Romantic repertoire. The pianist looks to the score without\n        letting traditional performances colour his perspective, thereby\n        forging a fascinating vision of the opening movement. He chooses to\n        express the composer's \u003cem\u003eAgitato\u003c\/em\u003e marking by creating a mood that\n        is more introspectively nervous as opposed to externally dramatic and\n        anguished, beginning that section at a slower tempo and using minimal\n        pedal, applying a relatively dry, unsettling staccato touch. He slowly\n        evolves the sound, using more pedal and accelerating the tempo, while\n        observing the rests between the 2- and 3-note slurs in the melody,\n        while his pedaling follows the breaks in the Cortot edition.\n        Spivakovsky's striking opening stays with us, colouring his performance\n        and preparing the the way for his many other personal touches through\n        the movement, where he uses more pronounced pedal with his lyrical\n        phrasing, as well as his identifiable rubato to transition carefully\n        between phrases and sections. The second movement is notable for the\n        attentively voiced chords and octaves, with glistening tone in the\n        upper register, as well as his beautiful legato phrasing and expansive\n        rubato - The News in Adelaide wrote in 1933 that “his manipulation of\n        the Scherzo was amazing, and he plumbed the very depths of emotional\n        playing.” The famous Funeral March theme of the third movement is\n        richly voiced and played in a straight tempo that communicates its\n        solemnity, with the middle Trio played with a more richly coloured\n        melodic line and expansive rubato, with the return to the Funeral March\n        theme being subdued and appropriately melancholic. The Finale is played\n        with fantastically deft finger-work and phenomenally consistent\n        voicing, with careful pedaling and adjustments to dynamics and attack\n        serving to create an atmosphere that The News had called “ephemeral,\n        fleeting, and eerie” and bringing to a close a boldly original and\n        inspired reading of a great Romantic masterpiece.\n    \u003c\/p\u003e\n    \u003cp\u003e\n        - Mark Ainley\n    \u003c\/p\u003e\n\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":29977278218301,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":29977278251069,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":29977278283837,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":29977278316605,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM067_cb1ee9ca-a95e-4e9d-89b3-96151d82951d.jpg?v=1568380721"},{"product_id":"pasc444","title":"The Music of LUCIEN CAILLIET (1936-46) - PASC444","description":"overviewfb55cd020f0643f08418183279e63a5f\n\u003cb\u003eMUSSORGSKY \u003c\/b\u003ePictures at an Exhibition \u003cbr\u003e\u003cb\u003ePURCELL\u003c\/b\u003e Suite from Dido and Aeneas\u003cb\u003e\u003cbr\u003eCAILLIET \u003c\/b\u003eVariations on “Pop! Goes the Weasel”\u003cbr\u003eWorks by \u003cb\u003eJ. S. Bach\u003c\/b\u003e and \u003cb\u003eTurina\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003c\/p\u003e\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio recordings, 1936-46\u003cbr\u003eTotal duration: 71:13\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cb\u003eEugene Ormandy ∙ Leopold Stokowski\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eFritz Reiner ∙ Pittsburgh Symphony Orchestra\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eArthur Fiedler ∙ Boston “Pops” Orchestra \u003c\/b\u003e\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThere is no question of the visceral excitement that is imparted to Bach’s majestic Prelude and Fugue in F Minor...578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eLong-lived French-American Lucien \nCailliet (1891–1985) is undoubtedly best known and remembered in the \nband world, since his transcriptions of Wagner’s “Elsa’s Procession” \nfrom \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLohengrin\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFinlandia \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eof\n Sibelius have long been staples in that realm. In 1919, Leopold \nStokowski brought him into the Philadelphia Orchestra as clarinetist, \nand soon became aware of his skills at orchestration. There is some \ndebate, in fact, as to how much of Stokowski’s own arrangements are \nactually the work of Cailliet. About a year after Eugene Ormandy came \ninto Philadelphia in 1936 as co-conductor of the orchestra, he hired \nCailliet (who was then leaving to assume another position) to make an \narrangement of Mussorgsky’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePictures at an Exhibition, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eas\n he had by then become Ormandy’s arranger of choice as well. Ormandy \ncould not have failed to notice the success of the \nKoussevitzky-commissioned Ravel orchestration of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePictures, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eand\n thus desired to have his own version of the piece. This was not because\n of contractual reasons between Koussevitzky and Ravel, for the Russian \nconductor was given only, if memory serves, five years of exclusivity in\n his 1922 commission from the French master. I would therefore guess \nthat professional jealousy played a big part in Ormandy’s commission, \nwhich was premiered on February 5, 1937. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs one might imagine, the intricate \ndance that Stokowski and Ormandy were engaged in during the transitional\n years of 1936 to 1941 (at which time, Ormandy took over as exclusive \nmusic director of the Philadelphia Orchestra) may well have contributed \nto Stokowski’s desire to make his own version of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePictures. \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOstensibly,\n he was competing with Ravel, claiming that Ravel’s version was too \n“French,” but I strongly suspect that he thought that he could also do a\n superior job in orchestrating the work from what Cailliet had done and \nperhaps gain bragging rights over Ormandy. Regardless of his motive, \nStokowski’s 1939 version has run a very distant second to Ravel’s in \nterms of performances and recordings, but it is nevertheless ahead of \nevery other orchestration in that regard. Caillet’s effort, on the other\n hand, is somewhere near the back of the pack. I’ve never found evidence\n that any other conductor than Ormandy ever even performed the version \n(a very partial exception is the “Ballet of Unhatched Chicks” movement \nthat Leonard Slatkin has used in one of his compilations), and although \nthe score and parts are reputed to reside in the library of the \nPhiladelphia Orchestra, they are said to be in questionable performing \ncondition. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHas history adjudged Cailliet’s version\n fairly? Generally, I think yes: Just listen to the wimpy woodwind \nopening of the work, the rather unimaginative accompaniment to the solo \nEnglish horn in “Il vecchio Castello,” or the too cumbersome version of \n“Tuilleries.” Still, there are some worthwhile moments in this version, \nincluding the snarling brass in “Gnomus,” the melancholy solo cello at \nthe end of “Samuel Goldenberg,” the orchestration of the Fifth Promenade\n (omitted by Ravel), or the use of unison horns and trombones at the \nbeginning of “Bydło” in place of Ravel’s overly tame tenor tuba, which \ncannot adequately portray straining oxen (I do find Ormandy’s tempo in \nthis movement inexcusably fast, however). In any case, this \ntranscription is worth hearing, if nothing else, as a historical \nartifact (and why can we not also have a recording of the early [1924] \nversion by Leonidus Leonardi?) \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWhat of Cailliet’s other \norchestrations? The Bach selections are rich and opulent, in keeping \nwith the era of sonorous orchestration that existed in the 1930s (I \nwould guess that the famous—notorious to some—Beecham orchestration of \nHandel’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMessiah \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ealso\n comes from around the same time). There is no question, in any case, of\n the visceral excitement that is imparted to Bach’s majestic Prelude and\n Fugue in F Minor. Only orchestrators of this era, of course, would have\n added a prominent harp part to “Jesu, Joy of Man’s Desiring,” and \nCailliet had to fill in implied harmonies in the Preludium from the \nE-Major Partita, originally for solo violin. Purcell also gets the lush \ntreatment (slightly less than that encountered in the Bach selections), \nbut these movements from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDido and Aeneas \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eare still fun to listen to. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWith the Turina’s “Sacro-monte,” we \ncome to a much less anachronistic orchestration. Turina was Cailliet’s \nnear contemporary, although he lived only about half as long. This brief\n selection, one of his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCinco Danzas Gitanos, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewas\n originally for solo piano, and the light-hearted and jolly character \npiece sounds quite convincing as an orchestration that Turina himself \nmight have done. The CD concludes with Cailliet’s original work, \nVariations on the Theme\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Pop Goes the Weasel, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ea brief bit of jollity that has gained quite a few performances in both the orchestral and band worlds. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eProducer Mark Obert-Thorn has done his\n usual exemplary work in the transfers, which provide life-like presence\n and clarity of texture, producing sound that is about as good as one \ncan hear in recordings from this era. The Mussorgsky portion of this CD \nwas previously issued on a Biddulph CD (also with transfers by \nObert-Thorn), and I cannot hear any difference between the sound of that\n CD and the present one. I also A-B’d the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePictures \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewith\n my original Victor 78 set, and found that his transfers were true to \nthe original, while virtually eliminating the surface noise. This \nrelease constitutes an important historical document, and is worth \nacquiring on that basis alone. The musical enjoyment it also affords is \nicing on the cake. I do wish, though, that he’d utilized both sides of \nthe leaflet so as not to require a virtually illegible (six point?) type\n size to get the notes onto a single page. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDavid DeBoor Canfield\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:2 (Nov\/Dec 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC444.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eOrmandy, Stokowski, Reiner \u0026amp; Fiedler conduct Cailliet\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eArrangements and original music by Lucien Cailliet, French-American composer, conductor, arranger and clarinetist\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eTranscriber,\n arranger and composer Lucien Cailliet was born in Dijon in 1891.  He \nstudied composition and orchestration in Dijon and Paris.  During World \nWar I, he was a bandmaster in the French Army Band, with which he toured\n the United States in 1915.  Four years later, Leopold Stokowski hired \nhim as a clarinetist for the Philadelphia Orchestra.  Not long after his\n arrival, an orchestration of the Marseillaise was needed for a\n guest singer, and Cailliet volunteered to provide one.  Pleased with \nthe results, Stokowski continued to work with him over the next several \nyears in his transcriptions of the works of Bach and others.\u003c\/p\u003e\u003cp\u003eCailliet’s\n exact role in the orchestrations credited to Stokowski has long been a \nmatter of controversy.  Writing to Stokowski biographer Oliver Daniel in\n 1978, Cailliet said that the Marseillaise project “started me in doing all his orchestrations.”\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003eIn\n fact, the next one he asked me [to do] was the [Bach] C Minor \nPassacaglia. Of course, we had some discussions before as, after all, he\n was an organist and a famous musician. [. . .] I must confide in you \nthat as the situation developed, Stokowski asked me from the beginning \nnot to mention or speak about it and keep the situation “entre nous” and\n adding: “The people would not understand.”  That is how the name of \nStokowski appeared on the programs as orchestrator.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eEarlier,\n however, in an interview with broadcaster Steve Cohen, Cailliet \ncredited Stokowski with a greater role in the Passacaglia \ntranscription:  “It was his idea completely, and of course he was \nhimself a very good orchestrator.  He made a very good choice of \ninstruments.” \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBased\n on the experiences of others who worked with Stokowski in producing \ntranscriptions, it is believed that the conductor indicated his choices \nfor instrumentation on the score for the transcriber to carry out.  \nStokowski would then edit and make further alterations to the score.  \nStill, the collaborations with Stokowski provided Cailliet with valuable\n training.\u003c\/p\u003e\u003cp\u003eCailliet\n was not credited for his transcriptions, at least on record, until \nEugene Ormandy’s arrival in Philadelphia as co-conductor in 1936.  \n(Indeed, the Bach Prelude and Fugue in F minor which opens our program \nwas Ormandy’s very first recording with the Philadelphians.)  Stokowski \ndid record one transcription specifically credited to Cailliet (Turina’s\n Sacro-Monte), but it was never issued on 78s. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eIn \n1937, Cailliet left the orchestra to teach at the University of Southern\n California.  Before his departure, Ormandy commissioned him to make his\n most significant transcription yet, that of Mussorgsky’s Pictures at an Exhibition. \n Working in the shadow of Ravel’s already famous version must have been \ndaunting, but Cailliet, writing for the ensemble he knew so intimately, \nacquitted himself well with his imaginative instrumentation.  He also \nreinstated the Promenade before “Limoges”, cut by Ravel.  This remains \nthe only recording of Cailliet’s version, except for the “Ballet of the \nChicks” movement, which Leonard Slatkin included in his composite \nedition using different orchestrations of the work.\u003c\/p\u003e\u003cp\u003eIn \nthe mid-1940s, Cailliet left teaching to work as an (often uncredited) \norchestrator for Hollywood films, including such classics as She Wore a Yellow Ribbon, Red River and The Ten Commandments.  He died in Los Angeles in 1985.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eMark Obert-Thorn\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cp\u003e1          \u003cspan style=\"font-size: small;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eJ. S. BACH-CAILLIET:  \u003cspan\u003e Prelude and Fugue in F minor, BWV 535\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003eRecorded 13 December 1936 in the Academy of Music, Philadelphia\u003cbr\u003eMatrix nos.:  CS 03128-1\/29-2 (Victor 14382)\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e2          \u003cspan style=\"font-size: small;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eJ. S. BACH-CAILLIET:  Jesu, Joy of Man’s Desiring\u003c\/span\u003e (from Cantata No. 147,\u003c\/b\u003e \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: small;\"\u003e BWV 147)\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003eRecorded 13 December 1936 in the Academy of Music, Philadelphia\u003cbr\u003eMatrix no.:  CS 03130-2 (Victor 14973)\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e3          \u003cspan style=\"font-size: small;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eJ. S. BACH-CAILLIET:  Preludio\u003c\/span\u003e from Partita No 3 for Violin Unaccompanied, \u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eBWV 1006\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003eRecorded 5 April 1937 in the Academy of Music, Philadelphia\u003cbr\u003eMatrix no.:  CS 03191-2 (Victor 14973)\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e4          \u003cspan style=\"font-size: small;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eJ. S. BACH-CAILLIET:  “Little” Fugue in G minor\u003c\/span\u003e, BWV 578\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003eRecorded 4 February 1946 in the Syria Mosque, Pittsburgh\u003cbr\u003eMatrix no.:  XCO 35795-1 (Columbia 12622-D in album M-695)\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            \u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003ePURCELL (arr. Cailliet):  Suite from \u003cem\u003eDido and Aeneas\u003c\/em\u003e\u003c\/b\u003e\u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e5          Overture – Adagio; Allegro moderato\u003cbr\u003e6          Tempo di Menuet\u003cbr\u003e7          Lento: Prelude for the Witches\u003cbr\u003e8          Echo Dance of the Furies\u003cbr\u003e9          Ritornelle\u003cbr\u003e10        Prelude to Act 3\u003cbr\u003e11        Recitative and Aria, “When I am laid in earth”\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003eRecorded 8 January 1939 in the Academy of Music, Philadelphia\u003cbr\u003eMatrix nos.:  CS 030910-1\/11-2\/12-1\/13-1 (Victor 15863\/4 in album M-647)\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e12        \u003cspan style=\"font-size: small;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eTURINA-CAILLIET:  Sacro-Monte\u003c\/span\u003e (from \u003cem\u003eFive Gypsy Dances\u003c\/em\u003e)\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003eRecorded 5 April 1937 in the Academy of Music, Philadelphia\u003cbr\u003eMatrix no.:  BS 07552 (Unissued on 78 rpm)\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e           \u003cspan style=\"font-size: medium;\"\u003e \u003cb\u003eMUSSORGSKY-CAILLIET:  Pictures at an Exhibition\u003c\/b\u003e\u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e13        Promenade I\u003cbr\u003e14        Gnomus\u003cbr\u003e15        Promenade II\u003cbr\u003e16        The Old Castle\u003cbr\u003e17        Promenade III\u003cbr\u003e18        Tuileries\u003cbr\u003e19        Bydlo\u003cbr\u003e20        Promenade IV\u003cbr\u003e21        Ballet of the Unhatched Chicks\u003cbr\u003e22        Samuel Goldenberg and Schmuyle\u003cbr\u003e23        Promenade V \u003cbr\u003e24        The Market Place at Limoges\u003cbr\u003e25        Catacombs (Sepulchrum Romanum)\u003cbr\u003e26        Cum mortuis in lingua mortua\u003cbr\u003e27        The Hut on Fowl’s Legs (Baba Yaga)\u003cbr\u003e28        The Great Gate of Kiev\u003c\/p\u003e\u003cp\u003eRecorded 17 October 1937 in the Academy of Music, Philadelphia\u003cbr\u003eMatrix nos.:  CS 013057-1\/58-1\/59-1\/60-1\/61-1\/62-1A\/63-1\/64-1\u003cbr\u003e(Victor 14851\/4 in album M-442)\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e29        \u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eCAILLIET:  Variations on the Theme “Pop! Goes the Weasel”\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003eRecorded 27 June 1938 in Symphony Hall, Boston\u003cbr\u003eMatrix nos.:  BS 023909-1\/10-1 (Victor 4397)\u003c\/p\u003e  \u003cbr\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eEugene Ormandy ∙ \u003c\/b\u003eThe Philadelphia Orchestra \u003c\/span\u003e\u003cem\u003e(Tracks 1 – 3, 5 – 11, 13 – 28)\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eFritz Reiner ∙ \u003c\/b\u003ePittsburgh Symphony Orchestra \u003c\/span\u003e\u003cem\u003e(Track 4)\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eLeopold Stokowski ∙ \u003c\/b\u003eThe Philadelphia Orchestra \u003c\/span\u003e\u003cem\u003e(Track 12)\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eArthur Fiedler ∙ \u003c\/b\u003eBoston “Pops” Orchestra\u003c\/span\u003e \u003cem\u003e(Track 29)\u003c\/em\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\/PASC444.