{"title":"Beethoven","description":"Ludwig van Beethoven (baptised 17 December 1770 – 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers. His best-known compositions include 9 symphonies, 5 piano concertos, 1 violin concerto, 32 piano sonatas, 16 string quartets, his great Mass the Missa solemnis, and one opera, Fidelio.\u003cbr\u003e\u003cbr\u003eBorn in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven displayed his musical talents at an early age and was taught by his father Johann van Beethoven and by composer and conductor Christian Gottlob Neefe. At the age of 21 he moved to Vienna, where he began studying composition with Joseph Haydn and gained a reputation as a virtuoso pianist. He lived in Vienna until his death. By his late 20s his hearing began to deteriorate, and by the last decade of his life he was almost completely deaf. In 1811 he gave up conducting and performing in public but continued to compose; many of his most admired works come from these last 15 years of his life.","products":[{"product_id":"pasc318","title":"CURZON plays Beethoven Piano Concertos 4 \u0026 5 (1954\/57) - PASC318","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-weight: bold\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Piano Concerto No. 4\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Piano Concerto No. 5\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1954\/57\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 73:02\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-weight: bold\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eClifford Curzon, \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: bold\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eHans Knappertsbusch, \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis classic combination of pianist and conductor belongs in everyone’s collection578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eThese 1954 (No. 4) and 1957 (No. 5) monaural studio recordings have been remastered into stereo by the master-of-remastering, Andrew Rose, under the renowned Pristine label. The featured artists, Clifford Curzon and Hans Knappertsbusch, are masterly performers from the past. I have been an admirer of Curzon’s playing, but a very neglectful admirer because I own none of his very few recordings. I have never liked what little I’ve heard of Knappertsbusch’s conducting except for that on an old vinyl disc set of Die Meistersinger— a remnant of my previous life as a Wagnerphile. Andrew Rose has sparked in me a reassessment, not of Wagner but of Knappertsbusch, and a reappreciation of Curzon. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eCurzon’s phrase shaping and passagework are noteworthy, and Knappertsbusch’s command of the orchestra enabling detail to be heard without overwhelming the piano is especially appreciated. The Vienna Philharmonic’s violin sections, however, are, while adequate, not of the high quality encountered in today’s best orchestras. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eCurzon’s quiet solo entry to begin the first movement of the Fourth Concerto is truly poetic, presaging the character of the entire movement. Knappertsbusch is suitably responsive, allowing the fine orchestral detail to be heard in lyrical response. The orchestra enters strongly to begin the unusual second movement, and Curzon responds in quiet reverence. This pattern changes, as the orchestra diminishes its prominence, and the piano takes command—in the style of responsive reading. Curzon and Knappertsbusch trade roles of dominance and subordinance as the movement progresses. Curzon is enthralling in the impressionistic solo passages from bar 56 through bar 63. This is as good as the classic treatment found in the Artur Schnabel\/Malcolm Sargent recording of the 1930s. The final movement is exuberant and well articulated. Curzon’s legato is especially noteworthy. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eAs good as the Fourth Concerto is, the “Emperor” is even better. Curzon’s bold entry at the start of the first movement employs rubato very carefully as a foreshadowing of the movement’s majesty to come. Knappertsbusch controls the orchestra superbly to reveal the movement’s great detail. Revelation of the “Emperor”’s dominance among concertos is shared equally here by both pianist and conductor. Knappertsbusch’s reverential opening of the second movement is complemented by Curzon’s poetic entry. This magnificent combination pervades the movement. Curzon is unmatched here, except possibly by Artur Schnabel. The final movement is worthy of the “Emperor”’s crown as Curzon and Knappertsbusch in concinnity tame its tempestuous exuberance to conclude a grand musical experience. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis classic combination of pianist and conductor, recorded almost 60 years ago, belongs in everyone’s collection. Courtesy Andrew Rose and associates, it is a sonic marvel for its age (although there is occasional orchestral blurring); courtesy Curzon and Knappertsbusch, it is a marvelous musical experience. \u003cbr\u003e\u003cb\u003e\u003cbr\u003eBurton Rothleder \u003c\/b\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis article originally appeared in Issue 35:6 (July\/Aug 2012) of \u003cem\u003eFanfare\u003c\/em\u003e Magazine.