{"title":"Barber","description":"\u003cp\u003eSamuel Barber (1910-1981) was an American composer whose lyrical intensity made him one of the most widely loved figures in twentieth-century music. Born in West Chester, Pennsylvania, he studied at the Curtis Institute and showed exceptional gifts as both composer and singer.\u003c\/p\u003e\u003cp\u003eHis best-known work is the \u003cem\u003eAdagio for Strings\u003c\/em\u003e, adapted from the slow movement of his String Quartet, but his catalogue is far broader. It includes the opera \u003cem\u003eVanessa\u003c\/em\u003e, concertos, songs, piano music, choral works and orchestral scores such as \u003cem\u003eKnoxville: Summer of 1915\u003c\/em\u003e.\u003c\/p\u003e\u003cp\u003eBarber’s music is tonal, expressive and superbly shaped, often combining long melodic lines with a refined harmonic language. At a time when many composers turned toward severe modernism, Barber continued to trust the eloquence of song.\u003c\/p\u003e\u003cp\u003eHis reputation has sometimes been narrowed by the fame of one piece, but Barber was a composer of impressive range and discipline. His work gives American music a voice of elegance, melancholy and emotional candour.\u003c\/p\u003e","products":[{"product_id":"pasc315","title":"HANSON conducts American Music, Vol. 4 (1953-55) - PASC315","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHARRIS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 3\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eGRIFFES \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eVarious Works\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBARBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 1\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\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\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded between 1953 and 1955\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 59:59\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eEastman-Rochester Orchestra \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eHoward Hanson\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e, conductor\u003c\/span\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is Howard Hanson on Mercury, and American music doesn’t get much better than that.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs a record reviewer, I have to fight \nthe urge to claim that every CD I like is an important album. That’s \nbecause now and then, a CD like the present one falls into my hands, and\n I don’t want to be in the position of the boy who cried “Wolf!” This is\n an important release. We have here some of the finest, if not always \nthe most popular, American symphonic works of the 20th century, \ninterpreted by a brilliant conductor whose advocacy for American music \nwas second to none. What’s more, these recordings showcase a sound \nengineering team that, even in the monaural era, pioneered audiophile \nrecordings. In other words, this is Howard Hanson on Mercury, and \nAmerican music doesn’t get much better than that. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWritten in 1937, Roy Harris’s Third \nSymphony perhaps is the finest American symphony since the four by \nCharles Ives. Hanson’s performance is the best I’ve ever heard, with \nrich, beautifully balanced string tone and superb proportions. Hanson \nrenders the work’s pathos with strength and an absence of \nsentimentality. Indicative of this is the fact that Hanson’s version \nrequires two minutes less time than Leonard Bernstein’s second \nrecording. The value of Mercury’s single-microphone recording technique \nis obvious here, leaving the orchestral balance entirely in Hanson’s \nhands. The orchestra’s first-desk players, drawn from the Rochester \nPhilharmonic, shine. (Andrew Rose of Pristine Audio should consider \nreissuing Erich Leinsdorf’s Rochester Philharmonic recordings from this \nperiod.) In the symphony’s culminating section, the brass choirs play \nwith beautiful ensemble rather than glaring obviousness. This is simply \noutstanding Harris. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eCharles Tomlinson Griffes is one of the most important American composers of tone poems. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Pleasure Dome of Kubla Khan \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\n a rare example of orientalism in American music, comparable with Anatol\n Liadov. Hanson creates a languorous atmosphere here, without ever \nresorting to kitsch. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe White Peacock \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ereceives\n lush playing that belies the fact that Hanson’s orchestra is mainly \nmade up of students. As a composer, Hanson must have envied \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eClouds\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, a masterly study in orchestral color. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBacchanale \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003efrom Saint-Saëns’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSamson and Delilah \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003emay\n have inspired Griffes’s work with the same title, although the latter \ncomposer’s opus sounds more epicurean than the Frenchman’s orgiastic \nriot of sound. Is it too fanciful to suggest that Griffes’s piece \nepitomizes the moderate sensual sensibility of a composer who maintained\n a gay relationship with a married New York City policeman? \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eSamuel Barber’s First Symphony, almost\n contemporary with Harris’s Third, gets an unusually lucid performance \nfrom Hanson. His orchestra dispatches the rhythmically challenging \nsecond section, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eallegro molto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, with commendable clarity. This leads into an\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e andante tranquillo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n that begins with a ravishing oboe solo. Mercury’s single-microphone \ntechnique copes well with Barber’s thick orchestration, although the \nChandos sound for Neeme Järvi is more revealing. Experiencing Hanson’s \nempathy with Barber’s sound world should lead one to investigate the \nconductor’s stereo version of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMedea \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eballet\n suite. Andrew Rose secures highly listenable transfers of all these \nrecordings. The orchestral balance almost always seems just so, a sign \nthat Rose gets the equalization right. Occasionally there is a tinge of \nfizz on the violin or higher winds sound, which just may be an artifact \nof the LP pressings Rose uses. Interestingly, the Barber symphony was \nrecorded on the same day, May 9, 1955, as a Holst and Vaughan Williams \nalbum by Frederick Fennell and the Eastman Wind Ensemble. This was \nreissued in 1999 on a Mercury Living Presence CD, with a transfer from \nthe original master tapes by Mercury’s Wilma Cozart Fine. Even taking \ninto account the fact that the Barber might have employed a different \nmicrophone in a separate placement, plus a distinct recording level, \nRose’s remastering from the LP only yields slightly to the Fennell in \ndynamic range and frequency response. He has given us vintage recordings\n of great music in mainly natural sound, and that should be cause for \nrejoicing. \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 35:5 (May\/June 2012) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC315.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003e\"The greatest American symphony\" - and more - first time on CD\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e \"Some\n of the finest American symphonic works of the 20th century, interpreted\n by a brilliant conductor whose advocacy for American music was second \nto none\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cbr\u003e\u003cp class=\"body\"\u003eA radio broadcast the weekend before the release of \nthese recordings on Pristine Audio succeded in reminding me that I had \nsome unfinished business with the American music recordings of Howard \nHanson, and I'm glad it did. The presenter and critic Rob Cowan \nintroduced this recording of Harris's Third Symphony, which had been \nspecially transferred from LP for his broadcast, as \"the greatest \nAmerican symphony\", and pointedly reminded me (and his other listeners) \nthat it had never appeared on CD.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAs with the previous issues in this short series, the \nEastman-Rochester Symphony Orchestra has been very well recorded by \nMercury, leaving me in the happy position of some excellent starting \npoints for my remastering work. The release coincides with work I've \nbeen doing on trying to recapture some of the sub-bass which was often \nheavily filtered on LP recordings in the 1950s - the almost subsonic \nunderpinning of many a modern recording which is rarely to be heard on \nolder recordings (these are frequencies that early LPs in particular \nstruggled with), but which when present can bring a fabulous extra \ndimension of realism to a symphony orchestra recording.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/li\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eHARRIS \u003c\/b\u003eSymphony No. 3\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 11-13 May 1953\u003cbr\u003eIssued as Mercury MG-40004 \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eGRIFFES \u003c\/b\u003eThe Pleasure Dome of Kubla Khan\u003c\/span\u003e\u003c\/li\u003e\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eGRIFFES \u003c\/b\u003eThe White Peacock, Op. 7, No. 1\u003c\/span\u003e\u003c\/li\u003e\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eGRIFFES \u003c\/b\u003eClouds, Op. 7, No. 4\u003c\/span\u003e\u003c\/li\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eGRIFFES \u003c\/b\u003eBacchanale, Op. 6, No. 3\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 29 October 1954\u003cbr\u003eIssued as Mercury MG-40012\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBARBER \u003c\/b\u003eSymphony No. 1 in One Movement, Op. 9\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 9 May 1955\u003cbr\u003eIssued as Mercury MG-40014\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003eEastman-Rochester Symphony\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e Orchestra\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eHoward Hanson \u003c\/b\u003econductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose at Pristine Audio, November 2011\u003cbr\u003eCover artwork based on a photograph of Howard Hanson\u003cbr\u003e\u003cbr\u003eTotal duration: 59:59\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\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\/PASC315.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC315.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":34129565133,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34129565197,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34129565261,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34129565325,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC315_f484df54-414f-4e94-8724-103e322e3a56.jpg?v=1489570016"},{"product_id":"pasc315-cd","title":"HANSON conducts American Music, Vol. 4 (1953-55) - PASC315 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478134797,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478134861,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC315_868f970b-afb8-42f2-884f-e77ea83925dd.jpg?v=1658307357"},{"product_id":"pasc332-cd","title":"HANSON conducts American Music Volume 5 (1952-54) - PASC332 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478143309,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478143373,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC332_9fde4cc4-fd3f-4acf-9ff4-f96d8e14f03f.jpg?v=1658307972"},{"product_id":"pasc332","title":"HANSON conducts American Music Volume 5 (1952-54) - PASC332","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHANSON \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 5\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHANSON \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Cherubic Hymn\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eGOULD \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphonette No.4: Latin-American Symphonette\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBARBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eOverture to \"The School for Scandal\", Op. 5\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBARBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eAdagio for Strings\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBARBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eEssay for Orchestra No. 1\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded between 1952 and 1954\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 70:49\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eEastman-Rochester Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eHoward Hanson, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fHoward Hanson was a national treasure. This disc is an important part of his legacy. 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eJorge Luis Borges’s fictional author Pierre Menard\n declared that “censuring and praising were sentimental operations which\n had nothing to do with criticism.” Faced with this Howard Hanson CD, I \nmust confess that I become a sentimental critic. Howard Hanson was not \njust a great advocate for American music; he also was a marvelous \nconductor. His approach to music is flexible—every bar means something. \nHis dynamics are always just so, never approximate. Hanson is as much a \nmaster of orchestral balance as George Szell. In fact, for sonic reasons\n I prefer to hear Hanson’s monaural recordings instead of his stereo \nones. Mercury’s single-microphone technique is more truthful to Hanson’s\n balances than its later three-microphone stereo is. This CD is a \nmarriage of often great music, great performances, and truthful sound. \nOne never can have enough of Howard Hanson the conductor.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eNot that I intend to belittle Howard Hanson the \ncomposer. His Fifth Symphony, the “Sinfonia Sacra,” puts me in mind of \nthe mystical, later works of Einojuhani Rautavarra, although Hanson’s \npiece is more carefully constructed. The string writing is masterly, and\n there is great beauty of sound throughout. As an expression of the \nself, the “Sinfonia Sacra” resembles a Shakespeare soliloquy. Though a \nromantic composer, Hanson here achieves a kind of mature Sibelian \nobjectivity. It’s a lovely work. In the\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Cherubic Hymn\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n Hanson’s choral writing is straightforward and declarative. \nUnfortunately, the online program notes omit the hymn’s text. Hanson’s \npiece possesses a slight oriental coloring, as in some of the choral \nworks of Ralph Vaughan Williams. Hanson’s hymn is reverential rather \nthan ecstatic, relying on massed choral sound for excitement. As usual, \nHanson’s performances of his own music can be considered authoritative. \n \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eOne of the lamentable facts about our current \nconcert life is the decline in performances of Morton Gould’s \ncompositions. His music always is direct and beautifully constructed. He\n orchestrates in points of color, like Ravel, and his sound is \nsplendidly transparent. I first heard the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLatin-American Symphonette\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n in Maurice Abravanel’s workmanlike recording, the flip side of the LP \ncontaining his classic version of Gottschalk’s First Symphony, “A Night \nin the Tropics.” Gould himself recorded the middle two movements, in \ndemonstration-quality sound. Hanson’s performance is outstanding. In the\n Rhumba, Hanson displays great rhythmic subtlety, and elicits expressive\n solo playing. The movement recalls Ravel’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRapsodie espagnole\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Next, the Tango seems less sexually overt than like a reverie. It is \nmelodically captivating, sort of an idealized tango rather than a \nphysical one. The Guaracho functions as a scherzo. Its winsomeness \nrecalls Leroy Anderson, although Gould’s music is far subtler. For the \nlast movement, one can envision a line of conga dancers, and Gould \nreally breaks out the percussion. In Hanson’s hands, this symphonette is\n an important piece of music.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHanson always has a sure touch in Samuel Barber. His \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOverture to The School for Scandal\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n reminds me of a concert performance I heard by Joseph Silverstein \nconducting the Waterloo Festival Orchestra. With measured tempos, Hanson\n dwells lovingly on details, particularly the polyphony in the strings. \nThe solo oboe in the second section sounds especially beautiful. In the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio for Strings\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n Hanson secures a full-toned rendition, with lots of body to the string \nsound. Hanson doesn’t go after angst, as Thomas Schippers does, but \nrather elegiac beauty. In the Essay No. 1, Hanson is passionate, but at \nall times the structure and harmony are clear. This is the best \nperformance I know of the piece. Throughout the disc, Andrew Rose \naccomplishes beautifully balanced transfers of these recordings. His \nremasterings possess a warmth rarely found on Wilma Cozart Fine’s \nMercury Living Presence CDs. I hope I have justified my sentimentality \nin approaching this collection. Howard Hanson was a national treasure, \nand his memory deserves a hallowed place in our musical life. This disc \nis an important part of his legacy. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eDave Saemann  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 36:1 (Sept\/Oct 2012) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC332.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eHanson conducts his own 5th Symphony, plus music by Morton Gould and Samuel Barber\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eMore American treasures from one of the finest interpreters of this music\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThe Barber and Gould recordings, both made on the same day in the autumn of 1952, displayed a distinct loss of top-end treble. In the case of the Gould this was particularly acute with a very steep drop-off of around 15dB above 10kHz that suggests a quite severe filter was used in mastering the original LP. I've done what I can to try and restore what remains above these frequencies in both recording, more successfully perhaps in the Barber. The 1955 recordings of Hanson's own works show a more typical \"Living Presence\" lift of the lower treble, though happily not as severe as on some of their recordings of this era, and it's an anomaly which happily makes for lower hiss levels after XR remastering has corrected the tonal balance.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAll of the recordings displayed degrees of pitch instability consistent with the tape recording equipment of the day, allowing the orchestral tuning to wander slowly between about A=440Hz and A=446Hz. Standard concert pitch seemed a reasonable point to re-tune the recordings to, something which appeared to be confirmed by the copious amounts of mains electrical hum (with multiple harmonics) I have removed. Each of these recordings was transferred from original, near-mint 1950s US Mercury pressings.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eHANSON\u003c\/strong\u003e Symphony No. 5, Op. 43, \"Sinfonia Sacra\"\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eHANSON \u003c\/strong\u003eThe Cherubic Hymn \u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded May 1953 (Cherubic Hymn) and 1954\u003cbr\u003eNB. Some sources suggest 8 May 1955 - this is not supported by the original LP sleevenotes \u003cbr\u003eIssued as Mercury MG-40014\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eEastman School of Music Chorus\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGOULD \u003c\/strong\u003eSymphonette No.4: Latin-American Symphonette\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBARBER \u003c\/strong\u003eOverture to \"The School for Scandal\", Op. 5\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBARBER \u003c\/strong\u003eAdagio for Strings \u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBARBER \u003c\/strong\u003eEssay for Orchestra No. 1, Op. 12\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 20 October 1952\u003cbr\u003eIssued as Mercury MG-40002\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eEastman-Rochester Symphony\u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e Orchestra\u003c\/strong\u003e \u003cbr\u003e\u003cstrong\u003eHoward Hanson \u003c\/strong\u003econductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose at Pristine Audio, April 2011\u003cbr\u003eCover artwork based on a photograph of Howard Hanson\u003cbr\u003e\u003cbr\u003eTotal duration: 70:49\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\/PASC332.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC332.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eReview (Barber \u0026amp; Gould - original LP issue)\u003cbr\u003e\u003cbr\u003eI'm not sure that the two sides of this record fit very well together; but each, considered separately, is certainly a winner. The recording is throughout clear and vital, though perhaps lacking something in warmth; a deficiency that does altogether less damage here than it would in the classics, and which is in any case set off by many virtues in other respects—the brass and percussion in particular coming off extremely well.\u003cbr\u003e\u003cbr\u003eSamuel Barber is the only contemporary American composer even reasonably well represented in the English catalogues but even so, the gaiety of the School for Scandal overture throws for us a new light on him. The quick-witted vein is an attractive one, and the piece is well presented by the orchestra.