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC444.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":31976018061,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31976018125,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC444_0c6632dc-2633-4e3a-b5f8-cd041dabd55b.jpg?v=1487682662"},{"product_id":"pakm030","title":"VALENTI Bach: English Suites, Vol. 1 (1953) - PAKM030","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003eBACH \u003c\/b\u003eEnglish Suites 1-3, BWV806-808\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 1953, issued as Westminster LPs WL 5253-4\u003cbr\u003eDuration 59:23\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eFernando Valenti, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003eharpsichord\u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBach’s English Suites, possibly the \nearliest keyboard music by him that has survived, was also the earliest \nof his famed “six-packs.” By and large, it’s good music but not the best\n representation of either Bach’s inventiveness or the English style of \nBaroque harpsichord music. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe late Fernando Valenti, who was \nencouraged to take up the harpsichord by the legendary Ralph \nKirkpatrick, became something of a local New York legend for his annual \nperformances of Bach and Scarlatti. Pristine Classical has remastered \nall of his Scarlatti albums as well as this single disc of Bach works \nrecorded in the early 1950s for Westminster (WL 5253). \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eJudging from this release, Valenti’s \nfame seems to me overrated, but of course this is an early disc made \nduring the infancy of the Baroque revival. The slow movements are too \nfast and glib, while the fast movements are too slow; there is an \noverall leadenness to the musical progression that I find stultifying. I\n much prefer the performances of Gustav Leonhardt, Christophe Rousset, \neven Andras Schiff or Anne-Marie McDermott on piano, to this one. As \nusual, Pristine Audio’s sonic renovations bring out tremendous fullness \nand clarity of sound while minimizing the original surface noise. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eLynn René Bayley\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 31:4 (Mar\/Apr 2008) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM030.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eValenti's brilliant Bach English Suites, Vol. 1\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eExcellent transfers for Pristine by Peter Harrison\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cspan\u003eBach's six English Suites, of which this volume \ncomprises the first three, present something of a mystery in their \ncomposition. It is supposed that he wrote them prior to taking up his \nposition in Leipzig, and academic research is increasingly tracing their\n origin to Bach's years at Weimar (1708-1714) when he was a young man. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cspan\u003eThe music readily mixes French and Italian musical\n elements and styles with Bach's counterpoint. Nobody knows for sure why\n these are called English Suites, but the musical content has no \nrelation to anything English.\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThe harpsichord recordings of Fernando Valenti are \nregarded by many as some of the finest ever made. It is a mystery as to \nwhy these remarkable recordings have been unobtainable for so long, and \nwe are grateful to Peter Harrison for his fine remastering of these \nrecordings from original 1950s vinyl.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cb\u003eBACH\u003c\/b\u003e English Suite No. 1 In A Major, BWV 806\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eBACH\u003c\/b\u003e English Suite No. 2 In A Minor, BWV 807\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eBACH\u003c\/b\u003e English Suite No. 3 In G Minor, BWV 808\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e \u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eFernando Valenti, \u003c\/b\u003eharpsichord\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAKM030.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM030.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":34043740429,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34043740493,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM030.jpg?v=1489486267"},{"product_id":"pakm031","title":"VALENTI Bach: English Suites, Vol. 2 (1953) - PAKM031","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003eBACH \u003c\/b\u003eEnglish Suites 4-6, BWV809-811\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 1953, issued as Westminster LP WAL 306\u003cbr\u003eDuration 60:48\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eFernando Valenti, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003eharpsichord\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBach’s English Suites, possibly the \nearliest keyboard music by him that has survived, was also the earliest \nof his famed “six-packs.” By and large, it’s good music but not the best\n representation of either Bach’s inventiveness or the English style of \nBaroque harpsichord music. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe late Fernando Valenti, who was \nencouraged to take up the harpsichord by the legendary Ralph \nKirkpatrick, became something of a local New York legend for his annual \nperformances of Bach and Scarlatti. Pristine Classical has remastered \nall of his Scarlatti albums as well as this single disc of Bach works \nrecorded in the early 1950s for Westminster (WL 5253). \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eJudging from this release, Valenti’s \nfame seems to me overrated, but of course this is an early disc made \nduring the infancy of the Baroque revival. The slow movements are too \nfast and glib, while the fast movements are too slow; there is an \noverall leadenness to the musical progression that I find stultifying. I\n much prefer the performances of Gustav Leonhardt, Christophe Rousset, \neven Andras Schiff or Anne-Marie McDermott on piano, to this one. As \nusual, Pristine Audio’s sonic renovations bring out tremendous fullness \nand clarity of sound while minimizing the original surface noise. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eLynn René Bayley\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 31:4 (Mar\/Apr 2008) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM031.