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC318.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eClifford Curzon is \"the ideal pianist for the Fourth\"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eTwo excellent Decca recordings given new life by Pristine's XR remastering\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cbr\u003eThese two recordings straddle Decca's move in the mid-50s from\nmono to stereo - the mono Fourth Concerto here is presented in Ambient Stereo,\nretaining a central mono sound but allowing hall ambience some realistic stereo\nspread. Both recordings were rather constrained and a little boxy in sound,\nsomething that XR remastering has largely cured. Viennese orchestral pitch was\nnotably high in the Fifth Concerto, something I've confirmed with electrical\nhum analysis - both original pitches have been accurately and precisely\nrestored.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Concerto No. 4 in G, Op. 58\u003cbr\u003eProducer: Victor Olof\u003cbr\u003eEngineer: Cyril Windebank\u003cbr\u003eRecorded 4-5 April, 1954\u003cbr\u003eGrosser Saal, Musikverein, Vienna\u003cbr\u003eTransfer from Decca ECS 752\u003cbr\u003e\u003cb\u003ePresented in Ambient Stereo\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Concerto No. 5 in E flat, Op. 73, \"Emperor\"\u003cbr\u003eMono Producer: John Culshaw\u003cbr\u003eStereo Producer: Erik Smith\u003cbr\u003eMono Engineer: Gordon Parry\u003cbr\u003eStereo Engineer: James Brown\u003cbr\u003eRecorded 10-15 June, 1957\u003cbr\u003eSofiensaal, Vienna\u003cbr\u003eTransfer from Decca SXL 2002 \u003cbr\u003e\u003cb\u003ePresented in Stereo\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eClifford Curzon \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eVienna Philharmonic Orchestra\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eHans Knappertsbusch \u003c\/b\u003econductor\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC318.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC318.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":34131811277,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34131811341,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34131811405,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC318.jpg?v=1724852351"},{"product_id":"pasc322","title":"WALTER Polydor Acoustics Volume 2: Overtures (1923-25) - PASC322","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cdiv\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\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eCHERUBINI\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Der Wasserträger - Overture\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUMANN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Manfred Overture \u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMENDELSSOHN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Die Hebriden Overture (Fingal's Cave)\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Faust Overture\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBERLIOZ\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Benvenuto Cellini – Overture\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1923-25\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 61:34\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBerlin State Opera Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor Bruno Walter\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fWalter admirers will find much to interest and intrigue in this selection578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eBruno Walter claimed that he first recorded around the turn of the 20th century, an assertion cited in the biography of the conductor by Erik Ryding and Rebecca Pechefsky. It was supposedly of music from Carmen, which he did record but more than two decades later. Whatever the truth, orchestrally speaking he first becomes audible in the series of acoustic Polydor recordings made from 1923 to 1925. Pristine Audio has already released his first major undertaking, Tchaikovsky’s “Pathétique” Symphony (1925, complete), coupled with Mozart overtures and two pieces from Carmen, on PASC142. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eWhat this latest release demonstrates is the canny nature of recording selections made by companies such as Polydor, which would have been well aware of rival releases. Of the six overtures, four were making their first-ever appearance on disc: those by Cherubini, Schumann, Wagner, and Berlioz. It’s easy to label musicians “discographic pioneers,” not least in a landscape where so much remained to be recorded, but in that respect Walter was treading new water. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe Coriolan Overture had already proved popular on disc. Thanks to Claude Graveley Arnold’s The Orchestra on Record 1896–1926 we know that Willem Mengelberg, Otto Urack, Landon Ronald, Leo Blech, and the more obscure Johannes Heidenreich had all recorded it by the time Bruno Walter set down his version in August 1923. Bass reinforcements, of course, were very much the norm. They work here with the desired strategic heightening effect, making audible what the acoustic horn could not pick up, though occasionally the balance is swampy despite the engineers’ best intentions. The performance has a degree of elasticity that must, to a large degree, accurately reflect Walter’s expressive position at the time—he was in his late 40s in 1923—not least in the slightly sentimentalized second subject and freedom of metrical pulse. A check of the turn-over point reinforces the fact that these were not decisions imposed on him, but were part of a more loosely structural approach. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThere are more overt portamenti in the performance of the Cherubini overture. The bass reinforcements are also rather more crudely employed than in Coriolan. One could attribute the greater portamenti to the players’ unfamiliarity with the work and thus their inability to coordinate slides before the recording session. Despite the sepulchral bass line, and some infelicities (tuttis are a bit muddled), the slow introduction is richly characterized. Where a decision may have been foisted on Walter is the side change at 5:05 in Schumann’s Manfred Overture, where he edges slowly to the end of the side. It makes for a rather sticky moment. Again, though, this was a premiere performance on disc and if the winds are not on their best behavior, being rather shrill, it adds to the generation of heat and energy. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe Hebrides Overture has a rather more steely surface, and a bit of scuffing, but Ward Marston has done a fine job here, as elsewhere, managing the Scylla and Charybdis business of surface noise and frequency response with his usual sensitive judgment; retention of the former enhances the latter. My only complaint is no one’s fault; those bass reinforcements sound a bit sleazy here. The longest overture is Wagner’s Faust, which was recorded on three shellac sides, and another first-ever recording. Like Coriolan it was recorded on August 1, 1923, and responds well to his direction. The final item is Berlioz’s Benvenuto Cellini Overture. I suspect that if you were in the habit of playing the “who recorded what first” game (a perilous one) you’d have come up with two dozen names before you’d come up with Walter’s. Yet Walter it was, and he directs in a rather charmingly ebullient way. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eDG (2740 259) reissued Coriolan, though I’ve not had access to it for comparative purposes. Walter remade the Schumann in Chicago in 1956 for a WGN-TV telecast, and the Mendelssohn with the New York Philharmonic Symphony live in 1948 (Music \u0026amp; Arts CD714), with which orchestra he also recorded the Berlioz, though I’m unaware if it’s been released commercially. In 1939, with the NBC, he recorded the Faust Overture. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eAs James A. Altena pointed out in his review in Fanfare 35:6, the orchestral attribution in Pristine’s documentation is a little shaky and omits reference to the contribution of the Berlin Philharmonic. Walter admirers will find much to interest and intrigue in this selection. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eJonathan Woolf \u003c\/b\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis article originally appeared in Issue 36:2 (Nov\/Dec 2012) of \u003cem\u003eFanfare\u003c\/em\u003e Magazine.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC322.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBruno Walter - witness the birth of a recording legend!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eSuperlative acoustic transfers of six rare early recordings by Ward Marston\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThis release at Pristine explores the earliest recordings of a\nlegendary twentieth century musician. Bruno Walter's career as a conductor may\nhave pre-dated these recordings by a number of years, but in these six rare\nacoustically-recorded overtures, with what was then perhaps the finest\norchestra in Germany, the Berlin State Opera Orchestra, we get to hear the\nfirst suggestions of the legend to come.\u003c\/p\u003e\u003cp class=\"body\"\u003eMultiple award-winning producer Ward Marston has worked miracles\nin the sound quality achieved from these 1923-25 discs - despite the\nlimitations of the pre-microphone era they really are an outstanding record of\nWalter's early recorded brilliance.