\u003cbr\u003e\u003cbr\u003eSo is the Adagio for Strings. This is more familiar; as well as some SPs there is a LP (Decca LX3042) called, I suppose unarguably correctly, Music of the Twentieth Century, which includes this piece in a hurried but rich-toned performance by the Boyd Neel Orchestra, along with an enveloping hum and some incongruous piano and 'cello pieces. Here there is no aggressive hum, though the string sound is not quite so rich as on the Decca ; but principally there is a considerably more intense performance, which reveals the moving elegy the better.\u003cbr\u003e\u003cbr\u003eThe Essay for Orchestra is not quite so convincing; it seems on the short side for what it has to say—the allegro molto section does not immediately declare itself capable of supporting the weight of the andante sostenuto which precedes it. But the three pieces taken together, and most admirably performed, give a most useful conspectus of Barber's achievement in the smaller forms.\u003cbr\u003e\u003cbr\u003eOne had always supposed that Morton Gould must have written something other than the Pavane, and here it is. A four-movement Sinfonietta is no novelty, but one based on four Latin-American dances is orchestral arrangements of a rumba, tango, guaracha, and conga by good musicians are no novelty, but ones done with musical rather than commercial ends in view seem, unfortunately, to be so.\u003cbr\u003e\u003cbr\u003eThose four dances form the four movements, taking on something like the classical balance. The rumba has a first-movement fullness; the tango, of the Argentinian variety, is developed into a singularly attractive slow movement, with wisps of sound that are so wholly appropriate, but which could never be written for the audiences to whom Gould, or any other first-class arranger, normally has to direct his music, tango-style or otherwise. A guaracha is less familiar, but it forms an effective scherzo; the finale is a conga that begins and ends in a blaze, but has sober expanses in the middle, and is not quite the irresistible \"orgiastic\" affair the sleevenote led my baser instincts to hope for.\u003cbr\u003e\u003cbr\u003eThe whole work is played in great style the Eastman-Rochester Symphony Orchestra seem completely at home with it. Few symphony orchestras can encompass this sort of music wholly satisfactorily - usually the brass section make it clear that the transition is too much of a strain. But here the style is changed with no apparent strain at all; and the brass and percussion are certainly beautifully caught by the fine recording.\u003cbr\u003e\u003cbr\u003eThe choice of coupling remains curious. But it has, arguably, one advantage; with two sides so diverse and each so good in its own way, it would be cantankerous indeed to dislike both of them at once.\u003cbr\u003e\u003cbr\u003eM.M. - The Gramophone, June 1954 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":34138156109,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34138156173,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34138156237,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34138156301,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC332_3a4acec8-3edc-4443-be0a-e84977de3954.jpg?v=1489585671"},{"product_id":"pasc217","title":"KOUSSEVITZKY conducts Barber (1944\/49) - PASC217","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBARBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eConcerto for Violin and Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBARBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eCommando March\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBARBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 2\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1944 and 1949\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 56:32 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRuth Posselt, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e Boston Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSerge Koussevitzky\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC217.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eThe complete Barber as conducted by Koussevitzky\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eMarking Barber's centenary with previously-unissued world première recordings\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThese three works comprise the complete recorded \nrepertoire of Samuel Barber as conducted by Serge Koussevitzky. (There \nwas also an earlier broadcast performance of the \u003cem\u003eCommando March\u003c\/em\u003e,\n but no commercial recordings of any of the works.) Koussevitzky was \nfamous for championing contemporary American composers during his tenure\n in Boston, and he brought his customary passion and commitment to the \nscores we hear on this program.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe \u003cem\u003eViolin Concerto\u003c\/em\u003e is heard in the first \nperformance of the revised version Barber prepared in November, 1948. \nThe soloist, American violinist Ruth Posselt, was married to the BSO’s \nconcertmaster and assistant conductor, Richard Burgin, and holds the \nrecord for most appearances by a soloist with the orchestra. The concert\n from which this recording emanates was not broadcast, but rather was \nsurreptitiously recorded using a microphone concealed in a ventilation \ngrate above the stage, as were several other concerts during the 1948-49\n season. The sound, relayed by telephone line and taken down on acetate \ndiscs at a local Boston recording studio, is nonetheless surprisingly \nwell-balanced and immediate. (A couple bars in the finale that were \nmissing on the original recording due to a skipped groove have been \npatched in from another performance.)\u003c\/p\u003e\u003cp class=\"body\"\u003eThe \u003cem\u003eCommando March\u003c\/em\u003e and \u003cem\u003eSecond Symphony\u003c\/em\u003e\n date from Barber’s service in the U. S. Army Air Force during the \nSecond World War. The broadcast of the symphony’s world première \nfeatures the original version of the work, which Barber revised in 1947 \nin part to jettison programmatic elements. One of the casualties of this\n was the removal of the electronic tone generator used in the second \nmovement (starting at 5:34 in Track 7) to suggest the radio beam used \nfor guiding flyers. Although Barber made a recording of the revised \nversion in 1950, he withdrew the work from performance in 1964 and soon \nafter destroyed all known copies of the score, keeping only the revised \nsecond movement which he renamed \u003cem\u003eNight Flight\u003c\/em\u003e. A copy of the \norchestral parts of the complete symphony turned up in England after \nBarber’s death and has been used as the basis for further performances.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\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\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBARBER\u003c\/strong\u003e Concerto for Violin and Orchestra, Op. 14\u003c\/span\u003e \u003cspan class=\"body\"\u003e(1939-40; revised 1948)\u003cbr\u003e \u003cstrong\u003eRuth Posselt\u003c\/strong\u003e, violin\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded at the concert of 7th January, 1949 in Symphony Hall, Boston (world première of revised version)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBARBER\u003c\/strong\u003e Commando March\u003c\/span\u003e \u003cspan class=\"body\"\u003e(1943) (3:48)\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eFrom the broadcast of 12th February, 1944 at Hunter College, New York\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBARBER\u003c\/strong\u003e Symphony No. 2, Op. 19\u003c\/span\u003e \u003cspan class=\"body\"\u003e(original version, 1943-44)\u003cbr\u003e (“Dedicated to the Army Air Forces”)\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eFrom the broadcast of 4th March, 1944 in Symphony Hall, Boston (world première)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eSerge Koussevitzky · Boston Symphony Orchestra\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eRecordings from the collection of Langdon F. Lombard\u003cbr\u003eCover artwork based on a photograph of Samuel Barber \u0026amp; Serge Koussevitzky\u003cbr\u003e\u003cbr\u003eTotal duration: 56:32 \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\/PASC217.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC217.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":34437540429,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34437540493,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC217.jpg?v=1490018433"},{"product_id":"pasc217-cd","title":"KOUSSEVITZKY conducts Barber (1944\/49) - PASC217 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478197581,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478197645,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC217_1f35d2a9-dc9a-408b-9b09-8b2b622e46cf.jpg?v=1658244102"},{"product_id":"pasc136","title":"BARBER conducts Barber: Symphony No. 2 (1951) - PASC136","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBARBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 2\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1951\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 27:37 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003eNew Symphony Orchestra \u003c\/span\u003e\u003cbr\u003e \u003c\/strong\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003e Samuel Barber\u003c\/span\u003e\u003cbr\u003e \u003c\/strong\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif\"\u003e\u003cbr\u003e \u003c\/span\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC136.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cspan class=\"bodybig\" style=\"font-size: 24px;\"\u003e\u003cem\u003eThe composer conducts on a splendid early Decca LP\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eSounding wonderful in this test-pressing transfer by Peter Harrison\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cspan class=\"body\"\u003eThe transfer for this restoration was made from an original, probably unplayed Decca “Factory Sample” disc and shows dramatically the astonishing recorded sound quality that Decca were able to achieve in the early days of the mono LP. Listening to the result it is hard to believe that this recording is over 57 years old. However the recording isn’t without its faults: for example occasional patches of tape flutter and scrape can be heard - but I don’t think they materially detract from a remarkable historic document.\u003c\/span\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 class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBARBER \u003c\/b\u003eSymphony No. 2\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cstrong\u003eNew Symphony Orchestra \u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003econducted by\u003cstrong\u003e Samuel Barber\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\n Recorded 11 December, 1950, Kingsway Hall, London\u003cbr\u003eProducer: John Culshaw\u003cbr\u003eFirst issued 1951 by The Decca Record Company Limited on LX 3050 \u003cbr\u003e \u003cbr\u003eProducer and Audio Restoration Engineer: Peter Harrison \u003cbr\u003e XR Process and Ambient Stereo: Andrew Rose\u003cbr\u003e Cover artwork based on a photograph of Samuel Barber\u003cbr\u003e\n\u003c\/p\u003e\u003cp\u003eTotal duration: 27:37 \u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e \u003c\/span\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\/PASC136.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC136.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":34672469837,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34672469901,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34672469965,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34672470029,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC136.jpg?v=1490288355"},{"product_id":"pasc136-cd","title":"BARBER conducts Barber: Symphony No. 2 (1951) - PASC136 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478287053,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478287117,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC136_c60b78cb-c975-4b0a-b3fe-8790acbe0fb5.jpg?v=1658241923"},{"product_id":"pasc077","title":"TOSCANINI War Bonds Concert: Mendelssohn, Schubert, Barber, Verdi (1942) - PASC077","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMENDELSSOHN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eOverture to A Midsummer Night's Dream\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUBERT \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 8, 'Unfinished', in B minor\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBARBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eEssay for Orchestra No. 1\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eOverture to I Vespri Siciliani\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1942\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eDuration 51:09\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eArturo Toscanini\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e \u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC077.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f \u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan class=\"bodybig\"\u003e\u003cspan style=\"font-size: 17px;\"\u003eSamuel Barber's \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 17px;\"\u003eEssay for Orchestra\u003c\/span\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 17px;\"\u003eNo. 1\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003enotes by Andrew Rose \u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003eBarber's \u003cem\u003eEssay for Orchestra No. 1\u003c\/em\u003e is the natural partner to his most famous work, the \u003cem\u003eAdagio for Strings\u003c\/em\u003e, and both are intrinsically linked to Toscanini. During the summer of 1937, as he began his tenure conducting the NBC Symphony Orchestra, Toscanini asked the orchestra's supervisor, Rodziński, for suggestions of American works to perform. The suggestion of something by Barber was raised, but rather than play an existing composition, Toscanini decided to ask for a new piece to review.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThus Barber, still a young composer, excitedly got to work on his \u003cem\u003eEssay for Orchestra\u003c\/em\u003e, which was submitted alongside the \u003cem\u003eAdagio for Strings\u003c\/em\u003e. Then for several months nothing appeared to happen, and the scores were returned to the composer without comment. Discouraged, Barber started to seek alternative performances.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eDuring the summer of 1938 Barber had been invited to Toscanini's summer home in Italy, but piqued by his apparent rejection, refused to go, instead sending a friend with news of an illness. This ruse was quickly seen through by Toscanini, who stated that Barber had no need to be angry with him - he was planning to perform both works, and had returned the scores as a courtesy having already memorised both.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThus the première performance of both works was conducted by Toscanini on 5th November 1938 in an NBC Symphony Orchestra Concert. To the best of my knowledge this release is the only recording of Toscanini conducting the \u003cem\u003eEssay\u003c\/em\u003e to be issued.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eMusically it is perhaps the ideal partner to the \u003cem\u003eAdagio for Strings\u003c\/em\u003e. Although scored for full orchestra and piano it appears to inhabit the same musical world, certainly at the outset. The piece is essentially in two sections, beginning with a broad, lyrical, brooding \u003cem\u003eAndante sostenuto\u003c\/em\u003e, which is eventually interrupted by the \u003cem\u003eAllegro molto\u003c\/em\u003e of the second section, a quasi-scherzo of new material in triple time which builds up to a climax in which themes from the first part are recalled. Finally the piece dies down, first with near-canonical writing in the trumpets, before ending with the violins restating the original theme, which is left hanging in mid-air.\u003c\/p\u003e\n\n\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 17px;\"\u003eOn Toscanini's War Bonds Concerts \u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003eAn edited discussion from the Yahoo Toscanini group \u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp class=\"body\"\u003e\u003cstrong\u003eBB:\u003c\/strong\u003e \"The Verdi was issued by RCA originally on LM 6041 (Verdi and Toscanini 2 lp set); the Barber was taken into the studio and recorded in a regular session. The 1941-42 War Bond Concerts (the first was on December 6, 1941 and was a Treasury Bond concert though Pearl Harbor was only hours a away!) were without audience. There were five altogether and served in the end to bring about a rapprochement between Toscanini and NBC.  Stokowski had become the orchestra's Principal Conductor in 1941-42.\"\u003cbr\u003e \u003cbr\u003e \u003cem\u003e\u003cstrong\u003eAK:\u003c\/strong\u003e \"Right. But only the \"\u003c\/em\u003eAdagio for Strings\u003cem\u003e\" was given a session recording.\"\u003c\/em\u003e\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eBB:\u003c\/strong\u003e \"Re. that particular War Bond concert, the Verdi, as I said, was eventually issued. The Barber was recorded separately. RCA was engaged in doing the complete Mendelssohn MSND  music with Toscanini and the Philadelphia Orchestra; not released as it turned out because of RCA's technical screw ups but still \"in prep\" in 1942; and RCA did not need to release or record the Schubert \u003cem\u003eUnfinished\u003c\/em\u003e interpretation at that time because, frankly, they already had a fully serviceable version in their catalogue with Koussevitsky and the Boston Symphony (M-319) plus a black label recording by Walter and the VPO on set G-9.\"\u003c\/p\u003e\n\n\u003cp align=\"left\"\u003e *Although this concert has never been commercially released before, the recording of Verdi's \u003cem\u003eOverture to I Vespri Siciliani\u003c\/em\u003e was issued by RCA. We cannot trace any issue of the other recordings - indeed this appears to be the first release of Barber's \u003cem\u003eEssay for Orchestra\u003c\/em\u003e as conducted by Toscanini.\n\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\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMENDELSSOHN \u003c\/b\u003eOverture to A Midsummer Night's Dream\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003eSymphony No. 8, 'Unfinished', in B minor\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBARBER \u003c\/b\u003eEssay for Orchestra No. 1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003eOverture to I Vespri Siciliani\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eNBC Symphony Orchestra\u003cbr\u003e \u003c\/b\u003econducted by \u003cb\u003eArturo Toscanini\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eBroadcast live with no audience, 24th January 1942, Studio 8H \u003cbr\u003e Pristine Audio XR remastering by Andrew Rose, June 2007\u003cbr\u003e \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000; font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eDuration 51:09\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\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\/PASC077.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC077.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":36279630349,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":55205561762126,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC077.jpg?v=1492700871"},{"product_id":"pasc077-cd","title":"TOSCANINI War Bonds Concert: Mendelssohn, Schubert, Barber, Verdi (1942) - PASC077 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478407821,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205561729358,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC077_6f26c830-6875-43cc-9175-82f6bf0f68c3.jpg?v=1657718212"},{"product_id":"pasc080","title":"TOSCANINI The Barber Première Concert (1938) - PASC080","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eGRAENER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDie Flöte von Sanssouci\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBARBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eAdagio for Strings - world première performance\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBARBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eEssay for Orchestra No. 1 - world première performance\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eIbéria\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDVOŘÁK \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 9, \"From the New World\"\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded live in 1938\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 88:25\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra \u003c\/span\u003e\u003cbr\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eArturo Toscanini \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC080.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 24px;\"\u003eThe 1938 Barber Première Concert\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003eWe used two different source recordings in order to put together for the first time a complete record of this historic concert. Part One was recorded from an off-air test disc, Part Two from a re-broadcast of NBC's master lacquers. As such there is a slight discrepancy in sound quality, with marginally higher hiss levels on the first disc. Copies of the first half of this concert have circulated amongst collectors for some time, and the Graener has been issued on CD. I also believe the Debussy and Dvořák recordings surfaced on LPs some years ago, but never onto CD.\u003cp\u003eThis new restoration tackles some of the inherent problems of the aircheck disc for the first time, using audio technology not previously available to restoration engineers to remove or dramatically reduce radio interference and also tackle various hum frequencies and assorted radio whistles present throughout the original master. It has also been possible to fix a number of drop-outs in the recordings we were presented with, which had been dubbed onto open-reel tape some years ago. The original recordings were of course mono, but the tape hiss from later transfers was wide and stereo. I have narrowed the stereo field of this hiss, though some very mild stereo spread may still be evident in upper frequencies.