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eValenti's brilliant Bach English Suites, Vol. 2\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eExcellent transfers for Pristine by Peter Harrison\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003e\u003cspan\u003eBach's six English Suites, of which this volume \ncomprises the latter three, present something of a mystery in their \ncomposition. It is supposed that he wrote them prior to taking up his \nposition in Leipzig, and academic research is increasingly tracing their\n origin to Bach's years at Weimar (1708-1714) when he was a young man. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cspan\u003eThe music readily mixes French and Italian musical\n elements and styles with Bach's counterpoint. Nobody knows for sure why\n these are called English Suites, but the musical content has no \nrelation to anything English.\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThe harpsichord recordings of Fernando Valenti are \nregarded by many as some of the finest ever made. It is a mystery as to \nwhy these remarkable recordings have been unobtainable for so long, and \nwe are grateful to Peter Harrison for his fine remastering of these \nrecordings from original 1950s vinyl.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eBACH\u003c\/b\u003e English Suite No. 4 In F Major, BWV 809\u003cb\u003e\u003cbr\u003eBACH\u003c\/b\u003e English Suite No. 5 In E Minor, BWV 810\u003cb\u003e\u003cbr\u003eBACH\u003c\/b\u003e English Suite No. 6 In D Minor, BWV 811\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003e\nRecorded 1953, issued as Westminster LPs XWN18384-5\u003cbr\u003eDuration 60:48\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eFernando Valenti, \u003c\/b\u003eharpsichord\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAKM031.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM031.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":34043720845,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34043720909,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM031_180b8897-e178-4145-bfe2-d48411200c64.jpg?v=1489486230"},{"product_id":"pakm036","title":"WALCHA Bach: Orgel-Büchlein (1950\/52) - PAKM036","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eBACH  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003eOrgel-Büchlein - Choral Preludes 1-45, BWV 599-644\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eBACH  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003eCanonic Variations on 'Von Himmel hoch, da komm ich her', BWV 769a\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eBACH  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003eMeine Seele erhabt den Herren (Magnificat), BWV 733\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded in 1950 and 1952\u003cbr\u003eTotal duration: 1 hr 39:24\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eHelmut Walcha\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e, organ\u003c\/span\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fWalcha's understanding of Bach's purpose is evident in every note and bar578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eHelmut Walcha's (1907-1991) recordings of the Bach organ repertoire \n                  are amongst the most celebrated of the twentieth century for \n                  their magnificence, eloquence and perception. Walcha recorded \n                  more or less the entire repertoire twice, for DG … in \n                  mono from 1947 to 1952 and again in stereo between 1956 and \n                  1971. It is the former, the mono series on the splendid Schnitger \n                  Organ in the church of Saints Peter and Paul in Cappel (the \n                  CD and Pristine Audio's website are inconsistent with the town's \n                  spelling) in Lower Saxony, which has been expertly transferred \n                  to two CDs by Andrew Rose of Pristine Audio. \u003cbr\u003e\n                    \u003cbr\u003e\n                  In fact, the lively, resonant and full sound is likely to be \n                  the first thing you notice. It's quite remarkable. True, there \n                  are moments of slight wow and flutter. But they really are very, \n                  very slight. There are no other 'artefacts', distortion or interference \n                  with our enjoyment of the music. \u003cbr\u003e\n                    \u003cbr\u003e\n                  The Orgel-Büchlein, or Little Organ Book, was a product \n                  of Bach's years at the court in Weimar (1708-1714). Originally \n                  there were to have been 164 chorale preludes suited to all times \n                  of the liturgical year. Although there are traces of the 47th, \n                  only 46 were ever completed. The Orgel-Büchlein should \n                  be considered a collection in its own right of music for the \n                  instrument (chorale preludes are small-scale works based on \n                  chorale melodies), music for church services with implied religious \n                  affirmation, an exploration of compositional techniques, and \n                  even a teaching aid. CD 1 contains the first 28 chorale preludes \n                  of the Orgel-Büchlein, that is BWV 599 to 626; CD 2 the \n                  last 18, BWV627 to 644. The three versions of \u003ci\u003eChrist ist \n                  erstanden\u003c\/i\u003e, BWV 627 are recorded. \u003cbr\u003e\n                    \u003cbr\u003e\n                  Walcha's understanding of Bach's purpose is evident in every \n                  note and bar. He plays with a dignity and detachment that eschew \n                  romantic overlay or intonation. That's not to say that the performances \n                  lack colour. They do not. His tempi and phrasing, for example, \n                  are full of meaning. Such a number as \u003ci\u003eChrist lag in Todesbanden\u003c\/i\u003e, \n                  BWV 625 [CD.1 tr.27], for example, is typical of the immense \n                  emotion (in this case a weighty and inescapable pain) which \n                  Walcha packs into less than a minute and a half … several \n                  of the chorale preludes in the Orgel-Büchlein last under \n                  a minute, many under two and few are longer than three. \u003cbr\u003e\n                    \u003cbr\u003e\n                  It's thus necessary for a sensitive interpreter to understand \n                  the overall direction, and the traditions of Baroque provincial \n                  organ composition for that matter, in which Bach was working. \n                  The chorale preludes in the Orgel-Büchlein will not sound \n                  well if treated as an unrelated series of one-offs. Continuity, \n                  which is not the same as uniformity, is important. It's Walcha's \n                  immense experience of Bach and the organ as well as great insight \n                  into the religious purpose behind the Orgel-Büchlein that \n                  make these such valuable interpretations. And