\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\u003cb\u003eBEETHOVEN\u003c\/b\u003e Coriolan Overture\u003cbr\u003eRecorded 1 August 1923\u003cbr\u003eMatrices 73az and 74 az; Polydor 65928\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eCHERUBINI\u003c\/b\u003e Der Wasserträger - Overture\u003cbr\u003eRecorded 1 January 1924\u003cbr\u003eMatrices 647 az and 648az; Polydor 66073\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eSCHUMANN\u003c\/b\u003e Manfred Overture \u003cbr\u003eRecorded 1 March 1925\u003cbr\u003eMatrices 1836 1\/2 as 1837as; Polydor 66074\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eMENDELSSOHN\u003c\/b\u003e Die Hebriden Overture (Fingal's Cave)\u003cbr\u003eRecorded 1 August 1923\u003cbr\u003eMatrices 82 ½az and 83az; Polydor 65930\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eWAGNER\u003c\/b\u003e Faust Overture \u003cbr\u003eRecorded 1 August 1923\u003cbr\u003eMatrices 1519as, 71az and 72az; Polydor 65955\/56\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eBERLIOZ\u003c\/b\u003e Benvenuto Cellini – Overture\u003cbr\u003eRecorded 1 January 1924\u003cbr\u003eMatrices 621½az, 622az, and 623az; Polydor 66075\/76\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBerlin State Opera Orchestra\u003cbr\u003eBruno Walter \u003c\/b\u003econductor\u003c\/li\u003e\n\u003c\/ul\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eProducer and Audio Restoration Engineer: Ward Marston\u003cbr\u003eCover artwork based on a 1912 photograph of Bruno Walter\u003c\/div\u003e\u003cdiv\u003eWe are grateful for the use of the discs for these transfers from the collection of David Schmutz\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC322.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC322.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":34132993677,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34132993741,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC322.jpg?v=1489574722"},{"product_id":"pasc325","title":"KULENKAMPFF plays Beethoven and Brahms Concertos (1936\/47) - PASC325","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eViolin Concerto in D major, Op. 61\u003c\/span\u003e\u003c\/span\u003e\u003cdiv\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Double Concerto for Violin and Cello in A minor, Op. 102\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\u003cdiv\u003e\n\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1936 and 1947\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:39\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGeorg Kulenkampff, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBerlin Philharmonic Orchestra \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eHans Schmidt-Isserstedt, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eEnrico Mainardi, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello \u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eL'Orchestre de la Suisse Romande\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eCarl Schuricht, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor \u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fMost strongly recommended. 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eAndrew Rose’s inset notes relate his challenges in remastering Georg Kulenkampff’s 1936 recording of Ludwig van Beethoven’s Violin Concerto: The original recordings, as noted in the Gramophone review he cites from 1954, reached A = 456.57, and he has brought the pitch down to 440. In addition, he had to work around attenuated highs at the ends of the long original Telefunken sides, and accordingly left tape hiss intact in order to preserve Kulenkampff’s tone in the higher registers. He also adjusted the reverberation in Decca’s recording of Johannes Brahms’s Double Concerto from 1947, using the ambiance of Birmingham Symphony Hall in the absence of a “suitably Swiss” one. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eWhatever the engineering feats, he didn’t correct the pitch in one of the Beethoven concerto’s early arpeggios, the second note of which seems almost a half-step high. Nevertheless, the first movement makes a strong impression, not least for eschewing devices like portamentos that even some of the later Russians, like Heifetz and Milstein, still included in their expressive arsenal. The first-movement reading, in its general cleanliness and deftness, then, might have been recorded more recently. (Boris Schwarz thought Kulenkampff the most un-German of German violinists.) At about 19:16, a sudden change of timbre intrudes itself, and that may tell the tale of a difficult transition between the original discs. The above-mentioned Gramophone review suggests that Kulenkampff seems labored in the cadenza, but the passagework sounds brilliant nonetheless, with every attack cleanly—even sharply—articulated. On the whole, in fact, Kulenkampff’s general approach, to this concerto in particular and to violin playing in general, reminds me a bit of Leonid Kogan’s (in his 1957 recording with Kiril Kondrashin and the USSR State Symphony Orchestra of the same concerto). The purity of his tone and the chasteness of his trill, more than a simple ornament in his performance of the Larghetto, contribute to a reading generally clean in its style and timbre and serene in its repose (the middle section transcends in profundity the depth that simple relaxation connotes, studded as it is by moments of piercing insight; the Gramophone reviewer simply called it “serenely beautiful”). Kulenkampff may bring more character to the episode than to the rondo theme in the last movement, but the rondo nevertheless develops momentum, due in part to Hans Schmitt-Isserstedt’s and the orchestra’s granite and Kulenkampff’s incisive hammering at that foundation. But Kulenkampff does more than mindlessly hammer, however sharp his pickax, and occasional slight alterations in tempo seem more than usually subtle and expressive. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eWhatever disclaimers Rose may make about the adequacy of Telefunken’s recorded sound, Decca’s reproduction of cellist Enrico Mainardi’s tone in his opening solo make it clear how much the decade-and-a-half improved engineers’ technical capabilities; Rose relates that the Brahms concerto represented Kulenkampff’s second-to-last appearance in Decca’s studio. Mainardi sounds almost sweetly relaxed, if not leisurely, in the first movement’s solos; Kulenkampff matches him in Affekt, light years distant from Zino Francescatti’s and Pierre Fournier’s generally edgier reading, which explores vastly different territory. Carl Schuricht and the Suisse Romande Orchestra provide a richly majestic backdrop for Kulenkampff’s and Mainardi’s ruminations. Schuricht and the orchestra provide another meditative backdrop for the soloists’ discursive reflections in the slow movement. Mainardi again establishes a genially relaxed tempo in the finale, with the emphasis on geniality rather than on relaxation. If the recorded sound captures no warts (such as the wrong note in the beginning of Beethoven’s concerto), listeners may feel that the performance itself doesn’t contain so many moments of sheer transport as does that of Beethoven’s concerto. But if it’s movingly consistent, it’s consistently moving as well. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eCollectors of all kinds should welcome the unlabored way in which Kulenkampff made substantial statements (consider, by comparison, Anne-Sophie Mutter’s mannered timbral experiments) and celebrate what Pristine has been able to salvage from the recorded sound. Most strongly recommended. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eRobert Maxham \u003c\/b\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis article originally appeared in Issue 35:6 (July\/Aug 2012) of \u003cem\u003eFanfare\u003c\/em\u003e Magazine.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC325.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c!--[if gte mso 9]\u003e\u003cxml\u003e\n \u003cofficedocumentsettings\u003e\n  \u003callowpng\u003e\u003c\/allowpng\u003e\n \u003c\/officedocumentsettings\u003e\n\u003c\/xml\u003e\u003c![endif]--\u003e\u003c!--[if gte mso 9]\u003e\u003cxml\u003e\n \u003cworddocument\u003e\n  \u003cview\u003eNormal\u003c\/view\u003e\n  \u003czoom\u003e0\u003c\/zoom\u003e\n  \u003ctrackmoves\u003e\u003c\/trackmoves\u003e\n  \u003ctrackformatting\u003e\u003c\/trackformatting\u003e\n  \u003cpunctuationkerning\u003e\u003c\/punctuationkerning\u003e\n  \u003cvalidateagainstschemas\u003e\u003c\/validateagainstschemas\u003e\n  \u003csaveifxmlinvalid\u003efalse\u003c\/saveifxmlinvalid\u003e\n  \u003cignoremixedcontent\u003efalse\u003c\/ignoremixedcontent\u003e\n  \u003calwaysshowplaceholdertext\u003efalse\u003c\/alwaysshowplaceholdertext\u003e\n  \u003cdonotpromoteqf\u003e\u003c\/donotpromoteqf\u003e\n  \u003clidthemeother\u003eEN-GB\u003c\/lidthemeother\u003e\n  \u003clidthemeasian\u003eX-NONE\u003c\/lidthemeasian\u003e\n  \u003clidthemecomplexscript\u003eX-NONE\u003c\/lidthemecomplexscript\u003e\n  \u003ccompatibility\u003e\n   \u003cbreakwrappedtables\u003e\u003c\/breakwrappedtables\u003e\n   \u003csnaptogridincell\u003e\u003c\/snaptogridincell\u003e\n   \u003cwraptextwithpunct\u003e\u003c\/wraptextwithpunct\u003e\n   \u003cuseasianbreakrules\u003e\u003c\/useasianbreakrules\u003e\n   \u003cdontgrowautofit\u003e\u003c\/dontgrowautofit\u003e\n   \u003csplitpgbreakandparamark\u003e\u003c\/splitpgbreakandparamark\u003e\n   \u003cenableopentypekerning\u003e\u003c\/enableopentypekerning\u003e\n   \u003cdontflipmirrorindents\u003e\u003c\/dontflipmirrorindents\u003e\n   \u003coverridetablestylehps\u003e\u003c\/overridetablestylehps\u003e\n  \u003c\/compatibility\u003e\n  \u003cmathpr\u003e\n   \u003cmathfont m:val=\"Cambria Math\"\u003e\u003c\/mathfont\u003e\n   \u003cbrkbin m:val=\"before\"\u003e\u003c\/brkbin\u003e\n   \u003cbrkbinsub m:val=\"--\"\u003e\u003c\/brkbinsub\u003e\n   \u003csmallfrac m:val=\"off\"\u003e\u003c\/smallfrac\u003e\n   \u003cdispdef\u003e\u003c\/dispdef\u003e\n   \u003clmargin m:val=\"0\"\u003e\u003c\/lmargin\u003e\n   \u003crmargin m:val=\"0\"\u003e\u003c\/rmargin\u003e\n   \u003cdefjc m:val=\"centerGroup\"\u003e\u003c\/defjc\u003e\n   \u003cwrapindent m:val=\"1440\"\u003e\u003c\/wrapindent\u003e\n   \u003cintlim m:val=\"subSup\"\u003e\u003c\/intlim\u003e\n   \u003cnarylim m:val=\"undOvr\"\u003e\u003c\/narylim\u003e\n  \u003c\/mathpr\u003e\u003c\/worddocument\u003e\n\u003c\/xml\u003e\u003c![endif]--\u003e\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":34133728845,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34133728909,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34133728973,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34133729037,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC325_aae4c9cb-09e8-499a-b859-9716f84755c0.jpg?v=1489576461"},{"product_id":"pasc326","title":"BACKHAUS Beethoven Edition: Volume 9 - Piano Concerto 1, Diabelli Variations (1954\/58) - PASC326","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concerto No. 1 in C major, Op. 15\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\u003cdiv\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eVariations