\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: 16px;\"\u003e\u003cb\u003eCD ONE\u003cbr\u003eGRAENER \u003c\/b\u003eDie Flöte von Sanssouci\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBARBER \u003c\/b\u003eAdagio for Strings - world première performance\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBARBER \u003c\/b\u003eEssay for Orchestra No. 1 - world première performance\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003eIbéria\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eCD TWO\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003eSymphony No. 9, \"From the New World\"\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cb\u003eNBC Symphony Orchestra \u003cbr\u003e \u003c\/b\u003econducted by \u003cb\u003eArturo Toscanini \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eBroadcast live on 5th November, 1938, NBC Studio 8H, New York\u003cbr\u003e Disc One taken from aircheck discs\u003cbr\u003e Disc Two taken from NBC master lacquer discs \u003cbr\u003e Pristine Audio XR remastering by Andrew Rose, June 2007\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e \u003cbr\u003e \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000; font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eDurations 49:42, 38:43\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\/PASC080.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC080.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":2951316373530,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":55205561303374,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205561336142,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC080_ec525f93-7655-42d6-afe9-e262ee12dcf9.jpg?v=1510940852"},{"product_id":"pasc080-cd","title":"TOSCANINI The Barber Première Concert (1938) - PASC080 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD with case \u0026 artwork (+MP3)","offer_id":40478410445,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2CD only in plastic sleeve (+MP3)","offer_id":55205561073998,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC080.jpg?v=1657718336"},{"product_id":"pasc088","title":"CANTELLI in New York: Handel, Beethoven, Barber, Respighi (1955) - PASC088","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eHANDEL \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eLargo from 'Xerxes' \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 7\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBARBER \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eAdagio for Strings\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eRESPIGHI\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Pines of Rome \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded live in 1955\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 70:31\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNew York Philharmonic-Symphony Orchestra \u003c\/span\u003e\u003cbr\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGuido Cantelli \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC088.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eThis recording was generously provided by Cantelli's biographer, Lawrence Lewis, who had obtained a cassette copy some years ago from which I was able to work. Althugh not the ideal source medium, the results are eminently musical and highly enjoyable.\u003c\/p\u003e\u003cp\u003eI also endeavoured to preserve as much of the announcements and applause as was available in order to preserve the feeling of a live - and truly spectacular - event.\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\u003e\u003cspan style=\"font-size: 16px;\"\u003eHANDEL \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eLargo from 'Xerxes' \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 7 in A, Op. 92 \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBARBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eAdagio for Strings, Op. 11 \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRESPIGHI\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Pines of Rome \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eNew York Philharmonic-Symphony Orchestra \u003cbr\u003e \u003c\/b\u003econducted by \u003cb\u003eGuido Cantelli \u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cstrong\u003eLive CBS broadcast from Carnegie Hall, New York\u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eRecorded  27th March, 1955\u003cbr\u003e Presented with studio announcements as available \u003cbr\u003e\u003cbr\u003e Remastered from tape from the collection of Laurence Lewis \u003cbr\u003e Pristine Audio XR remastering by Andrew Rose, August 2007\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eTotal duration: 70:31\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\/PASC088.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC088.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":36727367437,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":55205559501134,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC088_812f9c28-02a2-4900-9131-e754cd96eca5.jpg?v=1493478040"},{"product_id":"pasc088-cd","title":"CANTELLI in New York: Handel, Beethoven, Barber, Respighi (1955) - PASC088 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478413389,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205559238990,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC088_e9b47050-9dd7-421d-ac9d-3d6f5d82ae62.jpg?v=1657718471"},{"product_id":"pasc561","title":"KOUSSEVITZKY conducts Barber, Honegger \u0026 Sibelius (1948\/9) - PASC561","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBARBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eViolin Concerto\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHONEGGER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 4 '\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eDeliciæ Basiliensis\"\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSIBELIUS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 7\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive recordings, 1948\/49\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 71:37\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRuth Posselt\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, violin\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBoston Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSerge Koussevitzky\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC561.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eSerge Koussevitzky was a prominent champion of twentieth century music during his long tenure as the conductor of the Boston Symphony Orchestra. The music of his Russian contemporaries (Shostakovich, Prokofiev (PASC558), and Rachmaninov) naturally featured heavily, as did several composers of his adopted America (Aaron Copland (PASC458) Roy Harris, Edward Hill (PASC484), Walter Piston (PASC463) and others), but Koussevitzky’s love of modern music spread even wider than that. This release brings together works by American, Swiss and Finnish composers. \u003cbr\u003e\u003cbr\u003eSamuel Barber’s Violin Concerto was completed in 1939 and was premiered in 1941 by the Philadelphia Orchestra conducted by Eugene Ormandy. Barber revised the concerto in late 1948 to correct what he considered to be ‘an unsatisfactory climax in the adagio and some muddy orchestration in the finale.’ This recording preserves the first performance of the revised version. Massachusetts native Ruth Posselt is the soloist. She had first performed the piece with the BSO in 1942 and featured quite regularly with the orchestra, premiering Edward Hill’s Violin Concerto in 1939 for instance. Posselt was married to the BSO’s assistant conductor Richard Burgin, but her talent as a soloist is quite clear. A review of a 1935 recital praised her ‘virtuoso style’ and her ‘fine technique’. Her commercial recordings are few, mainly confined to chamber pieces, and therefore this is an important addition to her discography. A few days after this performance, the orchestra, conductor and soloist repeated the concert in New York. Reviewing the concert for the New York Times critic Olin Downs, reported that ‘Miss Posselt played the concerto very capably and in a way which must have gratified its author.’\u003cbr\u003e\u003cbr\u003eArthur Honegger was born in Le Harve in 1892 but had Swiss nationality through his parents. He spent most of his career in France, and remained in occupied Paris during the war. Honegger’s Symphony No. 4 was premiered in Switzerland in 1947, before receiving its American premiere in December 1948 with Charles Munch conducting the New York Philharmonic. It is partly a celebration of the joys of the peaceful Swiss countryside, incorporating some traditional Swiss folk tunes for example, but it is also a product of its times, recognising towards the end the trauma that Europe was just emerging from. While sensibly declining to offer a full critique of the symphony after just one hearing, Olin Downes (reviewing the American premiere) believed there was an obvious contrast between Honegger’s war time ‘dark and tragical’ works and ‘this new symphony [that] emerges into the light’ offering ‘music of spiritual health.’\u003cbr\u003e\u003cbr\u003eJean Sibelius’s Symphony No.7 was written in 1924 and quickly became a concert favourite. Of the three pieces in this release it is the only one that has really established itself in the mainstream repertoire. It was the last piece Sibelius wrote that he endowed with the title of a symphony and it broke with symphonic convention in a number of ways. It was written in a single movement, for example, and resolved to C Major, a key generally avoided by composers at the time. Ralph Vaughan Williams described it as ‘the supreme number seven’ and its power and empathy continue to resonate. Koussevitzky conducted this piece regularly during his long tenure at the BSO but there are only two extant recordings, this one and a 1946 broadcast. There is also a live 1933 recording made by HMV in London when Koussevitzky guest conducted the BBC Symphony Orchestra. \u003cbr\u003e\u003cbr\u003eThe BSO concerts were not broadcast during the 1948-9 season and all these recordings were ‘bootlegs’ made by the owner of a Boston recording studio who set up a microphone in a ventilating grill on the right of the stage, with a link to his disc-cutting machines. As direct line recordings, albeit with less than optimum microphone placing, they do not suffer from the limitations of an aircheck and offer surprisingly clear and detailed reproduction.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eTechnical note\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eThe source used for the Barber \u003ci\u003eViolin Concerto\u003c\/i\u003e, which was previously issued on Pristine 217 some nine years ago, is newly discovered and of significantly greater fidelity than that available to Mark Obert-Thorn in 2010. However in the final movement there were four short gaps which have required patching. In two cases I was able to use Mark's previous transfer, but elsewhere I've used more recent alternative sources, including a recording of Ruth Posselt and the Boston Symphony Orchestra from 1962. In each case less than two seconds of music has been patched, and I have endeavoured to make these patches blend seamlessly. As such I believe they are virtually impossible to detect - you can check for yourself by listening to the audio sample on this page, which is the final movement in its entirety.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e \u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\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: 20px;\"\u003e\u003cb\u003eKOUSSEVITZKY \u003c\/b\u003econducts Barber, Honegger \u0026amp; Sibelius\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBARBER  Violin Concerto\u003c\/span\u003e \u003c\/b\u003e(1939, rev. 1948)\u003cbr\u003e1. 1st mvt. - Allegro  (10:37)\u003cbr\u003e2. 2nd mvt. - Andante  (9:41)\u003cbr\u003e3. 3rd mvt. - Presto in moto perpetuo  (4:23)\u003cbr\u003e\u003cb\u003eRuth Posselt\u003c\/b\u003e, violin\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHONEGGER  Symphony No. 4\u003c\/span\u003e\u003c\/b\u003e (1946) \"\u003cb\u003eDeliciæ Basiliensis\u003c\/b\u003e\" \u003cbr\u003e4. 1st mvt. - Lento e misterioso - Allegro  (11:51)\u003cbr\u003e5. 2nd mvt. - Larghetto  (5:40)\u003cbr\u003e6. 3rd mvt. - Allegro  (8:12)\u003cbr\u003e\u003cbr\u003e7. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSIBELIUS  Symphony No. 7\u003c\/span\u003e\u003c\/b\u003e in C, Op. 105 (1924) (21:13)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eBoston Symphony Orchestra \u003cbr\u003e\u003c\/b\u003econducted b\u003cb\u003ey Serge Koussevitzky\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Serge Koussevitzky\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBarber Violin Concerto: \u003c\/b\u003econcert of 7 January 1949\u003cbr\u003e\u003cb\u003eHonegger Symphony No. 4: \u003c\/b\u003econcert of 1 April 1949\u003cbr\u003e\u003cb\u003eSibelius Symphony No. 7: \u003c\/b\u003econcert of 17 December 1948\u003cbr\u003eVenue: Boston Symphony Hall\u003cbr\u003e\u003cbr\u003eTotal duration:  71:37\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\/PASC561.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC561.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":14103623925821,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205541577038,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205541609806,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC561_f74ac21e-3114-4fdd-8aa4-d263c19ca393.jpg?v=1554283843"},{"product_id":"pasc561-cd","title":"KOUSSEVITZKY conducts Barber, Honegger \u0026 Sibelius (1948\/9) - PASC561 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC561.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":14103578411069,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205541544270,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC561_451eef63-d8f0-4154-a6ab-897a1b70b84c.jpg?v=1658746179"},{"product_id":"pasc578","title":"ORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 1 (1936-42) - PASC578","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eLISZT \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLes Préludes\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUMANN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 2\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRAVEL \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDaphnis et Chloé - Suite No. 2\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Ein Heldenleben\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMENOTTI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eAmelia Goes to the Ball - Overture\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBARBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eFirst Essay for Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSOUSA \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eWashington Post March\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSOUSA \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Stars and Stripes Forever\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1936-42\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 16:00\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Philadelphia Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eEugene Ormandy\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC578.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    The present release is the first in a series devoted to Eugene Ormandy’s\n    early recordings with the Philadelphia Orchestra for the Victor and World’s\n    Greatest Music labels from 1936 through 1942, with one additional Victor\n    recording from 1945. While the recordings he made during this period with\n    such legendary soloists as Rachmaninov, Kreisler, Heifetz, Feuermann,\n    Rubinstein, Flagstad, Melchior and others have deservedly remained in the\n    catalog for decades, this series will focus on his purely orchestral\n    recordings, which have been rather overlooked in reissues. Several of the\n    works, like the Schumann, Menotti, Barber and Roy Harris items in this\n    release, were never re-recorded by the conductor in his long career, and\n    some have not been available since the 78 rpm era.\n\u003c\/p\u003e\n\u003cp\u003e\n    As a musician born and trained in Budapest, one would expect Ormandy’s\n    Liszt to be idiomatic and exciting, and so it is. All the more strange,\n    then, that he recorded \u003cem\u003eLes préludes\u003c\/em\u003e only once more, for Columbia\n    in 1946, and not at all in the LP era. Stranger still is his track record\n    with Schumann. The Second Symphony heard here was begun at his first\n    Philadelphia session in December, 1936 and completed the following month.\n    Prior to that, Ormandy had recorded the composer’s Fourth Symphony in\n    Minneapolis; but after the Second, he was to make no more Schumann symphony\n    recordings for the rest of his career, a particular loss given the strong\n    and committed reading we have here.\n\u003c\/p\u003e\n\u003cp\u003e\n    Ravel might seem to be an odd discmate to Liszt and Schumann; but Ormandy’s\n    Philadelphia recordings during this period included very little French\n    music – just this, and a couple aria accompaniments for soprano Dorothy\n    Maynor. He would go on to re-record the \u003cem\u003eDaphnis\u003c\/em\u003e suite four more\n    times during the LP era (two mono and one stereo version for Columbia, as\n    well as a stereo RCA taping); but the present recording has not been\n    available since the 78 era – surprisingly, given its supercharged\n    excitement that surpasses even Munch’s tempo in the finale.\n\u003c\/p\u003e\n\u003cp\u003e\n    During the late 1930s and early ‘40s, Ormandy became the go-to conductor\n    for Victor’s recordings of Richard Strauss tone poems. Starting with the\n    first electrical recording of the \u003cem\u003eSymphonia Domestica\u003c\/em\u003e in 1938,\n    Ormandy and the Philadelphia recorded the present \u003cem\u003eEin Heldenleben \u003c\/em\u003e\n    the following year, and would go on to record \u003cem\u003eDon Quixote\u003c\/em\u003e with\n    Emanuel Feuermann in 1940 (Pristine \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc168\"\u003ePASC 168\u003c\/a\u003e). Ormandy recorded three more\n    versions of \u003cem\u003eHeldenleben \u003c\/em\u003eduring the LP era (Columbia mono, 1954;\n    Columbia stereo, 1960; RCA stereo, 1978), but the present one is the\n    swiftest of them all.\n\u003c\/p\u003e\n\u003cp\u003e\n    Throughout his conducting career, Ormandy was a committed champion of\n    American music. The works by Menotti and Barber were not only disc\n    premières; they were the first recording of any piece by the former, and\n    the earliest recorded orchestral work of the latter. The Roy Harris suite\nis comprised of the two orchestral interludes from the composer’s    \u003cem\u003eFolksong Symphony\u003c\/em\u003e framing a newly-added middle section. It\n    remained unissued during the 78 era.\n\u003c\/p\u003e\n\u003cp\u003e\n    The two Sousa marches, never reissued until now, were recorded as a display\n    of patriotism at the orchestra’s first session after America entered the\n    Second World War. It was to be the last under their Victor contract.\n    Shortly afterward, the first Petrillo Ban on recording went into effect;\n    and when it was over in 1944, the Philadelphia Orchestra began what was to\n    be a twenty-four year association with Columbia (except for one make-up\n    session in 1945 – but that’s a story for another volume . . . )\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\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\n    \u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003eEugene Ormandy and The Philadelphia Orchestra\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eThe Early Years ∙ Volume 1\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eStudio Recordings ∙ 1936 - 1942\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cdiv\u003e\n    \u003cp\u003e\n        \u003cstrong\u003e\n            \u003cbr\u003e\n        \u003c\/strong\u003e\n    \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n    \u003cstrong\u003eCD 1 (66:33)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. \u003cstrong\u003eLISZT: Les préludes, S.97\u003c\/strong\u003e (15:51)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17 October 1937 ∙ Matrices: CS 013065\/8 (all Take 1) ∙ First\n    issued on Victor 14924\/5 in album M-453\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eSCHUMANN: Symphony No. 2 in C, Op. 61\u003c\/strong\u003e\u003cbr\u003e2. 1st Mvt.: Sostenuto assai – Allegro, ma non troppo (10:38)\u003cbr\u003e3. 2nd Mvt.: Scherzo: Allegro vivace (7:01)\u003cbr\u003e4. 3rd Mvt.: Adagio espressivo (9:38)\u003cbr\u003e5. 4th Mvt.: Allegro molto vivace (7:56)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 13 December 1936 \u0026amp; 9 January 1937 ∙ Matrices: CS 03141-1,\n    03142-1, 03143-1, 03144-1, 03145-1, 03146-1, 03147-1, 03148-1, 03189-1\n    \u0026amp; 03190-2 ∙ First issued on Victor 14885\/9 in album M-448\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eRAVEL: Daphnis et Chloé – Suite No. 2\u003c\/strong\u003e\u003cbr\u003e6. Lever du jour (Daybreak) (4:48)\u003cbr\u003e7. Pantomime (7:26)\u003cbr\u003e8. Danse générale (3:15)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 January 1939 ∙ Matrices: CS 030900-1, 030901-1, 030902-2 \u0026amp;\n    030903-1 ∙ First issued on Victor 16147\/8 in album M-667\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 2 (69:27)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e R. STRAUSS: Ein Heldenleben, Op. 40\u003c\/strong\u003e\u003cbr\u003e1. Der Held (The Hero) (4:06)\u003cbr\u003e2. Des Helden Widersacher (The Hero’s Adversaries) (3:12)\u003cbr\u003e3. Des Helden Gefährtin (The Hero’s Companion) (12:30)\u003cbr\u003e4. Des Helden Walstatt (The Hero’s Battlefield) (8:08)\u003cbr\u003e5. Des Helden Friedenswerke (The Hero’s Works of Peace) (4:23)\u003cbr\u003e6. Des Helden Weltflucht und Vollendung (The Hero’s Retreat from the World\n    and Fulfillment) (10:24)\u003cstrong\u003e\u003cbr\u003eAlexander Hilsberg ∙ \u003cem\u003esolo violin\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 30 April 1939 ∙ Matrices: CS 035813-1, 035814-1, 035815-2,\n    035816-1, 035817-1, 035818-1, 035819-1, 035820-1, 035821-1 \u0026amp; 035822-1 ∙\n    First issued on Victor 15661\/5 in album M-610\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e7. \u003cstrong\u003eMENOTTI: Amelia Goes to the Ball – Overture \u003c\/strong\u003e(4:15)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 January 1939 ∙ Matrix: CS 030904-2 ∙ First issued on Victor\n    15377\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e8. \u003cstrong\u003eBARBER: First Essay for Orchestra, Op. 12\u003c\/strong\u003e (7:27)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 October 1940 ∙ Matrices: CS 056573-1 \u0026amp; 056574-2 ∙ First\n    issued on Victor 18062\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eROY HARRIS: Three Pieces for Orchestra\u003c\/strong\u003e\u003cbr\u003e9. Dance Tunes for Strings and Percussion (2:45)\u003cbr\u003e10. Evening Piece (3:47)\u003cbr\u003e11. Dance Tunes for Full Orchestra (2:42)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 25 October 1941 ∙ Matrices: CS 071290\/1 (both Take 1) ∙ Unissued\n    on 78 rpm\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e12. \u003cstrong\u003eSOUSA: Washington Post March \u003c\/strong\u003e(2:24)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 6 March 1942 ∙Matrix: CS 073214-2 ∙ First issued on Victor 11-8451\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e13. \u003cstrong\u003eSOUSA: The Stars and Stripes Forever \u003c\/strong\u003e(3:24)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 6 March 1942 ∙Matrix: CS 073213-1 ∙ First issued on Victor 11-8451\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eEugene Ormandy ∙ The Philadelphia Orchestra\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown, Richard Kaplan and Charles Niss for\n    providing source material\u003cbr\u003eAll recordings made in the Academy of Music, Philadelphia\n\u003cbr\u003eCover artwork based on a photograph of Eugene Ormandy from the Tully Potter Collection\u003c\/p\u003e\u003cp\u003eTotal duration: \u003cb\u003e2hr 16:00 \u003c\/b\u003e\u003cbr\u003eCD1: 66:34 CD2: 69:26\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC578.