the fact that \n                  this understanding leads to a degree of variety whereby the \n                  particular import and impact of each prelude is fully communicated \n                  such that each is a delight on its own - despite forming part \n                  of a whole. \u003cbr\u003e\n                    \u003cbr\u003e\n                  In a way this comes - paradoxically - from a refusal by Walcha \n                  to 'editorialise', to impose his own conception on Bach's music. \n                  When Bach was subdued (as in \u003ci\u003eDas alte\u003c\/i\u003e \u003ci\u003eJahr vergangen \n                  ist\u003c\/i\u003e, BWV 614 [CD.1 tr.16], for example), Walcha is subdued; \n                  when exuberant (as in \u003ci\u003eIn\u003c\/i\u003e \u003ci\u003eDir ist Freude\u003c\/i\u003e, BWV 615, \n                  the very next prelude), Walcha is exuberant. This is classic \n                  and ultimately very satisfying playing. \u003cbr\u003e\n                    \u003cbr\u003e\n                  No standalone CDs of Walcha's recordings of the Orgel-Büchlein \n                  alone seem to be available. Even if they were, these two Pristine \n                  Audio CDs retail for a price less than what they would cost. \n                  Even then, it's the stately and perceptive interpretation that \n                  truly recommends these recordings. When you consider the excellent \n                  sound quality, they're hard to resist. \u003cbr\u003e\n                    \u003cbr\u003e\n                  \u003cb\u003e\u003ci\u003eMark Sealey \u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM036.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eAn astonishing organ experience from Helmut Walcha\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eEarly mono LP recordings completely transformed for this special release\u003cbr\u003e\u003cbr\u003e\"It's good to have these classic and interpretatively superb \u003cbr\u003e recordings of one of Bach's most compelling organ works available. \u003cbr\u003e The transfer quality is almost as satisfying as the performance. \"\u003cbr\u003e - Mark Sealey - MusicWeb International CD of the Month, Sept. 2010\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cb\u003eHelmut Walcha's Bach recordings\u003c\/b\u003e are rightly hailed as some of \nthe greatest of the twentieth century. He recorded more or less the \ncomplete organ music twice for DG – the first time around (1947-52) in \nmono, and then again a few short years later (1956-71), remaking the \nseries in stereo. As a result the mono recordings soon slipped into a \nkind of semi-obscurity, with later reissues concentrating on the stereo \nequivalents.\u003c\/p\u003e\u003cp\u003eThere is some kind of sense in this for the listener – by comparison \nto the potentially room-filling and awe-inspiring sound of a church \norgan and its attendant acoustics which envelop you when listening to \nstereo recordings, it seems to me that more than usual is somehow lost \nin a mono organ recording; the instrument seems considerably diminished,\n the impact distant, one-dimensional and uninspiring.\u003c\/p\u003e\u003cp\u003eThis was the sound I heard coming from my speakers when I started \ntransferring the first of five LP sides which together made up the \nsource material for this release (the sixth side featured older \nrecordings of a different organ), and I was deeply ambivalent with \nregard to the possibilities offered by the recordings. It was more \nthrough a sense curiosity than any real hope that I began experimenting \nwith the restoration and remastering of such unlikely work – and a \nfeeling that Pristine really had managed to neglect the organ \nrepoertoire over the last five or so years.\u003c\/p\u003e\u003cp\u003eThe first sign that all was considerably better than I at first \nthought came with XR re-equalisation – by now the minor irritants of \nvinyl surface noise had already been dealt with and I saw immediately \nfrom the frequency response curve that much musical information had \nprobably been somewhat buried by poor recording equipment. In particular\n the magnificent lower registers of the organ were often muted to the \nextent that they were barely audible; restoring these to their more \nnormal levels had literally ground-shaking consequences! Further up the \nfrequency range and there again was more to be heard than the records \never suggested – with XR re-equalisation what was beginning to emerge \nsuggested something of the full grandeur of the instrument itself.\u003c\/p\u003e\u003cp\u003eI still had a problem, however. One of the great aspects of listening\n to a church or cathedral organ is the effect the building's acoustics \nhave on the sound experience, as one is enveloped in sound which appears\n to arrive from all directions and none at the same time. This seemed \nmore than Pristine's Ambient Stereo processing normally delivers, so I \nturned instead to the option of using advanced convolution \nreverberation. This takes the acoustic 'sound' of a real location and \nmaps it digitally, allowing the reverberation from that space to be used\n in an exceptionally realistic manner for other recordings.\u003c\/p\u003e\u003cp\u003eAlthough I did not have an acoustic mapping of the church used for \nthis recording, what I did have in my collection was a remarkably \nsimilar church. The village church of Cappel, in which stands the \nbeautiful Schnitger Organ heard here, is rather small and unassuming – \nits shorter reverberant decay time blurs the music less and allows one \nto hear much more fine finger-work than might be apparent in a larger \nchurch or cathedral. By mixing in a small amount of convolution reverb \nderived from a very similarly sized and constructed church I was able to\n take this recording a final step closer to reality and realise the full\n sense of presence and place captured in the grooves of those 60 \nyear-old LPs.\u003c\/p\u003e\u003cp\u003eIn fact, so convinced am I that this recording really needs this \nadditional 'help' that I've taken the unprecedented step of offering it \nonly as an Ambient Stereo recording – in all formats. Without it the \nrecordings seemed (to me) somewhat ineffectual and dusty relics, \nsuperseded by their later re-recordings. With it they're truly alive and\n astonishingly vivid and contemporary – given full rein and a good bass \nresponse from your loudspeakers the grander works are truly \nawe-inspiring to hear, while the more contemplative pieces completely \nhold the attention. In short, I'm delighted and just a little \noverwhelmed by what has been possible here – as I hope you will be too.