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC578.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":31280440148029,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205536956750,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC578_7e1c4d07-6f8f-4050-94c3-2c70ba6d703a.jpg?v=1763954105"},{"product_id":"pasc578-cd","title":"ORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 1 (1936-42) - PASC578 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC578.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2 CDs with case \u0026 artwork (+MP3)","offer_id":31277102497853,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205536891214,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC578_287f7a91-7ea7-473a-b1df-56d333218805.jpg?v=1658746497"},{"product_id":"pabx046","title":"ORMANDY and The Philadelphia Orchestra - The Early Years Complete - PABX046","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003eMusic by\u003c\/span\u003e\u003cb\u003e \u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBach, Barber, Beethoven, Brahms, Liszt, Mozart, Ravel, Rimsky-Korsakov, Schubert, Schumann, Sibelius, J. Strauss, R. Strauss, Tchaikovsky, Telemann, Wagner\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e and more\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Philadelphia Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by Eugene Ormandy\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio \u0026amp; live recordings, 1936-1945\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC726.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand note:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 1 (1936-42) - PASC578\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    The present release is the first in a series devoted to Eugene Ormandy’s\n    early recordings with the Philadelphia Orchestra for the Victor and World’s\n    Greatest Music labels from 1936 through 1942, with one additional Victor\n    recording from 1945. While the recordings he made during this period with\n    such legendary soloists as Rachmaninov, Kreisler, Heifetz, Feuermann,\n    Rubinstein, Flagstad, Melchior and others have deservedly remained in the\n    catalog for decades, this series will focus on his purely orchestral\n    recordings, which have been rather overlooked in reissues. Several of the\n    works, like the Schumann, Menotti, Barber and Roy Harris items in this\n    release, were never re-recorded by the conductor in his long career, and\n    some have not been available since the 78 rpm era.\n\u003c\/p\u003e\n\u003cp\u003e\n    As a musician born and trained in Budapest, one would expect Ormandy’s\n    Liszt to be idiomatic and exciting, and so it is. All the more strange,\n    then, that he recorded \u003cem\u003eLes préludes\u003c\/em\u003e only once more, for Columbia\n    in 1946, and not at all in the LP era. Stranger still is his track record\n    with Schumann. The Second Symphony heard here was begun at his first\n    Philadelphia session in December, 1936 and completed the following month.\n    Prior to that, Ormandy had recorded the composer’s Fourth Symphony in\n    Minneapolis; but after the Second, he was to make no more Schumann symphony\n    recordings for the rest of his career, a particular loss given the strong\n    and committed reading we have here.\n\u003c\/p\u003e\n\u003cp\u003e\n    Ravel might seem to be an odd discmate to Liszt and Schumann; but Ormandy’s\n    Philadelphia recordings during this period included very little French\n    music – just this, and a couple aria accompaniments for soprano Dorothy\n    Maynor. He would go on to re-record the \u003cem\u003eDaphnis\u003c\/em\u003e suite four more\n    times during the LP era (two mono and one stereo version for Columbia, as\n    well as a stereo RCA taping); but the present recording has not been\n    available since the 78 era – surprisingly, given its supercharged\n    excitement that surpasses even Munch’s tempo in the finale.\n\u003c\/p\u003e\n\u003cp\u003e\n    During the late 1930s and early ‘40s, Ormandy became the go-to conductor\n    for Victor’s recordings of Richard Strauss tone poems. Starting with the\n    first electrical recording of the \u003cem\u003eSymphonia Domestica\u003c\/em\u003e in 1938,\n    Ormandy and the Philadelphia recorded the present \u003cem\u003eEin Heldenleben \u003c\/em\u003e\n    the following year, and would go on to record \u003cem\u003eDon Quixote\u003c\/em\u003e with\n    Emanuel Feuermann in 1940 (Pristine \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc168\"\u003ePASC 168\u003c\/a\u003e). Ormandy recorded three more\n    versions of \u003cem\u003eHeldenleben \u003c\/em\u003eduring the LP era (Columbia mono, 1954;\n    Columbia stereo, 1960; RCA stereo, 1978), but the present one is the\n    swiftest of them all.\n\u003c\/p\u003e\n\u003cp\u003e\n    Throughout his conducting career, Ormandy was a committed champion of\n    American music. The works by Menotti and Barber were not only disc\n    premières; they were the first recording of any piece by the former, and\n    the earliest recorded orchestral work of the latter. The Roy Harris suite\nis comprised of the two orchestral interludes from the composer’s    \u003cem\u003eFolksong Symphony\u003c\/em\u003e framing a newly-added middle section. It\n    remained unissued during the 78 era.\n\u003c\/p\u003e\n\u003cp\u003e\n    The two Sousa marches, never reissued until now, were recorded as a display\n    of patriotism at the orchestra’s first session after America entered the\n    Second World War. It was to be the last under their Victor contract.\n    Shortly afterward, the first Petrillo Ban on recording went into effect;\n    and when it was over in 1944, the Philadelphia Orchestra began what was to\n    be a twenty-four year association with Columbia (except for one make-up\n    session in 1945 – but that’s a story for another volume . . . )\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 2 (1937-41) - PASC605\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n   \n        The present release is the second in a series devoted to Eugene\n        Ormandy’s early recordings with the Philadelphia Orchestra for the\n        Victor and World’s Greatest Music labels from 1936 through 1942, with\n        one additional Victor recording from 1945. While the recordings he made\n        during this period with such legendary soloists as Rachmaninov,\n        Kreisler, Heifetz, Feuermann, Rubinstein, Flagstad, Melchior and others\n        have deservedly remained in the catalog for decades, this series will\n        focus on his purely orchestral recordings, which have been rather\n        overlooked in reissues. No remade versions of the Telemann and Mozart works in this release ever appeared during the conductor's long career, and only the Beethoven ever received an “official” extended play reissue from\n        RCA, on a Camden LP.\n    \n\u003c\/p\u003e\n\u003cp\u003e\n    Ormandy’s forays into the Baroque repertoire during this period centered\n    around Bach transcriptions arranged by Lucien Cailliet (collected on\n    Pristine PASC 444 and 532), although he and the orchestra did record the\n    second and third Brandenburg Concertos anonymously for World’s Greatest\n    Music, forthcoming in this series. The Telemann work, which is reminiscent\n    of Bach’s more well-known Suite in B minor for Flute and Strings, is a\n    showpiece for the Philadelphia’s principal flute, William Kincaid, who\n    joined the orchestra in 1921 and stayed just long enough to welcome\n    Stokowski back in 1960. In an early nod to Historically Informed\n    Performance, an ensemble of 29 players including a harpsichord continuo was\n    used for this recording, although some changes to the text were made in the\n    edition employed (shortening the ending of the Ouverture, playing only the second Minuet and moving the Réjouissance to the end, probably to make it structured more like Bach's suite, which concludes with a fast Badinerie). Twice during the 1950s,\n    Columbia re-recorded the work for an LP issue that never materialized,\n    leaving this the sole Ormandy version.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Mozart Divertimento which follows on our program is probably the rarest\n    of all of Ormandy’s Philadelphia 78s due to the way it was originally\n    packaged, as two 10-inch discs and a 12-inch disc, the last of which is\n    almost invariably found broken in the album. It was a work to which Ormandy\n    never returned in the studio. The Beethoven symphony is seldom found for a\n    different reason: Ormandy had the bad timing to record it nine months\n    before Toscanini made his own much-admired set with the BBC Symphony, which\n    appeared on the same HMV\/Victor labels. Like the Mengelberg\/New York\n    Philharmonic account which it was intended to replace in the catalog, it\n    ran to eight sides in order to include the first movement repeat, making it\n    somewhat less competitive to record buyers who could purchase Weingartner’s\n    repeat-free version (made the same month as Toscanini’s) on six sides.\n\u003c\/p\u003e\n\u003cp\u003e\n    Sibelius was one of Ormandy’s specialties throughout his career. He had\n    already recorded the First Symphony in Minneapolis on ten sides, but\n    re-made the set only six years later in Philadelphia on eight longer sides\n    in a somewhat faster (but not by much!) reading. The recordings of the\n    three tone poems were done for an album celebrating the composer’s 75th\nbirthday. Although he was to re-record \u003cem\u003eFinlandia\u003c\/em\u003e and    \u003cem\u003eThe Swan of Tuonela\u003c\/em\u003e several more times over his career, Ormandy\n    only returned to \u003cem\u003eLemminkäinen’s Return\u003c\/em\u003e on disc for his two\n    complete recordings of the \u003cem\u003eLemminkäinen\u003c\/em\u003e \u003cem\u003eSuite\u003c\/em\u003e (the\n    earlier of which is on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc205\"\u003ePASC 205\u003c\/a\u003e). As commentator Edward Johnson points out,\nOrmandy adds tam-tam strokes in the nine bars before Letter P of the    \u003cem\u003eReturn\u003c\/em\u003e, an addition to the score also employed by Beecham in his\n    earlier recording. The Enescu was another work Ormandy had previously\n    recorded in Minneapolis, the earlier version on four 10-inch sides. Here,\n    the conductor was able to fit it on two rather long 12-inch sides in a\n    performance, like that of \u003cem\u003eLemminkäinen’s Return\u003c\/em\u003e, of incredible\n    speed and immense excitement. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 3 (1937-41) - PASC634\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n\n        The present release is the third in a series devoted to Eugene\n        Ormandy’s early recordings with the Philadelphia Orchestra for the\n        Victor and World’s Greatest Music labels from 1936 through 1942, with\n        one additional Victor recording from 1945. While the recordings he made\n        during this period with such legendary soloists as Rachmaninov,\n        Kreisler, Heifetz, Feuermann, Rubinstein, Flagstad, Melchior and others\n        have deservedly remained in the catalog for decades, this series\n        focuses on his purely orchestral recordings, which have been rather\noverlooked in reissues. Except for the \u003cem\u003eSymphonia\u003c\/em\u003e \u003cem\u003eDomestica\u003c\/em\u003e, which was previously reissued on LP (Camden) and CD\n        (Biddulph), none of the recordings presented here have been available\n        since the 78 rpm era.\n    \n\u003c\/p\u003e\n\u003cp\u003e\n    Leopold Stokowski left a formidable legacy of Wagner recordings during the\n    years of his directorship of the Philadelphia Orchestra, enough to fill\n    more than four CDs; so it is rather surprising that Ormandy’s 10-inch disc\n    of \u003cem\u003eMeistersinger\u003c\/em\u003e excerpts presented here is his only example of\n    orchestral Wagner on record during this period, although he also provided\n    several vocal accompaniments for Flagstad and Melchior.\n\u003c\/p\u003e\n\u003cp\u003e\n    Ormandy had first recorded the Brahms Second Symphony with the\n    Philadelphians anonymously for the World’s Greatest Music series nine\n    months before the version presented here (to be released in Volume 5 of\n    this series). The earlier version was on ten sides, while this one was on\n    twelve, like the 1929 Stokowski version (reissued on Pristine \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc562\" target=\"_blank\"\u003ePASC 562\u003c\/a\u003e) it\n    was intended to replace. Apparently, this was not due to a more expansive\n    interpretation; indeed, according to Richard Kaplan’s Philadelphia\n    Orchestra discography, the 12-sided version is 11 seconds faster than the\n    ten-sided one. Victor’s decision made the set rather uncompetitive in a\n    field which otherwise had ten- or even eight-sided Brahms Seconds.\n    (Interestingly, the earlier version was reissued on RCA’s Camden LP series,\n    the only World’s Greatest Music release to be so chosen.)\n\u003c\/p\u003e\n\u003cp\u003e\n    Ormandy had already recorded a best-selling album of Johann Strauss\n    overtures and waltzes with the Minneapolis Symphony before setting down the\n    three waltzes heard here. While he remade the \u003cem\u003eEmperor \u003c\/em\u003eWaltz ten\n    years later for a Columbia LP, the other two had to wait until the stereo\nera for another Ormandy\/Philadelphia version. Richard Strauss’    \u003cem\u003eRosenkavalier\u003c\/em\u003e Waltzes had also already been set down by Ormandy in\n    Minneapolis on three ten-inch sides. Here, he was able to take advantage of\n    longer recording times to re-record it on a single 12-inch disc.\n\u003c\/p\u003e\n\u003cp\u003e\n    Hindemith’s \u003cem\u003eMathis der Maler\u003c\/em\u003e Symphony was a mere six years old\n    when Ormandy made the recording included here. It was only the second\n    version on disc, following the composer’s own 1934 recording; and the two\n    would go on to become the only sets available during the 78 rpm era. As so\n    often when they were playing what was then “new music”, Ormandy and his\n    Philadelphians bring an almost missionary zeal to the performance, which\n    blazes with intensity, particularly in the brass.\n\u003c\/p\u003e\n\u003cp\u003e\n    For his first Richard Strauss tone poem on disc, Ormandy chose the then\n    lesser-known \u003cem\u003eSymphonia Domestica\u003c\/em\u003e for what became its first\n    electrical recording. (There had been a late acoustic set with Eduard\n    Mörike; and the only other 78-era recording would be Carl Schuricht’s\n    version from three years later, on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc320\" target=\"_blank\"\u003ePASC 320\u003c\/a\u003e.) For the next couple years,\n    Ormandy would be Victor’s “go-to” conductor for Strauss tone poems, setting\n    down \u003cem\u003eEin Heldenleben\u003c\/em\u003e in 1939 (in Volume 1 of our series, \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc578\" target=\"_blank\"\u003ePASC 578\u003c\/a\u003e)\n    and \u003cem\u003eDon Quixote\u003c\/em\u003e with Feuermann the following year (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc168\" target=\"_blank\"\u003ePASC 168\u003c\/a\u003e).\n    While he continued to record and re-record most of the major Strauss\norchestral works until the end of his career, he never returned to the    \u003cem\u003eDomestica\u003c\/em\u003e, leaving this his sole statement on the work.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 4 (1936-45) - PASC693\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    The present release is the fourth in a  series devoted to Eugene Ormandy’s\n    early recordings with the Philadelphia  Orchestra for the Victor and World’s\n    Greatest Music labels from 1936 through  1942, with one additional Victor\n    recording (the \u003cem\u003eNutcracker\u003c\/em\u003e Suite presented  here) from 1945.  While\n    the recordings he  made during this period with such legendary soloists as\n    Rachmaninov, Kreisler,  Heifetz, Feuermann, Rubinstein, Flagstad, Melchior\n    and others have deservedly  remained in the catalog for decades, this series\n    focuses on his purely  orchestral recordings, which have been rather\n    overlooked in reissues.  Among the items included in the present  program,\n    only the Tchaikovsky “Pathétique” has seen previous reissue on both  LP and\n    CD.  The \u003cem\u003eNutcracker\u003c\/em\u003e Suite was  last offered on a 10-inch LP in the\n    early 1950s; the Tchaikovsky Fifth has been  unavailable since the 78-rpm\n    era; and the two Rimsky-Korsakov items are seeing their  first release here.\n\u003c\/p\u003e\n\u003cp\u003e\n    The \u003cem\u003eNutcracker\u003c\/em\u003e Suite might rightly  be called the Philadelphia\n    Orchestra’s “contractual obligation album.”    Ormandy  had first recorded\n    the work with them in December, 1941; but like many Victors  of that period\n    (including the Philadelphia sides conducted by Toscanini), the  matrices\n    suffered from processing problems that rendered them too noisy to  release.\n    By the end of the first  Petrillo recording ban (1942-44), the orchestra had\n    switched to Columbia, making  their first records for that label in\n    November, 1944.  However, under their contract, they were  allowed to\n    re-make existing Victor sides that were awaiting release.  And so, in\n    January of 1945, this single album  was made for RCA.  The Overture is taken\n    at a notably broader tempo than Ormandy would use in his 1952\/3 Columbia LP\n    remake, although for that later recording, he would still have the violins\n    play  an octave higher in repeated phrases in the “Waltz of the Flowers.”\n\u003c\/p\u003e\n\u003cp\u003e\n    Although he inherited Stokowski’s  orchestra, Ormandy’s conducting idol was\n    Toscanini, whose influence can be  heard in the two Tchaikovsky symphony\n    recordings.  While the Fifth Symphony was not in the  Italian Maestro’s\n    repertoire, Ormandy’s 1941 recording reflects a Toscanini-like  approach,\n    with swift tempi and ever-forward movement (e.g., the end of the  first\n    movement).  Ormandy restores the  big cut in the fourth movement taken by\n    Mengelberg (Pristine PASC 511) and  Stock (PASC 684), as well as smaller\n    ones imposed by Stokowski, like the  lead-in to the final peroration in the\n    fourth movement.  A similar aesthetic is evident in the “Pathétique”,  which\n    dates from Ormandy’s first recording session with the Philadelphians in\n    December, 1936 (with the first and last sides remade a month later).\n    Ormandy would go on to re-record these two  symphonies four more times over\n    his long career, in increasingly more expansive  readings.\n\u003c\/p\u003e\n\u003cp\u003e\n    The arrangement Ormandy made of a short,  atmospheric scene from\n    Rimsky-Korskakov’s opera, \u003cem\u003eChristmas Eve\u003c\/em\u003e, begins  with music\n    reminiscent of the Eastern Orthodox hymn Tchaikovsky used to open  his\n    \u003cem\u003e\n        1812\n    \u003c\/em\u003e\n    Overture.  No coupling  for this side was recorded at the time, so it has\n    remained unissued until now.\n\u003c\/p\u003e\n\u003cp\u003e\n    Ormandy’s Philadelphia recordings of  Russian repertoire during this period\n    are sparse; the only other work taken  down in the studio was Lucien\n    Cailliet’s transcription of Mussorgsky’s \u003cem\u003ePictures  at an Exhibition\u003c\/em\u003e\n    (already reissued on PASC 444).  To conclude our program, we turn to a\n    previously  unpublished live performance.  On the  same Easter Sunday that\n    Marian Anderson’s historic recital on the steps of the  Lincoln Memorial\n    captured the attention of American radio listeners, Ormandy  and his\n    Philadelphians offered a broadcast concert on NBC’s “Magic Key of RCA”\n    program,  concluding with a blazing performance of Rimsky-Korsakov’s\n    \u003cem\u003e\n        Russian Easter  Overture\n    \u003c\/em\u003e\n    , which had to be abridged to fit the one-hour time constraint of  the\n    program.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark  Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 5 (1938-40) - PASC726\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    The present release is the fifth and  last in a series devoted to Eugene\n    Ormandy’s early recordings with the  Philadelphia Orchestra for the Victor\n    and World’s Greatest Music labels from  1936 through 1942, with one\n    additional Victor recording from 1945.  While the recordings he made during\n    this  period with such legendary soloists as Rachmaninov, Kreisler, Heifetz,\n    Feuermann, Rubinstein, Flagstad, Melchior and others have deservedly\n    remained  in the catalog for decades, this series has focused on his purely\n    orchestral  recordings, which have been rather overlooked in reissues.\n    Among the items included in the present  program, only the Brahms has seen a\n    previous LP reissue, while none of the  recordings have been released on CD.\n\u003c\/p\u003e\n\u003cp\u003e\n    The “World’s Greatest Music” label was  begun by the Publishers Service\n    Company (a distribution arm of the New York \u003cem\u003ePost\u003c\/em\u003e) to market\n    recordings of standard Classical repertoire at  prices which substantially\n    undercut the majors.   Neither the conductors nor the orchestras were named\n    on the labels; but  subsequent research has identified albums recorded by\n    Fritz Reiner and the New  York Philharmonic and Artur Rodziński with the NBC\n    Symphony, among others.  The recordings were made by RCA Victor and  were\n    pressed by them as well, with nothing on the discs or packaging to betray\n    their origins.  The recordings were  phenomenally successful, with\n    \u003cem\u003e\n        Time\n    \u003c\/em\u003e\n    magazine reporting in 1940 that over  one million records in the symphonic\n    series had been sold.\n\u003c\/p\u003e\n\u003cp\u003e\n    In order to keep production costs down,  reduced forces were used for the\n    sessions (here, 49 players for the Bach and  Mozart works, and 74 for the\n    remainder).   The chamber-sized forces work to the advantage of the earlier\n    music,  with the Bach in particular losing the bloated, Romanticized\n    approach of  Stokowski’s 1928 recording of the Second Brandenburg with the\n    same  ensemble.  While no one will confuse  Ormandy’s Bach with an “H.I.P.”\n    reading, the approach here was part of an  interim step (exemplified by the\n    Busch Chamber Players’ 1935 set of the  Brandenburgs) to move past the slow\n    tempi and massive sound that characterized many  orchestral Bach\n    performances up through the early 1930s.  Alone among the standard\n    repertoire “greatest  hits” on this release, the Bach items were never later\n    re-recorded by Ormandy during  his long career.\n\u003c\/p\u003e\n\u003cp\u003e\n    Although he inherited Stokowski’s  orchestra with its lush sound, Ormandy’s\n    conducting idol was Toscanini; and  that connection informs his approach to\n    the Classical and Romantic era works  here.  The Mozart (even with its\n    slight  portamento on the opening phrase, heard also in some Toscanini\n    performances),  Beethoven and Schubert might almost be mistaken for the work\n    of The Maestro,  save for a reluctance to fully press the vehemence of the\n    louder passages,  opting instead for a more rounded, “beautiful” sound.  In\n    some of the recordings (the first movement  of the Beethoven and the\n    Brandenburg Second in particular), the lack of  rehearsal for the sessions\n    can occasionally be heard in slight off-beat  ensemble irregularities,\n    albeit ones from which the orchestra quickly recovers.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Brahms is a particularly successful  interpretation in this series – a\n    glowing, full-hearted reading which finds  Ormandy avoiding the temptation\n    to accelerate toward the ending.  It was re-recorded for release on Victor\n    nine  months later, in a version lavishly spread over twelve sides (as\n    opposed to the  ten for WGM), a reading which was actually a few seconds\n    faster than the one  presented here.  (The later one has been  reissued in\n    Volume Three of this series, PASC 634).  As one might expect, there are no\n    great  differences between the two; yet, oddly, the WGM version was chosen\n    by RCA for  reissue in its Camden LP series (CAL-236), where it was credited\n    to the  “Claridge Symphony Orchestra”, the only such attribution given.\n\u003c\/p\u003e\n\u003cp\u003e\n    Prefacing the WGM releases here is a  Victor recording inadvertently left\n    out of previous volumes in our series.  The arranger, Charles O’Connell, was\n    Victor’s  Red Seal director, and made recordings as a conductor and organist\n    for the  label.  As producer for the Philadelphia  Orchestra’s sessions, he\n    was intimately familiar with Stokowski’s Bach  orchestrations, and was able\n    to replicate his “formula” of introducing various  orchestral choirs in\n    succession very closely in the excerpt from the\n    \u003cem\u003e\n        St.  Matthew Passion\n    \u003c\/em\u003e\n    presented here.   O’Connell also persuaded other conductors to record his\n    transcriptions,  including Monteux and Stokowski himself.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark  Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand track listing:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 1 (1936-42) - PASC578\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003eEugene Ormandy and The Philadelphia Orchestra\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eThe Early Years ∙ Volume 1\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eStudio Recordings ∙ 1936 - 1942\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\n\u003cstrong\u003e\n\u003cbr\u003e\n\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n\u003cstrong\u003eCD 1 (66:33)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. \u003cstrong\u003eLISZT: Les préludes, S.97\u003c\/strong\u003e (15:51)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17 October 1937 ∙ Matrices: CS 013065\/8 (all Take 1) ∙ First\n    issued on Victor 14924\/5 in album M-453\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSCHUMANN: Symphony No. 2 in C, Op. 61\u003c\/strong\u003e\u003cbr\u003e2. 1st Mvt.: Sostenuto assai – Allegro, ma non troppo (10:38)\u003cbr\u003e3. 2nd Mvt.: Scherzo: Allegro vivace (7:01)\u003cbr\u003e4. 3rd Mvt.: Adagio espressivo (9:38)\u003cbr\u003e5. 4th Mvt.: Allegro molto vivace (7:56)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 13 December 1936 \u0026amp; 9 January 1937 ∙ Matrices: CS 03141-1,\n    03142-1, 03143-1, 03144-1, 03145-1, 03146-1, 03147-1, 03148-1, 03189-1\n    \u0026amp; 03190-2 ∙ First issued on Victor 14885\/9 in album M-448\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRAVEL: Daphnis et Chloé – Suite No. 2\u003c\/strong\u003e\u003cbr\u003e6. Lever du jour (Daybreak) (4:48)\u003cbr\u003e7. Pantomime (7:26)\u003cbr\u003e8. Danse générale (3:15)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 January 1939 ∙ Matrices: CS 030900-1, 030901-1, 030902-2 \u0026amp;\n    030903-1 ∙ First issued on Victor 16147\/8 in album M-667\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCD 2 (69:27)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e R. STRAUSS: Ein Heldenleben, Op. 40\u003c\/strong\u003e\u003cbr\u003e1. Der Held (The Hero) (4:06)\u003cbr\u003e2. Des Helden Widersacher (The Hero’s Adversaries) (3:12)\u003cbr\u003e3. Des Helden Gefährtin (The Hero’s Companion) (12:30)\u003cbr\u003e4. Des Helden Walstatt (The Hero’s Battlefield) (8:08)\u003cbr\u003e5. Des Helden Friedenswerke (The Hero’s Works of Peace) (4:23)\u003cbr\u003e6. Des Helden Weltflucht und Vollendung (The Hero’s Retreat from the World\n    and Fulfillment) (10:24)\u003cstrong\u003e\u003cbr\u003eAlexander Hilsberg ∙ \u003cem\u003esolo violin\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 30 April 1939 ∙ Matrices: CS 035813-1, 035814-1, 035815-2,\n    035816-1, 035817-1, 035818-1, 035819-1, 035820-1, 035821-1 \u0026amp; 035822-1 ∙\n    First issued on Victor 15661\/5 in album M-610\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e7. \u003cstrong\u003eMENOTTI: Amelia Goes to the Ball – Overture \u003c\/strong\u003e(4:15)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 January 1939 ∙ Matrix: CS 030904-2 ∙ First issued on Victor\n    15377\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e8. \u003cstrong\u003eBARBER: First Essay for Orchestra, Op. 12\u003c\/strong\u003e (7:27)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 October 1940 ∙ Matrices: CS 056573-1 \u0026amp; 056574-2 ∙ First\n    issued on Victor 18062\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eROY HARRIS: Three Pieces for Orchestra\u003c\/strong\u003e\u003cbr\u003e9. Dance Tunes for Strings and Percussion (2:45)\u003cbr\u003e10. Evening Piece (3:47)\u003cbr\u003e11. Dance Tunes for Full Orchestra (2:42)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 25 October 1941 ∙ Matrices: CS 071290\/1 (both Take 1) ∙ Unissued\n    on 78 rpm\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e12. \u003cstrong\u003eSOUSA: Washington Post March \u003c\/strong\u003e(2:24)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 6 March 1942 ∙Matrix: CS 073214-2 ∙ First issued on Victor 11-8451\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e13. \u003cstrong\u003eSOUSA: The Stars and Stripes Forever \u003c\/strong\u003e(3:24)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 6 March 1942 ∙Matrix: CS 073213-1 ∙ First issued on Victor 11-8451\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eEugene Ormandy ∙ The Philadelphia Orchestra\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown, Richard Kaplan and Charles Niss for\n    providing source material\u003cbr\u003eAll recordings made in the Academy of Music, Philadelphia\n\u003cbr\u003eCover artwork based on a photograph of Eugene Ormandy from the Tully Potter Collection\u003c\/p\u003e\n\u003cp\u003eTotal duration: \u003cb\u003e2hr 16:00 \u003c\/b\u003e\u003cbr\u003eCD1: 66:34 CD2: 69:26\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 2 (1937-41) - PASC605\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003eEugene Ormandy and The Philadelphia Orchestra: The Early Years ∙ Volume 2\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n\u003cstrong\u003eCD 1 (63:16)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\n        TELEMANN \n        \n            Suite in A minor for Flute and Strings, TWV 55:a2\u003c\/strong\u003e\u003cbr\u003e1. I Ouverture (4:50)\u003cbr\u003e2. II Les plaisirs (2:02)\u003cbr\u003e3. III Air à L’Italienne (4:04)\u003cbr\u003e4. IV Menuet [II] (2:13)\u003cbr\u003e5. VI Passepied I \u0026amp; II (1:07)\u003cbr\u003e6. VII Polonaise (2:19)\u003cbr\u003e7. V Réjouissance (1:33)\u003cstrong\u003e\u003cbr\u003eWilliam Kincaid ∙ \u003cem\u003eflute\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 15 March 1941 ∙ Matrices: CS 062546-1, 062547-2A, 062548-1A \u0026amp;\n    062549-1 ∙ First issued on Victor 11-8120\/2 in album M-890\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\n\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMOZART\n        \n            Divertimento No. 10 in F major for Strings and 2 Horns, K.247\u003c\/strong\u003e\u003cbr\u003e8. 1st Mvt. - Allegro (5:52)\u003cbr\u003e9. 2nd Mvt. - Andante grazioso (5:26)\u003cbr\u003e10. 3rd Mvt. - Menuetto \u0026amp; Trio (3:12)\u003cbr\u003e11. 4th Mvt. - Andante - Allegro assai (4:33)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17 April 1938 ∙ Matrices: BS 022328\/31 \u0026amp; CS 022332\/3 (all Take\n    1) ∙ First issued on Victor 2014\/5 \u0026amp; 15639 in album M-603\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBEETHOVEN Symphony No. 1 in C major, Op. 21\u003c\/strong\u003e\u003cbr\u003e12. 1st Mvt. - Adagio molto - Allegro con brio (9:35)\u003cbr\u003e13. 2nd Mvt. - Andante cantabile con moto (7:12)\u003cbr\u003e14. 3rd Mvt. - Menuetto: Allegro molto e vivace (3:29)\u003cbr\u003e15. 4th Mvt. - Adagio - Allegro molto e vivace (5:49)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 9 January 1937 ∙ Matrices: CS 03194\/9 \u0026amp; 04000\/1 (all Take 1) ∙\n    First issued on Victor 14691\/4 in album M-409\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eCD 2 (68:48)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. \u003cstrong\u003eSIBELIUS Finlandia, Op. 26 \u003c\/strong\u003e(7:54)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 October 1940 ∙ Matrices: CS 047821-2 \u0026amp; 047822-2 ∙ First\n    issued on Victor 17701 in album M-750\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    2.\n    \u003cstrong\u003e\n        SIBELIUS The Swan of Tuonela (No. 2 of Lemminkäinen Suite, Op. 22)\n    \u003c\/strong\u003e\n    (8:30)\u003cstrong\u003e\u003cbr\u003eJohn Minsker ∙ \u003cem\u003eEnglish horn\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 October 1940 ∙ Matrices: CS 047823-2 \u0026amp; 047824-2 ∙ First\n    issued on Victor 17702 in album M-750\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    3.\n    \u003cstrong\u003e\nSIBELIUS         Lemminkäinen’s Return (No. 4 of Lemminkäinen\n        Suite, Op. 22)\n    \u003c\/strong\u003e\n    (5:34)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 October 1940 ∙ Matrices: CS 047823-2 \u0026amp; 047824-2 ∙ First\n    issued on Victor 17702 in album M-750\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\n\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSIBELIUS Symphony         No. 1 in E minor, Op. 39\u003c\/strong\u003e\u003cbr\u003e4. 1st Mvt. - Andante, ma non troppo - Allegro energico (9:40)\u003cbr\u003e5. 2nd Mvt. - Andante (ma non troppo lento) (9:26)\u003cbr\u003e6. 3rd Mvt. - Scherzo: Allegro (4:46)\u003cbr\u003e7. 4th Mvt. - Finale (Quasi una fantasia) (12:37)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 25 October 1941 ∙ Matrices: CS 071200-2A, 071201-1, 071202-1,\n    071203-1, 071204-1, 071205-1, 071206-1 \u0026amp; 071207-1 ∙ First issued on\n    Victor 18499\/502 in album M-881\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    8. \n  \n        \u003cstrong\u003eENESCU Romanian Rhapsody No. 1, Op. 11\u003c\/strong\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n    (10:22)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1 August 1941 ∙ Matrices: CS 066735-1 \u0026amp; 066736-2A ∙ First\n    issued on Victor 18201 in album M-830\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eEugene Ormandy ∙ The Philadelphia Orchestra\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eProducer and Audio Restoration Engineer: \u003cb\u003eMark Obert-Thorn\u003c\/b\u003e\u003cbr\u003eSpecial thanks to Nathan Brown, Richard Kaplan and Charles Niss for\n    providing source material\u003cbr\u003eAll recordings made in the Academy of Music, Philadelphia\u003cbr\u003eCover artwork based on a photograph of Eugene Ormandy from the Tully Potter Collection\u003c\/p\u003e\n\u003cp\u003eTotal duration: \u003cb\u003e2hr 12:05\u003c\/b\u003e   \u003c\/p\u003e\n\u003cp\u003eCD1: 63:16   CD2: 68:48    \u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 3 (1937-41) - PASC634\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003eEugene Ormandy and The Philadelphia Orchestra: The Early Years ∙ Volume 3\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n\u003cstrong\u003eCD 1\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eDie Meistersinger von Nürnberg\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003e (Act 3)\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e1. Dance of the Apprentices (2:59)\u003cbr\u003e2. Entrance of the Mastersingers (3:12)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 9 January 1937 ∙ Matrices: BS 03192-2 \u0026amp; 03193-1 ∙ First issued\n    on Victor 1807\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eBRAHMS Symphony No. 2 in D major, Op. 73\u003c\/span\u003e\u003c\/strong\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e3. 1st Mvt. – Allegro non troppo (14:01)\u003cbr\u003e4. 2nd Mvt. – Adagio non troppo (10:38)\u003cbr\u003e5. 3rd Mvt. – Allegretto grazioso (5:29)\u003cbr\u003e6. 4th Mvt. – Allegro con spirito (9:15)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 21 December 1939 and *27 March 1940 ∙ Matrices: CS 045653-1,\n    045654-1, 045655-1, 045656-2, 045657-1, 045658-1. 045659-1, *045660-3,\n    045661-2, 045662-2, 045663-1 \u0026amp; 045664-1 ∙ First issued on Victor\n    17302\/7 in album M-694\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e7.\n    \n        \u003cstrong\u003e\n\u003cspan style=\"font-size: 17px;\"\u003eJ. STRAUSS II Wiener Blut (Vienna Blood) - Waltz, Op. 354\u003c\/span\u003e\n\u003c\/strong\u003e\n    \n    (5:02)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 15 March 1941 ∙ Matrices: CS 062561-1 ∙ First issued on Victor\n    18060\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    8.\n    \u003cstrong\u003e\n\u003cspan style=\"font-size: 17px;\"\u003eJ. STRAUSS II Frühlingsstimmen (Voices of Spring) - Waltz Op. 410\u003c\/span\u003e\n\u003c\/strong\u003e\n    (5:00)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 15 March 1941 ∙ Matrices: CS 062560-1 ∙ First issued on Victor\n    18060\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e9. \u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eJ. STRAUSS II Kaiser-Walzer (Emperor Waltz), Op. 437\u003c\/span\u003e \u003c\/strong\u003e\n    (10:04)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1 August 1941 ∙ Matrices: CS 062562-3 \u0026amp; 062563-4A ∙ First\n    issued on Victor 18220\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eCD 2 \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eHINDEMITH Symphony “Mathis der Maler”\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e1. 1st Mvt. – Engelkonzert (Ruhig bewegt) (7:35)\u003cbr\u003e2. 2nd Mvt. – Grablegung (Sehr langsam) (4:08)\u003cbr\u003e3. 3rd Mvt. – Versuchung des heiligen Antonius (Sehr langsam frei im\n    Zeitmaß – Sehr lebhaft) (11:46)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 October 1940 ∙ Matrices: CS 056578-1, 056579-1A, 056580-1,\n    056581-1A, 056582-1A \u0026amp; 056583-1 ∙ First issued on Victor 18333\/5 in\n    album M-854\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e4. \u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eR. STRAUSS Waltzes from Der Rosenkavalier\u003c\/span\u003e \u003c\/strong\u003e(10:14)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 25 October 1941 ∙ Matrices: CS 071208-1 \u0026amp; 071209-1A ∙ First\n    issued on Victor 18390\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eR. STRAUSS Symphonia Domestica, Op. 53\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e5. Thema I (Bewegt) (0:56)\u003cbr\u003e6. Thema II (Sehr lebhaft) (2:05)\u003cbr\u003e7. Thema III (Ruhig) (1:45)\u003cbr\u003e8. Scherzo (Munter) (5:54)\u003cbr\u003e9. Mässig langsam (Wiegenlied) (5:33)\u003cbr\u003e10. Adagio (Langsam) (10:57)\u003cbr\u003e11. Finale (Sehr lebhaft) (12:29)\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eRecorded 9 May 1938 ∙ Matrices: CS 022364-3, 022365-3, 022366-3, 022367-1,\n    022368-1, 022369-3, 022370-3, 022371-3, 022372-2A \u0026amp; 022373-1 ∙ First\n    issued on Victor 15225\/9 in album M-520\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEugene Ormandy ∙ The Philadelphia Orchestra\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \n        Producer and Audio Restoration Engineer: Mark Obert-Thorn\n    \n\u003c\/p\u003e\n\u003cp\u003e\n    \n        Special thanks to Nathan Brown, Richard Kaplan and Charles Niss for\n        providing source material\u003cbr\u003eAll recordings made in the Academy of Music, Philadelphia\u003cbr\u003eCover artwork based on a photograph of Eugene Ormandy from the Tully Potter Collection\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 19:12   \u003c\/b\u003e   \u003c\/p\u003e\n\u003cp\u003eCD1: 65:44     CD2: 73:28    \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 4 (1936-45) - PASC693\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eORMANDY \u003c\/b\u003eand The Philadelphia Orchestra - The Early Years ∙ Volume 4\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eCD 1\n        (66:10)\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY  The Nutcracker - Suite, Op. 71a\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e1. Miniature Overture (3:30)\u003cbr\u003e2. March (2:14)\u003cbr\u003e3. Dance of the Sugar-Plum Fairy (1:44)\u003cbr\u003e4. Russian Dance (1:07)\u003cbr\u003e5. Arabian Dance (3:46)\u003cbr\u003e6. Chinese Dance (1:07)\u003cbr\u003e7. Dance of the Flutes (2:06)\u003cbr\u003e8. Waltz of the Flowers (6:31)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 10 January 1945 ∙ Matrices: D5-RC-643\/8 ∙ First  issued on RCA\n    Victor 11-8912\/4 in album M-1020\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY Symphony No. 5\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003e\n    in E minor, Op. 64\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e9.           1st  Mvt. -\n    \n        Andante - Allegro con anima\n    \n    (13:24)\u003cbr\u003e10.        2nd Mvt. -\n    \n        Andante cantabile,  con alcuna licenza\n    \n    (13:09)\u003cbr\u003e11.        3rd  Mvt. - Valse: Allegro moderato\n    (5:59)\u003cbr\u003e12.        4th  Mvt. -\n    \n        Andante maestoso - Allegro vivace\n    \n    (11:29)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 15 March 1941 ∙ Matrices: CS 062550-1, 062551-1A,  062552-1A,\n    062553-2, 062554-1A, 062555-1A, 062556-1A, 062557-1A, 062558-1A  \u0026amp;\n    062559-1A ∙ First issued on Victor 18177\/81 in album M-828\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003eCD 2\n        (55:24)\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY  Symphony No. 6 in B minor, Op. 74, “Path\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eé\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003etique”\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e1.           1st  Mvt. -\n    \n        Adagio - Allegro non troppo\n    \n    (16:20)\u003cbr\u003e2.           2nd  Mvt. - Allegro con grazia (7:41)\u003cbr\u003e3.           3rd  Mvt. - Allegro molto vivace\n    (8:20)\u003cbr\u003e4.           4th  Mvt. - Finale: Adagio lamentoso\n    (8:34)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 13 December 1936 and *9 January 1937 ∙ Matrices: CS  03131-4A*,\n    03132-1, 03133-1, 03134-1, 03135-2, 03136-1, 03137-1, 03138-1,  03139-1\n    \u0026amp; 03140-2* ∙ First issued on Victor 14264\/8 in album M-337\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    5.\n    \n        \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV (arr. Ormandy)  Church Scene from\n        \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003e\n            Christmas Eve\u003c\/span\u003e\n\u003c\/em\u003e\n\u003c\/strong\u003e\n\u003cstrong\u003e\u003c\/strong\u003e(3:46)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 December 1941 ∙ Matrices: CS 071291-1 ∙ Previously  unpublished\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e6.