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eJ. S. BACH \u003c\/b\u003eOrgel-Büchlein - Choral Preludes 1-45, BWV 599-644\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded June 1950 and September 1952. \u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eProduced by Dr. Erich Thienhaus\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003eIssued as Archiv LPs APM 14021 \u0026amp; 14022\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eJ. S. BACH \u003c\/b\u003eCanonic Variations on 'Von Himmel hoch, da komm ich her', BWV 769a\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eJ. S. 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Its conductor, Fabien Sevitzky, was a double bass player in \nthe orchestra. He was a nephew of conductor Serge Koussevitzky, a \nvirtuoso on the double bass. Within two years, the Simfonietta was \nrecording for Victor. It was the first permanent string orchestra in the\n world, and as such its recordings were influential in their time. \nSevitzky would go on to a full time conducting career, winning \nconsiderable acclaim for his 18 seasons with the Indianapolis Symphony. \nThat activity by Sevitzky would eventually bring the Simfonietta’s \ncareer to a close in the 1940s. Much of the Simfonietta’s charm comes \nfrom Sevitzky’s conducting. While its players were accustomed to making a\n calorically rich, heavy string sound for Stokowski and Ormandy, their \nsound for Sevitzky in the Simfonietta is clear, refined, and elegant, \nalthough with all the technical finish and panache one expects from the \nPhiladelphia Orchestra. Sevitzky’s performances have a clarity, balance,\n and insight all their own. Indeed, the Simfonietta’s playing is at \nleast the equal of any chamber orchestra’s that succeeded it. The \nbreadth and occasional novelty of its repertoire guaranteed it a good \ncritical response in its time. What Mark Obert-Thorn gives us on this CD\n are the complete officially issued recordings of the Simfonietta. \nListening to them is no antiquarian exercise. The recordings are as \nvital and persuasive today as when they were made.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Simfonietta’s first recording session included Marco Enrico Bossi’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIntermezzi goldoniani\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, a frisky, entertaining work that shows off the ensemble’s virtuosity to great advantage. Also set down then were Grieg’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTwo Elegiac Melodies\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n in as moving a performance as I’ve ever heard. The Simfonietta returned\n to the studio two years later, in 1929. The elegance of Sam Franko’s \narrangement of a Bach Sinfonia is a far cry from the heavy breathing \nBach-Stokowski creations these artists were playing at that time. Arcady\n Dubensky’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGossips\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is a delightful pizzicato study, premiered in Philadelphia only five \nmonths prior to the recording. The Elegy from Tchaikovsky’s Serenade for\n Strings sounds stately, intimate, and unaffected. Percy Grainger’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLondonderry Air\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (“Danny Boy”) gives the Simfonietta the opportunity to display its warmth without being cloying, while they play Grainger’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMolly on the Shore \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewith\n rare finesse and wit. Also in 1929, the Simfonietta made the premiere \nrecording of Ernest Bloch’s Concerto Grosso No. 1, introduced four years\n earlier in Cleveland. If you are familiar with Howard Hanson’s great \nrecording of this with the Eastman-Rochester Orchestra, you will be \nstruck by how much more crisp and incisive Sevitzky’s interpretation is.\n Sevitzky’s tempos at times are faster, and where Hanson can count on a \nlarger, more lush string section, Sevitzky’s strings are nimbler and \neven somewhat astringent. Both accounts are persuasive, and I cannot say\n which one I prefer. The work’s baroque origins, however, are more \nclearly evident from Sevitzky.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Simfonietta’s final recording session was in \n1940. They played three charming and atmospheric orchestral selections \nfrom André Grétry’s operas, with consummate elegance. The main work at \nthis session was Anton Arensky’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eVariations on a Theme of Tchaikovsky\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n This recording unfortunately was not released until after the attack on\n Pearl Harbor; the recycled shellac it was pressed on compromised the \nsound quality. Nevertheless, Sevitzky leads a great performance. The \ntouchstone for me in this work always has been John Barbirolli’s version\n with the London Symphony. Sevitzky is more classical than Barbirolli in\n his phrasing, in tune with the type of conducting prevalent in Russia \nduring Arensky’s lifetime. The vibrato rich, heart on sleeve conducting \nof Russian music is a later creation. What’s more, Sevitzky’s players \nare more technically assured than Barbirolli’s. They are sensitive to \nevery nuance of Sevitzky’s interpretation, always producing a full yet \nwell-defined sound. I cannot imagine Arensky’s masterpiece being better \nserved than by the Simfonietta. Mark Obert-Thorn, in addition to giving \nus listenable and usually appealing transfers of these recordings, also \nhas furnished an excellent program note. Perhaps interest in this CD \nwill spur Pristine into reissuing Sevitzky’s Indianapolis recordings. \nAnyone who loves the chamber orchestra will want to hear the \nPhiladelphia Chamber String Simfonietta. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eDave Saemann  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 36:6 (July\/Aug 2013) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC375.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eSevitzky's Philadelphia Chamber String Simfonietta - complete 78rpm recordings\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eA fabulous array of recordings by this ground-breaking American ensemble collected together for the first time\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThis release presents for the first time in any extended-play format the complete issued 78 rpm recordings of a pioneering ensemble under its enterprising founder and conductor.* Fabien Sevitzky (1893–1967), a nephew of Serge Koussevitzky, was perhaps best known as the music director of the Indianapolis Symphony Orchestra from 1937 to 1955. Prior to that, however, he founded what was claimed to be the first permanent string orchestra ensemble in the world.