\n    \n        \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV Russian  Easter Overture, Op. 36\u003c\/span\u003e\u003c\/strong\u003e\n\u003cem\u003e(abridged)\u003c\/em\u003e (10:41) \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eAnnouncer:   Milton Cross\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFrom the NBC “Magic Key of RCA” broadcast of 9 April 1939\n    \n    · Previously unpublished\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eEugene  Ormandy ∙ The Philadelphia Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003eProducer  and Audio Restoration Engineer:  Mark  Obert-Thorn\u003cbr\u003eSpecial  thanks to Nathan Brown, Frederick P. Fellers, Richard Kaplan and\n    Charles Niss  for providing source material\u003cbr\u003eAll  recordings made in the Academy of Music, Philadelphia\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 5 (1938-40) - PASC726\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n\u003cstrong\u003e\n\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eORMANDY \u003c\/b\u003eand The Philadelphia Orchestra - The Early Years ∙ Volume 5\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCD 1\n        (79:45)\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. \u003cstrong\u003eJ. S.\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eBACH (arr. O’Connell):\n    “Herzliebster Jesu” from \u003cem\u003eSt. Matthew  Passion\u003c\/em\u003e, BWV 244\u003c\/strong\u003e (3:05)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 27 March 1940 ∙ Matrix: CS 047825-1 ∙ First issued  on Victor 18166\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJ. S. BACH:   Brandenburg Concerto No. 2 in F major, BWV 1047\u003cbr\u003e\u003c\/strong\u003e2.           1st  Mvt. – [Allegro] (4:47)\u003cbr\u003e3.           2nd  Mvt. – Andante (4:39)\u003cbr\u003e4.           3rd  Mvt. – Allegro assai (2:49)\u003cbr\u003e\u003cstrong\u003eAlexander  Hilsberg, \u003c\/strong\u003e\u003cem\u003esolo violin\u003c\/em\u003e\u003cstrong\u003e; Saul\n    Caston,\u003c\/strong\u003e\u003cem\u003e solo trumpet\u003c\/em\u003e\u003cstrong\u003e; William Kincaid,\u003c\/strong\u003e\u003cem\u003e solo \n    flute\u003c\/em\u003e\u003cstrong\u003e; Marcel  Tabuteau,\u003c\/strong\u003e\u003cem\u003e solo oboe\u003c\/em\u003e \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 November 1938 ∙ Matrices: CS 028831-2, 028832-1  \u0026amp; 028833-1\n    ∙ First issued on World’s Greatest Music SR-14\/15\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJ. S. BACH:   Brandenburg Concerto No. 3 in G major, BWV 1048\u003cbr\u003e\u003c\/strong\u003e5.           1st  Mvt. – [Allegro] (6:24)\u003cbr\u003e6.           3rd  Mvt. – Allegro (3:23)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 November 1938 ∙ Matrices: CS 028840-1, 028841-1  \u0026amp; 028842-1\n    ∙ First issued on World’s Greatest Music SR-15\/16\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMOZART  Symphony No. 40 in G minor, K.550\u003cbr\u003e\u003c\/strong\u003e7.           1st  Mvt. – Molto allegro (7:13)\u003cbr\u003e8.           2nd  Mvt. – Andante (7:49)\u003cbr\u003e9.           3rd  Mvt. – Menuetto.  Allegro – Trio (4:00)\u003cbr\u003e10.        4th  Mvt. – Finale.  Allegro assai (4:25)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 November 1938 ∙ Matrices: CS 028834-1, 028835-1,  028836-1,\n    028837-1, 028838-1 \u0026amp; 028839-1 ∙ First issued on World’s Greatest  Music\n    SR-8\/10\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBEETHOVEN  Symphony No. 5 in C minor, Op. 67\u003cbr\u003e\u003c\/strong\u003e11.        1st  Mvt. – Allegro con brio (7:39)\u003cbr\u003e12.        2nd  Mvt. – Andante con moto (9:45)\u003cbr\u003e13.        3rd  Mvt. – Scherzo:  Allegro (5:07)\u003cbr\u003e14.        4th  Mvt. – Allegro – Presto (8:33)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17 October 1938 ∙ Matrices: CS 027814-2, 027815-1,  027816-1,\n    027817-1, 027818-1, 027819-1, 027820-1 \u0026amp; 027821-1 ∙ First issued  on\n    World’s Greatest Music SR-4\/7\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCD 2\n        (61:39)\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eSCHUBERT  Symphony No. 8 in B minor, D.759 “Unfinished”\u003cbr\u003e\u003c\/strong\u003e1.           1st  Mvt. –Allegro moderato (10:50)\u003cbr\u003e2.           2nd  Mvt. – Andante con moto (11:33)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17 October 1938 ∙ Matrices: CS 027808-2, 027809-1,  027810-1,\n    027811-1, 027812-1 \u0026amp; 027813-1 ∙ First issued on World’s Greatest  Music\n    SR-1\/3\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBRAHMS  Symphony No. 2 in D major, Op. 73\u003cbr\u003e\u003c\/strong\u003e3.           1st  Mvt. – Allegro non troppo (14:31)\u003cbr\u003e4.           2nd  Mvt. – Adagio non troppo (9:53)\u003cbr\u003e5.           3rd  Mvt. – Allegretto grazioso (quasi andantino) (5:38)\u003cbr\u003e6.           4th  Mvt. – Allegro con spirito (9:10)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 26 March 1939 ∙ Matrices: CS 035400-1, 035401-2, 035402-1,\n    035403-2, 035404-2A, 035405-1, 035406-2, 035407-1, 035408-1 \u0026amp; 035409-1 ∙\n    First issued on World’s Greatest Music SR-28\/32\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eEugene  Ormandy ∙ The Philadelphia Orchestra\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003eProducer  and Audio Restoration Engineer:  Mark  Obert-Thorn\u003cbr\u003eSpecial  thanks to Nathan Brown and Charles Niss for providing source\n    material\u003cbr\u003eAll  recordings made in the Academy of Music, Philadelphia\n\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTotal duration: 2hr 21:24\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":49566593417550,"sku":null,"price":110.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205508481358,"sku":null,"price":90.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC726.jpg?v=1769530134"},{"product_id":"pabx046-cd","title":"ORMANDY and The Philadelphia Orchestra - The Early Years Complete - PABX046 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"10 CDs only in plastic sleeves (+MP3)","offer_id":49566551376206,"sku":null,"price":125.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC726_4374e2e6-510a-4970-bade-03cdab4f0a70.jpg?v=1729177521"},{"product_id":"pasc731","title":"RODZINSKI NBC 1938, Volume 1 (1938) - PASC731","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eALBÉNIZ \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eIbéria: El Corpus En Sevilla\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBARBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony In One Movement\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eCoriolan Overture\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePrélude à l’après midi d’un faune\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDOHNÁNYI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSuite for Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePROKOFIEV \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony no. 1\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRESPIGHI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eAncient Airs and Dances\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSHOSTAKOVICH \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony no. 5\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDie Meistersinger - excerpts\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWEBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eOberon - Overture\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast recordings, 1938\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 35:57\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eArtur Rodziński\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC731.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    Artur Rodziński was engaged by NBC to recruit, rehearse and generally\n    prepare the NBC Symphony Orchestra for the eventual arrival of Toscanini as\n    its primary conductor in the autumn of 1937. Although he had conducted a\n    ‘pilot’ broadcast on 2 November 1937, the first official broadcasts were\n    taken by Pierre Monteux, beginning 13 November 1937. Thereafter Rodziński\n    conducted a further three broadcasts immediately prior to Toscanini’s debut\n    on Christmas Day, 1937.\n\u003c\/p\u003e\n\u003cp\u003e\n    After Toscanini’s NBC first concert season was completed, on 5 March 1938,\n    the orchestral concerts continued to be broadcast with a series of guest\n    conductors, including Monteux, Boult, Mitropoulos, Molinari, Howard Hanson\n    and, for three further engagements, Rodziński. In total, Rodziński conducted\n    the orchestra for seven concerts in 1938 – four more were scheduled in\n    December of that year during the orchestra’s second season, culminating in\n    his final performance of the year on New Year’s Eve.\n\u003c\/p\u003e\n\u003cp\u003e\n    This release brings you the first two Rodziński NBC concerts of 1938,\n    broadcast live on 2 and 9 April 1938 from NBC’s Studio 8H, each scheduled to\n    run for 90 minutes, and each offering a pretty packed programme – so much so\n    that you may just make out the words of Milton Cross at the beginning of the\n    final item on disc two, excerpts from Wagner’s Die Meistersinger, which were\n    still being announced when the orchestra began playing, no doubt starting to\n    a carefully worked-out timing schedule.\n\u003c\/p\u003e\n\u003cp\u003e\n    Rodziński’s second broadcast of the year brought with it a real coup – for\n    the conductor, the orchestra, the NBC and indeed the nation: Shostakovich’s\n    Fifth Symphony. Premièred in Leningrad in November 1937 and played elsewhere\n    within the Soviet Union, and after the debacle of the composer’s Fourth\n    Symphony, withdrawn at the last minute under intense political pressure,\n    there was no shortage of orchestras and conductors wishing to take up and\n    première the new work outside of the country.\n\u003c\/p\u003e\n\u003cp\u003e\n    As Halina Rodziński, the conductor’s wife, would later recall in her\n    memoirs: “Artur, thanks to his good connections with the composer, was\n    awarded the prize. NBC's John Royal, through the American ambassador in\n    Moscow, made the arrangements - at a huge price. The Soviet government\n    demanded the then unheard of sum of $5,000 for the premiere. Since\n    introducing the piece would be as much of a coup for the radio network as\n    for Artur, NBC's management did not object to the cost.\n\u003c\/p\u003e\n\u003cp\u003e\n    After all the expense and effort in acquiring the score and parts, Artur was\n    a bit concerned the piece might not be all that was expected of it. His\n    reactions when he first examined it were far from favorable. There was a\n    coarseness to the sound of the scoring. The piece seemed overlong. Indeed,\n    Artur was not altogether sure he cared for it. In discussion with NBC, it\n    was decided to perform the work just as it had been delivered - without\n    cuts, without reservations. If the critics did not care for it, no one could\n    blame Rodziński.\n\u003c\/p\u003e\n\u003cp\u003e\n    Gradually, in rehearsals, the work began to take Artur's imagination, and\n    soon enough he even was in love with it. The piece entered his repertoire\n    and became one of his specialties.”\n\u003c\/p\u003e\n\u003cp\u003e\n    Mrs. Rodziński’s memory here fails her somewhat. The version heard on 9\n    April, 1938, as revealed in this recording, was far from the complete work,\n    with substantial cuts that  reduced the symphony from about fifty minutes in\n    duration to a little over thirty. Nevertheless, the new work made a\n    favourable impression, and would go on to become one of Shostakovich’s most\n    played symphonies.\n\u003c\/p\u003e\n\u003cp\u003e\n    Whilst the present Shostakovich performance has been referred to in various\n    texts and discussions over the years, we believe this is the first time any\n    of these recordings have been made publicly available (it is interesting to\n    note that the recordings reveal several errors in Mortimer H. Frank’s\n    reference work charting the Toscanini’s career with the NBC orchestra,\n    suggesting he had not had access to them). Because of the length of the\n    broadcasts, once again I have been forced to cut announcements and other\n    speech content in order to fit each one onto a single Compact Disc. Sound\n    quality of these exceptionally rare discs, although generally good for their\n    age, is not uniformly perfect; at times the listener will have to make some\n    accommodations for slightly damaged sections, though I’m relieved to report\n    that the concerts themselves survive intact.\n\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003cbr\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\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eRODZINSKI \u003c\/b\u003eNBC 1938, Volume 1\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003edisc one\u003c\/b\u003e (77:09)\u003cbr\u003e\u003cbr\u003e1. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eCoriolan Overture, Op. 62\u003c\/span\u003e  (7:45)\u003cbr\u003e\u003cbr\u003e2. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBARBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony in One Movement, Op. 9\u003c\/span\u003e  (20:13)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePROKOFIEV \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 1 in D major, Op. 25 , \"Classical\"\u003c\/span\u003e\u003cbr\u003e3. 1st mvt. - Allegro  (3:14)\u003cbr\u003e4. 2nd mvt. - Larghetto  (3:39)\u003cbr\u003e5. 3rd mvt. - Gavotta  (1:26)\u003cbr\u003e6. 4th mvt. - Molto vivace  (2:58)\u003cbr\u003e\u003cbr\u003e7. \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003ePrélude à l'après-midi d'un faune\u003c\/span\u003e  (10:40)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDOHNÁNYI \u003c\/b\u003eSuite for Orchestra, Op. 19\u003c\/span\u003e\u003cbr\u003e8. 1. Andante con variazioni  (10:06)\u003cbr\u003e9. 2. Scherzo  (4:06)\u003cbr\u003e10. 3. Romance  (4:54)\u003cbr\u003e11. 4. Rondo  (8:08)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003edisc two\u003c\/b\u003e (78:48)\u003cbr\u003e\u003cbr\u003e1. \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWEBER \u003c\/b\u003eOberon - Overture\u003c\/span\u003e  (8:52)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eSymphony No. 5 in D minor, Op. 47\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eFirst performance outside the Soviet Union\u003c\/b\u003e\u003cbr\u003e2. 1st mvt. - Moderato  (10:53)\u003cbr\u003e3. 2nd mvt. - Allegretto  (5:22)\u003cbr\u003e4. 3rd mvt. - Largo  (9:58)\u003cbr\u003e5. 4th mvt. - Allegro non troppo  (6:52)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRESPIGHI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eAncient Airs and Dances, Suite No. 1\u003c\/span\u003e\u003cbr\u003e6. 1. Balletto detto 'Il Conte Orlando' (Molinaro)  (2:40)\u003cbr\u003e7. 2. Gagliarga (Galilei)  (3:57)\u003cbr\u003e8. 3. Villanella (Ignoto)  (5:38)\u003cbr\u003e9. 4. Passo mezzo e Mascherada (Ignoto)  (3:44)\u003cbr\u003e\u003cbr\u003e10. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eALBÉNIZ \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eIbéria - 3. El Corpus en Sevilla\u003c\/span\u003e  (8:46)\u003cbr\u003e\u003cbr\u003e11. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDie Meistersinger von Nürnberg\u003c\/span\u003e: Prelude to Act III - Dance of the Apprentices - Finale  (12:07)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 20px;\"\u003eNBC Symphony Orchestra    \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 20px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 20px;\"\u003eArtur Rodziński\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eXR remastering by: Andrew Rose\u003cbr\u003eLive broadcast recordings, 2 \u0026amp; 9 April 1938\u003cbr\u003eStudio 8H, NBC Radio City, New York\u003cbr\u003eCover artwork based on a photograph of Artur Rodziński\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 35:56\u003c\/b\u003e\u003cbr\u003e\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\/PASC731.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC731.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":50595780493646,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205507858766,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205507891534,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC731_75ac08e7-bfb8-46d2-871a-91bddb4c741b.jpg?v=1734062406"},{"product_id":"pasc731-cd","title":"RODZINSKI NBC 1938, Volume 1 (1938) - PASC731 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC731.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs (+MP3)","offer_id":50595699622222,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":true},{"title":"2 CDs only in plastic sleeves (+MP3)","offer_id":55205507825998,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC731.jpg?v=1733764505"},{"product_id":"pabx049","title":"RODZINSKI NBC 1938 Broadcasts Complete (1938) - PABX049","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eALBÉNIZ\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Ibéria - El Corpus en Sevilla\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBACH\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Toccata \u0026amp; Fugue in D minor\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBACH\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Two Chorales\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBARBER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony in One Movement\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Coriolan Overture\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 1\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Piano Quartet No. 1\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDEBUSSY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Prélude à l'après-midi d'un faune\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDEBUSSY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Nuages \u0026amp; Fêtes\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDOHNÁNYI\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Suite for Orchestra\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDVOŘÁK\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 8\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eGLINKA\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Ruslan and Ludmila - Overture\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHINDEMITH\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Mathis der Maler Symphony\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHUMPERDINCK\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Hänsel und Gretel - Prelude\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePROKOFIEV\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 1\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRAVEL\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Pavane pour une infante défunte\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRESPIGHI\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Ancient Airs and Dances\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHREKER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Der Geburtstag der Infantin\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCRIABIN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 3\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSHOSTAKOVICH\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 5\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTAROKADOMSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Concerto for Orchestra\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Firebird Suite\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ. STRAUSS II\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Die Fledermaus - Overture\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ. STRAUSS II\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Tales from the Vienna Woods\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Also sprach Zarathustra\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Rosenkavalier Waltzes\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Till Eulenspiegels lustige Streiche\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 5\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVIVALDI\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Concerto in D minor\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Die Meistersinger - excerpts\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWEBER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Oberon - Overture\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast recordings, 1938\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\nconducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eArtur Rodziński\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC767.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand note:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eRODZINSKI NBC 1938, Volume 1 (1938) - PASC731\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    Artur Rodziński was engaged by NBC to recruit, rehearse and generally\n    prepare the NBC Symphony Orchestra for the eventual arrival of Toscanini as\n    its primary conductor in the autumn of 1937. Although he had conducted a\n    ‘pilot’ broadcast on 2 November 1937, the first official broadcasts were\n    taken by Pierre Monteux, beginning 13 November 1937. Thereafter Rodziński\n    conducted a further three broadcasts immediately prior to Toscanini’s debut\n    on Christmas Day, 1937.\n\u003c\/p\u003e\n\u003cp\u003e\n    After Toscanini’s NBC first concert season was completed, on 5 March 1938,\n    the orchestral concerts continued to be broadcast with a series of guest\n    conductors, including Monteux, Boult, Mitropoulos, Molinari, Howard Hanson\n    and, for three further engagements, Rodziński. In total, Rodziński conducted\n    the orchestra for seven concerts in 1938 – four more were scheduled in\n    December of that year during the orchestra’s second season, culminating in\n    his final performance of the year on New Year’s Eve.\n\u003c\/p\u003e\n\u003cp\u003e\n    This release brings you the first two Rodziński NBC concerts of 1938,\n    broadcast live on 2 and 9 April 1938 from NBC’s Studio 8H, each scheduled to\n    run for 90 minutes, and each offering a pretty packed programme – so much so\n    that you may just make out the words of Milton Cross at the beginning of the\n    final item on disc two, excerpts from Wagner’s Die Meistersinger, which were\n    still being announced when the orchestra began playing, no doubt starting to\n    a carefully worked-out timing schedule.