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eDrawing seventeen players from the ranks of Stokowski’s Philadelphia Orchestra (of which he himself was a bass player from 1923 to 1930), Sevitzky presented the first concert of his Philadelphia Chamber String Simfonietta in 1925. Within two years, they made their first recordings for Victor, following up with another series two years later. Eleven years were to pass before they stood before the microphone again for their last session. They disbanded as Sevitzky’s involvement in Indianapolis increased.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe novelty of the ensemble, a wide-ranging repertoire, and a high level of playing from what was then arguably the finest orchestral string section in the world, led to high praise from contemporary critics. Herbert Peyser of the New York\u003cem\u003e Telegram\u003c\/em\u003e wrote in 1929, “Orchestral or chamber music have brought few things outside Toscanini’s works of wonder to exceed them.”\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe sources for the transfers were American Victor editions: Orthophonic pressings for the Bossi \u003cem\u003eBurlesca\u003c\/em\u003e, the two Grieg pieces and the Tchaikovsky; wartime “Silver” label copies for the Arensky; and prewar “Gold” label pressings for the remainder. The earlier recordings were made in Victor’s Camden Church Studio, a small, unreverberant venue that tended to give an edge to violin tone and boominess to the lower strings.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe first two sides of the Bloch (the world-première recording of the work) were originally recorded on 10-inch matrices and then dubbed to 12-inch sides, with a resulting degradation in sound. For the last session, the ensemble recorded in the warmer, more expansive acoustic of the Academy of Music, but was hampered, in the case of the Arensky, by substandard wartime pressings made from recycled shellac.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBOSSI \u003c\/strong\u003eIntermezzi goldoniani, Op. 127 \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 12 February 1927 in Church Studio No. 1, Camden, New Jersey \u003cbr\u003eMatrix nos. CVE-37812-2 and BVE-37813-2. First issued on Victor 9129 and 4022\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGRIEG \u003c\/strong\u003eTwo Elegiac Melodies, Op. 34\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 12 February 1927 in Church Studio No. 1, Camden, New Jersey \u003cbr\u003eMatrix nos. BVE-37814-2 and CVE-37815-2. First issued on Victor 4022 and 9129\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eJ. S. BACH \u003c\/strong\u003e(arr. Sam Franko) Sinfonia from Cantata No. 156 (“Arioso”)\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 25 April 1929 in Church Studio No. 1, Camden, New Jersey \u003cbr\u003eMatrix no. CVE-51825-2. First issued on Victor 9598 in album M-66\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eDUBENSKY \u003c\/strong\u003eGossips \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 25 April 1929 in Church Studio No. 1, Camden, New Jersey \u003cbr\u003eMatrix no. BVE-51826-1. First issued on Victor 4186\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eTCHAIKOVSKY \u003c\/strong\u003eElegie from Serenade for Strings, Op. 48\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 25 April 1929 in Church Studio No. 1, Camden, New Jersey \u003cbr\u003eMatrix nos. BVE-51827-3 and 51828-3. First issued on Victor 4151\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGRAINGER \u003c\/strong\u003eLondonderry Air \u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eGRAINGER \u003c\/strong\u003eMolly on the Shore \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 25 April 1929 in Church Studio No. 1, Camden, New Jersey \u003cbr\u003eMatrix nos. BVE-51829-1 and CVE-51830-2. First issued on Victor 4186 and 11560\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBLOCH \u003c\/strong\u003eConcerto Grosso No. 1 \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eCharles Linton\u003c\/strong\u003e, \u003cem\u003epiano obbligato\u003c\/em\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 9 May 1929 in Church Studio No. 1, Camden, New Jersey \u003cbr\u003eMatrix nos. CVE-48999-3R, 48992-2R, 48993-2, 48994-2 and 48995-2 \u003cbr\u003eFirst issued on Victor 9596 through 9598 in album M-66\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGRÉTRY \u003c\/strong\u003ePantomime (from \u003cem\u003eZemire et Azor\u003c\/em\u003e) \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGRÉTRY \u003c\/strong\u003eMarche (from \u003cem\u003eLa caravane du Caïre\u003c\/em\u003e)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGRÉTRY \u003c\/strong\u003eTambourin (from \u003cem\u003eDenys le tyran\u003c\/em\u003e)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 19 October 1940 in the Academy of Music, Philadelphia \u003cbr\u003eMatrix nos. CS-056562 and 056563 (no take numbers listed) \u003cbr\u003eFirst issued on Victor 13590\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cstrong\u003eARENSKY \u003c\/strong\u003e\u003c\/strong\u003eVariations on a Theme of Tchaikovsky, Op. 35a \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 19 October 1940 in the Academy of Music, Philadelphia \u003cbr\u003eMatrix nos. CS-056558-1, 056559-1, 056560-2 and 056561-1 \u003cbr\u003eFirst issued as Victor 11-8153 and 11-8154 in album M-896\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003ePhiladelphia Chamber String Simfonietta \u003cbr\u003eFabien Sevitzky \u003c\/strong\u003econductor\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eSpecial thanks to Bill Anderson, Nathan Brown, Richard Kaplan, Charles Niss and Don Tait \u003c\/strong\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eAdditional pitch stabilisation work by Andrew Rose \u003cbr\u003eCover artwork based on a photograph of Fabien Sevitzky\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTotal duration: 77:17\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC375.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC375.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":34189511373,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34189511437,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC375.jpg?v=1489680102"},{"product_id":"pasc375-cd","title":"FABIEN SEVITZKY conducts the Philadelphia Chamber String Simfonietta (1927-40) - PASC375 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478173069,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478173133,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC375_e63a1adb-a0ba-4509-9ada-fac6447669a1.jpg?v=1658309092"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/collections\/Bach.jpg?v=1496243248","url":"https:\/\/www.pristineclassical.com\/collections\/composer-bach.oembed?page=13","provider":"Pristine Classical","version":"1.0","type":"link"}