\n\u003c\/p\u003e\n\u003cp\u003e\n    Rodziński’s second broadcast of the year brought with it a real coup – for\n    the conductor, the orchestra, the NBC and indeed the nation: Shostakovich’s\n    Fifth Symphony. Premièred in Leningrad in November 1937 and played elsewhere\n    within the Soviet Union, and after the debacle of the composer’s Fourth\n    Symphony, withdrawn at the last minute under intense political pressure,\n    there was no shortage of orchestras and conductors wishing to take up and\n    première the new work outside of the country.\n\u003c\/p\u003e\n\u003cp\u003e\n    As Halina Rodziński, the conductor’s wife, would later recall in her\n    memoirs: “Artur, thanks to his good connections with the composer, was\n    awarded the prize. NBC's John Royal, through the American ambassador in\n    Moscow, made the arrangements - at a huge price. The Soviet government\n    demanded the then unheard of sum of $5,000 for the premiere. Since\n    introducing the piece would be as much of a coup for the radio network as\n    for Artur, NBC's management did not object to the cost.\n\u003c\/p\u003e\n\u003cp\u003e\n    After all the expense and effort in acquiring the score and parts, Artur was\n    a bit concerned the piece might not be all that was expected of it. His\n    reactions when he first examined it were far from favorable. There was a\n    coarseness to the sound of the scoring. The piece seemed overlong. Indeed,\n    Artur was not altogether sure he cared for it. In discussion with NBC, it\n    was decided to perform the work just as it had been delivered - without\n    cuts, without reservations. If the critics did not care for it, no one could\n    blame Rodziński.\n\u003c\/p\u003e\n\u003cp\u003e\n    Gradually, in rehearsals, the work began to take Artur's imagination, and\n    soon enough he even was in love with it. The piece entered his repertoire\n    and became one of his specialties.”\n\u003c\/p\u003e\n\u003cp\u003e\n    Mrs. Rodziński’s memory here fails her somewhat. The version heard on 9\n    April, 1938, as revealed in this recording, was far from the complete work,\n    with substantial cuts that  reduced the symphony from about fifty minutes in\n    duration to a little over thirty. Nevertheless, the new work made a\n    favourable impression, and would go on to become one of Shostakovich’s most\n    played symphonies.\n\u003c\/p\u003e\n\u003cp\u003e\n    Whilst the present Shostakovich performance has been referred to in various\n    texts and discussions over the years, we believe this is the first time any\n    of these recordings have been made publicly available (it is interesting to\n    note that the recordings reveal several errors in Mortimer H. Frank’s\n    reference work charting the Toscanini’s career with the NBC orchestra,\n    suggesting he had not had access to them). Because of the length of the\n    broadcasts, once again I have been forced to cut announcements and other\n    speech content in order to fit each one onto a single Compact Disc. Sound\n    quality of these exceptionally rare discs, although generally good for their\n    age, is not uniformly perfect; at times the listener will have to make some\n    accommodations for slightly damaged sections, though I’m relieved to report\n    that the concerts themselves survive intact.\n\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eRODZINSKI NBC 1938, Volume 2 (1938) - PASC741\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003eArtur Rodziński, one of the best program makers who has conducted this season at the symphony concerts in Radio City, led the NBC Symphony Orchestra last night in a program of which the principal feature was the tone poem of Richard Strauss, after Nietzsche, “Also sprach Zarathustra”.\u003cbr\u003e\u003cbr\u003eThe performance was one of exceptional brilliancy and one that displayed to very marked advantage the virtuosity of the orchestra. Aside from its interpretive merits, it may be said that a presentation of this music which displays so much certainty and such high technical quality is rare. Add to this the authority and the fire of the reading.\u003cbr\u003e\u003cbr\u003e“Zarathustra” is anything but a simple score to interpret. The conductor’s handicap from the aspect of concert effect is the faint and enigmatical conclusion. This can so easily become anti-climax, to say nothing of the mystifying effect of the strange harmonic scheme. But the audience responded last night to a work which formerly baffled the public with unstinted enthusiasm.\u003cbr\u003e\u003cbr\u003eAnd this is noteworthy: the music triumphed in the complete absence of any programmatic explanation. Explanatory paragraphs would have been wholly in order. Strauss himself affixed lines from Nietzsche's poem to his score. The audience deserves a program note when this work is played.\u003cbr\u003e\u003cbr\u003eThis does not lessen the music, but it can greatly conduce to a listener’s appreciation of the composer’s intention, if he knows, for example, that the magnificent introduction, which made Philip Hale think of “the portals of eternity swinging slowly asunder,” is Strauss’s evocation of the sunrise; that the pathetic and mystical passages immediately following, and the great hymn passionately intoned by organ and orchestra, is reference to religion upon which man pinned his faith; that the climax of frantic rejoicing while the great bell tolls in the orchestra is the song of Nietzsche’s victorious Over-man; and that the ending, in two keys, with the theme of Nature heard in the plucked basses, and the theme of the Ideal, like receding stars, soaring aloft, is Strauss’s comment upon the unsolvable riddle of the universe.\u003cbr\u003e\u003cbr\u003eBut the music made its mark and greatly moved the audience. It would have been still more imposing for those personally present if the performance had taken place in an auditorium with better acoustics than those of Studio H-8, which deadens sound and lessens the sonority of an orchestra. The effect of breadth as well as sheer body and brilliancy of sound in this place is thus modified, and blazing sonorities are part of the very conception of this score. But the effect was on the whole so adequate and eloquent that it would be captious to fuss over details. “Zarathustra” has waited longest of all Strauss’s tone-poems to come into its own. The sum of this occasion was a performances which carried it convincingly and in a very exciting way to the public.\u003cbr\u003e\u003cbr\u003eThe concert opened with the excellent Wertheim’s version of the Bach D minor Toccata and Fugue, a sonorous and effective performance of a masterpiece of universal meaning. After Strauss came the charming concert suite that Schrecker arranged from his ballet, “The Birthday of the Infanta.” It is not wildly modern music, nor highly original, but it is pleasing and admirably orchestrated material, put together with skill and taste by an expert craftsman.\u003cbr\u003e\u003cbr\u003eOther delightful music, more original than Schrecker’s, and destined to live much longer, completed the program and delighted the audience. The reference is to the overture to “Fledermaus” and the waltz “Tales From the Vienna Woods,” by Johann Strauss. He also could write music.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eOlin Downes\u003c\/b\u003e, \u003ci\u003eThe New York Times\u003c\/i\u003e, 17 April 1938\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eRODZINSKI NBC 1938, Volume 3 (1938) - PASC760\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cdiv class=\"sleevenotes\"\u003e\n\n\u003cp\u003e\u003cfont color=\"#731842\"\u003e\u003cb\u003eN.B. \u003c\/b\u003eThe first of these two concert broadcasts was longer than usual, and the only way to fit it onto a CD was to lose one of the pieces. With the Glinka overture too short to make the difference, after much thought we decided that a forgotten work by a pretty much forgotten composer, \u003cb\u003eStarokadomsky’s Concerto for Orchestra\u003c\/b\u003e, would be cut from the CD release. This work is present in all download versions of this release, and all CD buyers receive a download link to the recording in MP3 versions should they wish to hear the missing concerto.\u003c\/font\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIn December 1938 Artur Rodziński and the NBC Symphony Orchestra offered American radio audiences two exceptional programmes from Studio 8H in Radio City, separated by a single week but strikingly different in their musical terrain. Still early in the orchestra’s life, these broadcasts reveal an ensemble of formidable discipline and tonal punch, and a conductor whose flair for programming was matched by his ability to coax high-voltage playing from musicians already performing at the top of their game. Preserved on remarkably fine acetate discs and newly restored in Pristine’s XR and Ambient Stereo process, these concerts now emerge with a clarity, warmth and spatial naturalness that Studio 8H’s famously desiccated acoustic rarely allowed at the time.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    The 10 December 1938 broadcast opened with Glinka’s evergreen \u003cem\u003eRuslan and Lyudmila\u003c\/em\u003e Overture. Contemporary reviews singled out its sparkling character and the orchestra’s brilliance, noting that despite the modest studio acoustics the execution was consistently impressive. Under Rodziński the overture becomes a showcase of tensile rhythmic drive and peerless ensemble precision. The NBC strings, already one of the most agile sections in the country, dispatch Glinka’s perpetual-motion writing with an ease that belies the difficulty of the music.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    The centrepiece of that first broadcast was Tchaikovsky’s \u003cem\u003eSymphony No. 5\u003c\/em\u003e, a Rodziński speciality. Critics at the time praised his command of Tchaikovsky’s long spans and the orchestra’s powerful response, particularly in the sweeping finale. Rodziński shapes the symphony without indulgence: the opening motto is sombre yet flexible, the slow movement’s horn solo emerges with poised lyricism, the waltz glides without heaviness, and the finale surges with tightly controlled energy. These players may have been assembled for Toscanini, but in Rodziński they found a conductor who drew from them a comparable mixture of discipline and white-hot emotional commitment.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    That programme also included the American broadcast premiere of Mikhail Starokadomsky’s \u003cem\u003eConcerto for Orchestra\u003c\/em\u003e, a 1933 work by a now little-known pupil of Myaskovsky. The score was described at the time as competently crafted and orchestrated with skill, even if its idiom owed more to Germanic symphonic practice than to the more modernistic Russian school. While the work’s historical footprint is small, its presence in this broadcast testifies to Rodziński’s willingness to present new Soviet repertoire to American listeners at a moment when few conductors were venturing far beyond the established Russian canon. Although too long to fit our CD programme, it is included complete in the download edition.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    The concert closed with Stravinsky’s \u003cem\u003eFirebird\u003c\/em\u003e Suite, which listeners reported as having considerably enlivened the atmosphere despite the dryness of the broadcast studio. Rodziński’s performance is taut, colourful and intensely dramatic, the NBC brass and percussion delivering Stravinsky’s climaxes with thrilling impact. Even in the early years of high-fidelity broadcasting, the sheer blaze of this performance must have made a vivid impression on listeners.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    A week later, on 17 December 1938, Rodziński returned to Studio 8H with an entirely new programme, later reviewed in the New York Times’ “Other Music” column. The broadcast opened with Dvořák’s Symphony No. 4 — the work now recognised as his Eighth — already a favourite in the concert hall by that time. The critic praised the NBC Symphony’s “strong, clear and brilliant” playing, noting especially the finely balanced winds and the orchestra’s rhythmic vitality in a score whose pastoral lyricism can so easily turn heavy-handed. Rodziński gives the symphony a firm architectural profile, shaping its buoyant themes with affection but without sentimentality.\u003c\/p\u003e\n\n  \u003cp\u003e\n    Hindemith’s \u003cem\u003eMathis der Maler\u003c\/em\u003e Symphony followed, a bold choice in 1938 when the composer was at the centre of cultural controversy in Europe. Reviews highlighted the NBC Symphony’s splendid discipline and the work’s vivid colour and firm structure under Rodziński, whose affinity for Hindemith’s muscular counterpoint is audible throughout. Far from the austerity sometimes associated with the composer, Rodziński finds warmth and expressive breadth in the score, especially in the luminous “Engelkonzert” movement.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    The second broadcast concluded with Richard Strauss’s \u003cem\u003eTill Eulenspiegel\u003c\/em\u003e, played with élan, razor-sharp precision and a wicked sense of humour. Contemporary accounts praised the performance’s personality and momentum, noting the orchestra’s quick responsiveness to Rodziński’s characterisation of Strauss’s mercurial antihero.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    For these restorations Pristine has employed its XR remastering and Ambient Stereo techniques to address the inherent limitations of Studio 8H’s bone-dry acoustics. Wow and flutter have been eliminated, tonal edges softened, and a sympathetic convolution reverb drawn from one of the world’s finest symphonic halls has been added to restore a sense of breadth and natural resonance. The result is a pair of broadcasts that emerge with new presence and musical richness, preserving the sound of a great orchestra under an electrifying conductor at a pivotal moment in American radio history.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eRODZINSKI NBC 1938, Volume 4 (1938) - PASC767\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003eBy the late 1930s the National Broadcasting Company had created something unprecedented in American musical life: a full-time symphony orchestra assembled specifically for radio. The NBC Symphony Orchestra was formed in 1937 primarily for the broadcasts of Arturo Toscanini, but before Toscanini’s first appearance on Christmas Day of that year the orchestra needed to be tested, disciplined and moulded into a working ensemble. That crucial preparatory work fell largely to the Polish conductor Artur Rodziński.\u003c\/p\u003e\n\n\u003cp\u003eRodziński had already established a formidable reputation in the United States through his transformative leadership of the Cleveland Orchestra. NBC engaged him first for a trial broadcast in November 1937, followed by three concerts in December that effectively served as the orchestra’s public dress rehearsal before Toscanini assumed the podium. Rodziński returned to conduct further NBC Symphony broadcasts in April 1938 and again in December of the same year. The present recordings preserve the last two of four concerts he conducted on consecutive weekends that December.\u003c\/p\u003e\n\n\u003cp\u003eThese broadcasts therefore represent the closing chapter of Rodziński’s brief but significant association with the NBC Symphony Orchestra. The New Year’s Eve programme heard here would prove to be the final concert he conducted with the ensemble.\u003c\/p\u003e\n\n\u003cp\u003eThe Christmas Eve broadcast opens atmospherically with the Prelude to Humperdinck’s \u003cem\u003eHänsel und Gretel\u003c\/em\u003e, music whose luminous orchestral writing made it a favourite seasonal curtain-raiser. From there Rodziński turns to Johann Sebastian Bach as orchestrated by Ottorino Respighi. Respighi’s Bach transcriptions were widely admired in the early twentieth century for their rich orchestral palette, and here two chorales from the set of \u003cem\u003eThree Chorales\u003c\/em\u003e were performed: \u003cem\u003eNun komm, der Heiden Heiland\u003c\/em\u003e and \u003cem\u003eWachet auf, ruft uns die Stimme\u003c\/em\u003e.\u003c\/p\u003e\n\n\u003cp\u003eThe central work of the programme is Beethoven’s First Symphony, music that bridges the Classical world of Haydn and Mozart with the emerging individuality that would soon transform the symphonic form. Rodziński follows it with one of the most striking orchestral transformations of the twentieth century: Arnold Schoenberg’s orchestration of Brahms’s Piano Quartet in G minor. Schoenberg explained that one reason for making the arrangement was that he wanted to hear everything in Brahms’s densely written score more clearly than was possible in the original chamber version. The result is a dazzling re-imagining of the work in which Brahmsian architecture is expanded into a vibrant orchestral showpiece.\u003c\/p\u003e\n\n\u003cp\u003eThe New Year’s Eve broadcast presents an equally colourful programme. It begins with Alexander Siloti’s orchestral arrangement of a concerto from Antonio Vivaldi’s \u003cem\u003eL’estro armonico\u003c\/em\u003e. Siloti’s late-Romantic treatment of the Baroque original reflects the era’s fascination with adapting earlier music to the modern symphony orchestra.\u003c\/p\u003e\n\n\u003cp\u003eFrom there Rodziński launches into Alexander Scriabin’s Third Symphony, \u003cem\u003eLe Divin Poème\u003c\/em\u003e, a vast mystical canvas whose ecstatic climaxes and shimmering orchestration stand at the threshold of musical modernism. Scriabin’s ecstatic vision is followed by a sequence of orchestral miniatures: Ravel’s nostalgic \u003cem\u003ePavane pour une infante défunte\u003c\/em\u003e and two movements from Debussy’s \u003cem\u003eNocturnes\u003c\/em\u003e, \u003cem\u003eNuages\u003c\/em\u003e and the exuberant \u003cem\u003eFêtes\u003c\/em\u003e.\u003c\/p\u003e\n\n\u003cp\u003eThe concert concludes in celebratory fashion with the first waltz sequence from Richard Strauss’s \u003cem\u003eDer Rosenkavalier\u003c\/em\u003e, music whose swirling Viennese rhythms provided a fitting close to a New Year’s Eve broadcast.\u003c\/p\u003e\n\n\u003cp\u003eThe original transmissions were introduced by NBC announcer Gene Hamilton. His commentary survives in full on the source recordings, but because the complete broadcasts run slightly longer than a standard compact disc allows, much of this material has been edited here in order to accommodate the music within a single CD. Short excerpts of Hamilton’s introductions to the Christmas Eve concert and his closing remarks at the end of the New Year’s Eve broadcast have been retained.\u003c\/p\u003e\n\n\u003cp\u003eDespite their broadcast origins the surviving recordings are remarkable for their warmth, dynamic range and clarity. In these new XR remasterings the sound reveals impressive orchestral colour, with quiet surfaces and extended frequency range that allow Rodziński’s incisive conducting and the NBC Symphony Orchestra’s brilliance to emerge with striking immediacy.\u003c\/p\u003e\n\n\u003cp\u003eThese final NBC broadcasts not only complete Rodziński’s recorded association with the orchestra but also offer a vivid glimpse of American orchestral broadcasting at the end of the 1930s.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand track listing:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eRODZINSKI NBC 1938, Volume 1 (1938) - PASC731\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eRODZINSKI \u003c\/b\u003eNBC 1938, Volume 1\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003edisc one\u003c\/b\u003e (77:09)\u003cbr\u003e\u003cbr\u003e1. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eCoriolan Overture, Op. 62\u003c\/span\u003e  (7:45)\u003cbr\u003e\u003cbr\u003e2. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBARBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony in One Movement, Op. 9\u003c\/span\u003e  (20:13)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePROKOFIEV \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 1 in D major, Op. 25 , \"Classical\"\u003c\/span\u003e\u003cbr\u003e3. 1st mvt. - Allegro  (3:14)\u003cbr\u003e4. 2nd mvt. - Larghetto  (3:39)\u003cbr\u003e5. 3rd mvt. - Gavotta  (1:26)\u003cbr\u003e6. 4th mvt. - Molto vivace  (2:58)\u003cbr\u003e\u003cbr\u003e7. \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003ePrélude à l'après-midi d'un faune\u003c\/span\u003e  (10:40)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDOHNÁNYI \u003c\/b\u003eSuite for Orchestra, Op. 19\u003c\/span\u003e\u003cbr\u003e8. 1. Andante con variazioni  (10:06)\u003cbr\u003e9. 2. Scherzo  (4:06)\u003cbr\u003e10. 3. Romance  (4:54)\u003cbr\u003e11. 4. Rondo  (8:08)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003edisc two\u003c\/b\u003e (78:48)\u003cbr\u003e\u003cbr\u003e1. \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWEBER \u003c\/b\u003eOberon - Overture\u003c\/span\u003e  (8:52)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eSymphony No. 5 in D minor, Op. 47\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eFirst performance outside the Soviet Union\u003c\/b\u003e\u003cbr\u003e2. 1st mvt. - Moderato  (10:53)\u003cbr\u003e3. 2nd mvt. - Allegretto  (5:22)\u003cbr\u003e4. 3rd mvt. - Largo  (9:58)\u003cbr\u003e5. 4th mvt. - Allegro non troppo  (6:52)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRESPIGHI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eAncient Airs and Dances, Suite No. 1\u003c\/span\u003e\u003cbr\u003e6. 1. Balletto detto 'Il Conte Orlando' (Molinaro)  (2:40)\u003cbr\u003e7. 2. Gagliarga (Galilei)  (3:57)\u003cbr\u003e8. 3. Villanella (Ignoto)  (5:38)\u003cbr\u003e9. 4. Passo mezzo e Mascherada (Ignoto)  (3:44)\u003cbr\u003e\u003cbr\u003e10. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eALBÉNIZ \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eIbéria - 3. El Corpus en Sevilla\u003c\/span\u003e  (8:46)\u003cbr\u003e\u003cbr\u003e11. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDie Meistersinger von Nürnberg\u003c\/span\u003e: Prelude to Act III - Dance of the Apprentices - Finale  (12:07)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 20px;\"\u003eNBC Symphony Orchestra    \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 20px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 20px;\"\u003eArtur Rodziński\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eXR remastering by: Andrew Rose\u003cbr\u003eLive broadcast recordings, 2 \u0026amp; 9 April 1938\u003cbr\u003eStudio 8H, NBC Radio City, New York\u003cbr\u003eCover artwork based on a photograph of Artur Rodziński\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 35:56\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eRODZINSKI NBC 1938, Volume 2 (1938) - PASC741\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eRODZINSKI \u003c\/b\u003eNBC 1938, Volume 2\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1. RADIO Introduction  (1:25)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eJ. S. BACH\u003c\/b\u003e (arr. Wertheim) Toccata and Fugue in D minor, BWV 565\u003c\/span\u003e\u003cbr\u003e2. Toccata  (2:57)\u003cbr\u003e3. Fugue  (6:05)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Also Sprach Zarathustra, Op. 30\u003c\/span\u003e\u003cbr\u003e4. Einleitung  (2:10)\u003cbr\u003e5. Von den Hinterweltlern  (3:38)\u003cbr\u003e6. Von der grossen Sehnsucht  (1:58)\u003cbr\u003e7. Von den Freuden-und Leidenschaften  (1:56)\u003cbr\u003e8. Das Grablied  (2:12)\u003cbr\u003e9. Von der Wissenschaft  (4:34)\u003cbr\u003e10. Der Genesende  (5:38)\u003cbr\u003e11. Das Tanzlied  (5:46)\u003cbr\u003e12. Nachtwandlerlied  (6:52)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHREKER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDer Geburtstag der Infantin - Suite\u003c\/span\u003e\u003cbr\u003e13. 1. Reigen  (1:47)\u003cbr\u003e14. 2. Aufzug und kampfspiel  (2:11)\u003cbr\u003e15. 3. Die Marionetten  (2:49)\u003cbr\u003e16. 4. Minuett der Tanzerknaken  (2:11)\u003cbr\u003e17. 5. Die Tanze der Zwerges  (0:15)\u003cbr\u003e18. 6. Mit der Wind im Fruhling  (0:53)\u003cbr\u003e19. 7. In blauen Sandalen uber das korn  (1:52)\u003cbr\u003e20. 8. Im roten Gewand im herbst  (1:23)\u003cbr\u003e21. 9. Die Rose der Infatin  (3:41)\u003cbr\u003e\u003cbr\u003e22. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ STRAUSS II \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDie Fledermaus - Overture\u003c\/span\u003e  (8:14)\u003cbr\u003e\u003cbr\u003e23. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ STRAUSS II\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Tales from the Vienna Woods\u003c\/span\u003e  (7:05)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eNBC Symphony Orchestra   \u003c\/b\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003econducted by \u003cb\u003eArtur Rodziński\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eXR remastering by: Andrew Rose\u003cbr\u003eLive broadcast recording, 16 April 1938, Studio 8H, NBC Radio City, New York\u003cbr\u003eCover artwork based on a photograph of Artur Rodziński\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  77:31\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eRODZINSKI NBC 1938, Volume 3 (1938) - PASC760\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eRODZINSKI \u003c\/b\u003eNBC 1938, Volume 3\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003edisc one\u003c\/b\u003e (75:27)\u003cbr\u003e\u003cbr\u003e1. \u003cb\u003eRADIO \u003c\/b\u003eIntroduction  (1:52)\u003cbr\u003e\u003cbr\u003e2. \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGLINKA \u003c\/b\u003eRuslan and Lyudmila - Overture\u003c\/span\u003e  (5:44)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSymphony No. 5 in E Minor, Op. 64\u003c\/span\u003e\u003cbr\u003e3. 1st mvt. - Andante - Allegro con anima  (14:10)\u003cbr\u003e4. 2nd mvt. - Andante cantabile con alcuna licenza  (13:05)\u003cbr\u003e5. 3rd  mvt. - Valse. Allegro moderato  (5:48)\u003cbr\u003e6. 4th mvt. - Finale. Andante maestoso - Allegro vivace  (11:57)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSTAROKADOMSKY \u003c\/b\u003eConcerto For Orchestra \u003cfont color=\"#731842\"\u003e\u003ci\u003e\u003cspan style=\"font-size: 14px;\"\u003e[\u003c\/span\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eDOWNLOADS ONLY\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 14px;\"\u003e]\u003c\/span\u003e\u003c\/i\u003e\u003c\/font\u003e\u003c\/span\u003e\u003cbr\u003e1st mvt. - Sinfonia (3:41)\u003cbr\u003e2nd mvt. - Passacaglia (8:12)\u003cbr\u003e3rd mvt. - Toccata (6:34)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003eThe Firebird (Suite)\u003c\/span\u003e\u003cbr\u003e7. Introduction  (3:46)\u003cbr\u003e8. Dance of the Firebird  (1:15)\u003cbr\u003e9. Dance of the Princesses  (4:52)\u003cbr\u003e10. The Infernal Dance of King Kashchei  (3:51)\u003cbr\u003e11. Berceuse (Lullaby of the Firebird)  (3:25)\u003cbr\u003e12. Finale  (5:42)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003edisc two\u003c\/b\u003e (79:39)\u003cbr\u003e\u003cbr\u003e1. \u003cb\u003eRADIO \u003c\/b\u003eIntroduction  (1:52)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003eSymphony No. No. 8 in G major, Op. 88\u003c\/span\u003e\u003cbr\u003e2. 1st mvt. - Allegro con brio  (9:45)\u003cbr\u003e3. 2nd mvt. - Adagio  (10:01)\u003cbr\u003e4. 3rd mvt. - Allegretto grazioso – Molto Vivace  (5:48)\u003cbr\u003e5. 4th mvt. - Allegro ma non troppo  (11:23)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eHINDEMITH \u003c\/b\u003eMathis der Maler Symphony\u003c\/span\u003e\u003cbr\u003e6. 1st mvt. - Engelkonzert  (9:07)\u003cbr\u003e7. 2nd mvt. - Grablegung  (4:31)\u003cbr\u003e8. 3rd mvt. - Versuchung des heiligen Antonius  (13:03)\u003cbr\u003e\u003cbr\u003e9.\u003cspan style=\"font-size: 18px;\"\u003e \u003cb\u003eR. STRAUSS\u003c\/b\u003e Till Eulenspiegels lustige Streiche\u003c\/span\u003e  (14:09)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eNBC Symphony Orchestra  \u003c\/b\u003e  \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003econducted by \u003cb\u003eArtur Rodziński\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eXR remastering by: Andrew Rose\u003cbr\u003eLive broadcast recordings, 10 \u0026amp; 17 December 1938\u003cbr\u003eStudio 8H, NBC Radio City, New York\u003cbr\u003eCover artwork based on a photograph of Artur Rodziński\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 55:37 (CDs: 2hr 35:07)\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eRODZINSKI NBC 1938, Volume 4 (1938) - PASC767\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003eRODZINSKI NBC 1938, Volume 4\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003edisc one (79:45)\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e1. RADIO Introduction to Christmas Eve Program (0:28)\u003c\/p\u003e\n\n\u003cp\u003e2. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eHUMPERDINCK\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e Hänsel und Gretel - \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003ePrelude\u003c\/span\u003e\u003c\/em\u003e (8:00)\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eBACH\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e (arr. Respighi) Chorales from the \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eOrgelbüchlein\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\n3. Nun komm, der Heiden Heiland, BWV 659 (5:38)\u003cbr\u003e\n4. Wachet auf, ruft uns die Stimme, BWV 645 (4:10)\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 1 in C major, Op. 21\u003c\/span\u003e\u003cbr\u003e\n5. 1st mvt. - Adagio molto - Allegro con brio (6:46)\u003cbr\u003e\n6. 2nd mvt. - Andante cantabile con moto (6:56)\u003cbr\u003e\n7. 3rd mvt. - Menuetto: Allegro molto e vivace (3:27)\u003cbr\u003e\n8. 4th mvt. - Finale: Adagio - Allegro molto e vivace (5:43)\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e (arr. Schoenberg) Piano Quartet No. 1 in G minor, Op. 25\u003c\/span\u003e\u003cbr\u003e\n9. 1st mvt. - Allegro (13:44)\u003cbr\u003e\n10. 2nd mvt. - Intermezzo: Allegro ma non troppo - Trio: Animato (8:51)\u003cbr\u003e\n11. 3rd mvt. - Andante con moto (8:35)\u003cbr\u003e\n12. 4th mvt. - Rondo alla zingarese: Presto (7:26)\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003edisc two (78:01)\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eVIVALDI\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e (arr. Siloti) Concerto in D minor\u003c\/span\u003e\u003cbr\u003e\nfrom \u003cem\u003eL’estro armonico\u003c\/em\u003e, Op. 3 No. 11, RV 565\u003cbr\u003e\n1. 1st mvt. - Allegro (5:33)\u003cbr\u003e\n2. 2nd mvt. - Adagio e spiccato (4:37)\u003cbr\u003e\n3. 3rd mvt. - Allegro (3:22)\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCRIABIN\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 3 in C minor, Op. 43 - \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eLe Divin Poème\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\n4. 1st mvt. - Lutte (17:05)\u003cbr\u003e\n5. 2nd mvt. - Voluptés (8:11)\u003cbr\u003e\n6. 3rd mvt. - Jeu divin (9:47)\u003c\/p\u003e\n\n\u003cp\u003e7. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eRAVEL\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e Pavane pour une infante défunte\u003c\/span\u003e (6:17)\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eDEBUSSY\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e Nocturnes\u003c\/span\u003e\u003cbr\u003e\n8. Nuages (8:35)\u003cbr\u003e\n9. Fêtes (6:01)\u003c\/p\u003e\n\n\u003cp\u003e10. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/strong\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eDer Rosenkavalier\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 18px;\"\u003e Waltzes - First sequence\u003c\/span\u003e (7:55)\u003c\/p\u003e\n\n\u003cp\u003e11. RADIO Conclusion to New Year's Eve Program (0:38)\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 20px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 20px;\"\u003e\nconducted by Artur Rodziński\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eXR remastering by: Andrew Rose\u003cbr\u003e\nLive broadcast recordings, 24 \u0026amp; 31 December 1938\u003cbr\u003e\nStudio 8H, NBC Radio City, New York\u003cbr\u003e\nCover artwork based on a photograph of Artur Rodziński\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eTotal duration:\u003c\/strong\u003e 2hr 37:46\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PABX049.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":59122623021390,"sku":null,"price":128.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":59122623054158,"sku":null,"price":88.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":59122623086926,"sku":null,"price":72.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX049.jpg?v=1773402612"},{"product_id":"pabx049-cd","title":"RODZINSKI NBC 1938 Broadcasts Complete (1938) - PABX049 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs (+MP3)","offer_id":59122677711182,"sku":null,"price":140.0,"currency_code":"EUR","in_stock":true},{"title":"8 CDs only in plastic sleeve (+MP3)","offer_id":59122677743950,"sku":null,"price":100.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX049_046dd574-d388-4286-b49d-d5716ba1605f.jpg?v=1773241339"},{"product_id":"pasc773","title":"SABATA New York Broadcasts (1951) - PASC773","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBARBER \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eOverture, The School for Scandal\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUMANN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concerto\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 8\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Die Meistersinger von Nürnberg - Prelude\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Parsifal - Prelude to Act I\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Parsifal - Good Friday Spell\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Tristan und Isolde - Prelude and Liebestod\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Götterdämmerung - Brünnhilde’s Immolation Scene\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive concert recordings, 1951\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003e2hr 26:35\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eClaudio Arrau\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, piano\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eEileen Farrell\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, soprano\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eVictor de Sabata\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC773.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eIn March 1951 Victor de Sabata appeared at Carnegie Hall as guest conductor of the Philharmonic-Symphony Orchestra of New York, in a group of concerts later drawn upon for CBS broadcast. The dates given here are the concert dates, not the broadcast dates. The broadcasts themselves came later, introduced on air by Jim Fassett, and were edited from the original programmes.\u003c\/p\u003e\n\n\u003cp\u003eThe first concert represented here took place on 18 March 1951, with Claudio Arrau as soloist. The printed programme also included Debussy’s \u003cem\u003eIberia\u003c\/em\u003e, but the CBS transcription preserved here gives us Barber’s \u003cem\u003eOverture to The School for Scandal, Op. 5\u003c\/em\u003e, Schumann’s Piano Concerto in A minor, and Beethoven’s Symphony No. 8 in F major. De Sabata was making his first guest appearance of the season with the orchestra, and contemporary criticism was fascinated, if not entirely persuaded, by his personality on the podium. Olin Downes heard a conductor of strong effects, concerned less with literal textual polish than with atmosphere, colour and dramatic projection.\u003c\/p\u003e\n\n\u003cp\u003eBarber’s overture was still a relatively modern American score in 1951, composed in 1932 and inspired by Sheridan’s comedy. It is an ideal curtain-raiser: quick-witted, brilliantly scored and full of theatrical sparkle. In this context it also reminds us that De Sabata’s visit was not simply a parade of old-world Austro-German monuments. He could bring his operatic instinct for character and timing to a score whose energy depends on precision, brightness and lift.\u003c\/p\u003e\n\n\u003cp\u003eSchumann’s Piano Concerto placed De Sabata alongside Claudio Arrau, one of the great serious pianists of the age. Arrau’s playing was sometimes described in terms of intellectual weight and classical restraint, qualities that suit a concerto which resists empty display. Schumann’s soloist is not a conquering hero set against the orchestra, but a poetic presence woven into it. The critic found Arrau a little held back on this occasion, yet the surviving performance allows us to hear the meeting of two large musical temperaments: Arrau’s inward gravity and De Sabata’s taste for colour and expressive surge.\u003c\/p\u003e\n\n\u003cp\u003eBeethoven’s Eighth Symphony completed the surviving part of the 18 March programme. Compact, energetic and often slyly comic, it is a work whose apparent lightness can deceive. Its wit is structural, rhythmic and dramatic, and in De Sabata’s hands it becomes less a polite Classical interlude than a finely sprung orchestral mechanism, alert to sudden turns and flashes of temperament.\u003c\/p\u003e\n\n\u003cp\u003eThe second concert heard here took place on Easter Sunday afternoon, 25 March 1951, and was devoted to Wagner, with Eileen Farrell as soloist. This concert followed an orchestral-only Wagner programme earlier in the same period, which perhaps explains the slightly tangled trail left by the contemporary reviews. The printed 25 March programme included \u003cem\u003eForest Murmurs\u003c\/em\u003e from \u003cem\u003eSiegfried\u003c\/em\u003e, but the edited CBS transcription heard here centres on the Prelude to \u003cem\u003eDie Meistersinger von Nürnberg\u003c\/em\u003e, the Prelude to Act I and Good Friday Spell from \u003cem\u003eParsifal\u003c\/em\u003e, the Prelude and Liebestod from \u003cem\u003eTristan und Isolde\u003c\/em\u003e, and Brünnhilde’s Immolation Scene from \u003cem\u003eGötterdämmerung\u003c\/em\u003e.\u003c\/p\u003e\n\n\u003cp\u003eFarrell was warmly received. Her Wagner singing was praised for its fullness, warmth and command, and the source recording captures her with particular success. The \u003cem\u003eTristan\u003c\/em\u003e and \u003cem\u003eGötterdämmerung\u003c\/em\u003e excerpts demand not only power but breadth of line and emotional concentration, and Farrell brings both scale and human warmth to music that can too easily become merely monumental.\u003c\/p\u003e\n\n\u003cp\u003eThe orchestral Wagner reveals De Sabata at his most characteristic: grand, theatrical, sometimes extravagant, but never anonymous. One critic thought him happiest when able to “shake the roof”; another heard vitality even where refinement was not the principal virtue. These performances confirm that impression. De Sabata’s Wagner is not neutral, devotional wallpaper. It is painted in dark colour, strong gesture and high relief.\u003c\/p\u003e\n\n\u003cp\u003eThe original tapes had suffered considerable degradation, but this has been successfully addressed in the present XR remastering. The resulting sound from both concerts is excellent for its age and source, with the vocal material especially vivid. Ambient Stereo has been used to open the acoustic without falsifying the historical character of the recordings: Carnegie Hall, great artists, broadcast microphones, and interpretative risk caught in the act.\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 style=\"font-size: 24px;\"\u003e\u003cb\u003eDE SABATA\u003c\/b\u003e New York Broadcasts, 1951\u003c\/p\u003e\n\n\u003cp style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eDisc one   (71:54)\u003c\/b\u003e\u003c\/p\u003e\u003cp style=\"font-size: 12px;\"\u003e1. \u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eRADIO Introduction\u003c\/span\u003e\u003c\/em\u003e   (1:45)\u003cbr\u003e\n2. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBARBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eOverture, \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe School for Scandal\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 16px;\"\u003e, Op. 5\u003c\/span\u003e   (9:51)\n\u003c\/p\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUMANN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Piano Concerto in A minor, Op. 54\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e3. \u003cspan style=\"font-size: 16px;\"\u003e1st mvt. - Allegro affettuoso\u003c\/span\u003e   (16:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n4. \u003cspan style=\"font-size: 16px;\"\u003e2nd mvt. - Intermezzo: Andantino grazioso\u003c\/span\u003e   (5:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n5. \u003cspan style=\"font-size: 16px;\"\u003e3rd mvt. - Allegro vivace\u003c\/span\u003e   (11:46)\u003cbr\u003e\u003c\/span\u003e\u003cb\u003eClaudio Arrau\u003c\/b\u003e, piano\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 8 in F major, Op. 93\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e6. \u003cspan style=\"font-size: 16px;\"\u003e1st mvt. - Allegro vivace e con brio\u003c\/span\u003e   (9:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n7. \u003cspan style=\"font-size: 16px;\"\u003e2nd mvt. - Allegretto scherzando\u003c\/span\u003e   (3:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n8. \u003cspan style=\"font-size: 16px;\"\u003e3rd mvt. - Tempo di menuetto\u003c\/span\u003e   (4:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n9. \u003cspan style=\"font-size: 16px;\"\u003e4th mvt. - Allegro vivace\u003c\/span\u003e   (7:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n10. \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eRADIO Conclusion\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 12px;\"\u003e   (1:02)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eDisc two   (74:41)\u003c\/b\u003e\u003c\/p\u003e\u003cp style=\"font-size: 12px;\"\u003e1. \u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eRADIO Introduction\u003c\/span\u003e\u003c\/em\u003e   (1:30)\u003cbr\u003e\n2. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cem\u003e\u003cspan style=\"font-size: 16px;\"\u003eDie Meistersinger von Nürnberg\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Prelude\u003c\/span\u003e   (9:48)\u003cbr\u003e\n3. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cem\u003e\u003cspan style=\"font-size: 16px;\"\u003eParsifal\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Prelude to Act I \u003c\/span\u003e  (12:51)\u003cbr\u003e4. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cem\u003e\u003cspan style=\"font-size: 16px;\"\u003eParsifal\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Good Friday Spell\u003c\/span\u003e   (13:46)\u003cbr\u003e\n5. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eW\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003eAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cem\u003e\u003cspan style=\"font-size: 16px;\"\u003eTristan und Isolde\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Prelude and Liebestod\u003c\/span\u003e   (17:44)\u003cbr\u003e6. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cem\u003e\u003cspan style=\"font-size: 16px;\"\u003eGötterdämmerung\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Brünnhilde’s Immolation Scene \u003c\/span\u003e  (17:56)\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eEileen Farrell\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, soprano\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 12px;\"\u003e\n7. \u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eRADIO Conclusion\u003c\/span\u003e\u003c\/em\u003e  (1:06)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px;\"\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\nconducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVictor de Sabata\n\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp style=\"font-size: 12px;\"\u003e\n\n\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eXR Remastered by Andrew Rose\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eLive CBS recordings made at Carnegie Hall, New York City\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e\nRecorded 18 \u0026amp; 25 March 1951\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e\nBroadcast 25 March \u0026amp; 1 April 1951\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 26:35\n\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC773.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC773.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":59855588000078,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":59855588032846,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":59855588065614,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC773.jpg?v=1782309093"},{"product_id":"pasc773-cd","title":"SABATA New York Broadcasts (1951) - PASC773 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC773.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs (+MP3)","offer_id":59855365833038,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":true},{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":59855365865806,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC773_28443566-4279-48d2-b3e5-f6241e8ec8b1.jpg?v=1781093791"}],"url":"https:\/\/www.pristineclassical.com\/collections\/composer-barber.oembed?page=3","provider":"Pristine Classical","version":"1.0","type":"link"}