on a Waltz by Diabelli, Op. 120\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\u003cdiv\u003e\n\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1954 and 1958\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 76:51\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWilhelm Backhaus, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eVienna Philharmonic Orchestra \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eHans Schmidt-Isserstedt, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fGramophone Historic Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fHis performance of the \"Diabelli\" variations is a magnificent achievement578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eHaving completed the whole cycle of Beethoven's piano sonatas Backhaus will now, I imagine, and hope, add the finest of the remaining keyboard works.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eHis performance of the \"Diabelli\" variations is a magnificent achievement: and it says a great deal for Katchen's much more youthful art that his own performance stands up so well to it and may even be considered, in the final variation (and the wonderful modulation that leads up to it) more spiritually radiant. But Katchen, naturally, does not command the grand manner of Backhaus, which is of the master's time ?nd not of to-day ; nor can one expect of him the maturity born of a lifelong experiencv. Comparisons, therefore, would be, as is said, odious.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThere is an astonishingly youthful vigour in Backhaus' playing, a tremendous sense of enjoyment in the formidable task of bringing the great work to life, and a moving sensitivity in those variations that call for it, particularly in the lovely Chopinesque Variation (No. 31). I must also single out the superbly clear and vital playing of the following fugal variation. The piano tone is on a level with the best we have had in the Backhaus series. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eA.R. - The Gramophone, April 1955\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC326.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003e\"A magnificent achievement\", played with \"an astonishingly youthful vigour\" - Gramophone\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eBackhaus's stereo Diabelli Variations and Piano Concerto No. 1 in new 32-bit Pristine XR remasters\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eTonally the Piano Concerto recording was good in this stereo\nversion (possibly offering a different tone to the mono release reviewed\nabove), if somewhat hissy, and this restoration has concentrated mainly on\nreducing the latter as well as correcting some quite significant pitch\nanomalies at edit points throughout the recording. These caused jumps in the\npitch of the recording were edits from different takes had been made or up to a\nquarter-semitone at a time, helping make some edits sound particularly clunky.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe recording was also rather sharp, more so than the \u003cem\u003eDiabelli\nVariations\u003c\/em\u003e, which managed a far more even and consistent A=445Hz. Here my\nefforts were concentrated on lifting the veil on a somewhat thin and\nboxy-sounding instrument, coupled with the removal or suppression of a large\nnumber of extraneous clicking noises which appeared to emanate from the\nkeyboard itself.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Concerto No. 1 in C major, Op. 15\u003cbr\u003e \u003cb\u003eWilhelm Backhaus\u003c\/b\u003e piano\u003cb\u003e\u003cbr\u003e Vienna Philharmonic Orchestra\u003c\/b\u003e \u003cbr\u003e \u003cb\u003eHans Schmidt-Isserstedt \u003c\/b\u003econductor\u003cbr\u003e \u003cbr\u003eRecorded 16-22 April 1958\u003cbr\u003eFirst issued as Decca BR 3001\u003cbr\u003eProducer Erik Smith\u003cbr\u003eEngineer Alan Abel\u003cbr\u003eRecorded at Sofiensaal, Vienna\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eBEETHOVEN \u003c\/b\u003eVariations on a Waltz by Diabelli, Op. 120 \u003cbr\u003e \u003cb\u003eWilhelm Backhaus\u003c\/b\u003e piano\u003cbr\u003e \u003cbr\u003e Recorded 14-20 October 1954\u003cbr\u003e First issued as Decca LXT 5016\u003cbr\u003e Producer Victor Olof\u003cbr\u003e Engineer Roy Wallace\u003cbr\u003e Recorded at Victoria Hall, Geneva\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003e\n\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, February 2012\u003cbr\u003eCover artwork based on a photograph of Wilhelm Backhaus\u003cbr\u003e\u003cbr\u003eTotal duration: 76:51\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC326.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC326.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\n\u003cb\u003eREVIEW\u003c\/b\u003e - Piano Concerto No. 1\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis is the first disc in a new Decca series called \"Immortal Masterpieces\". BRs have a bright blue label (the colour of old Columbia LXs) and come packed as usual in the stiff polythene envelope and stiff glossy sleeve—this one has a small coloured reproduction of \"Rocky Landscape\" by Brill—but without programme notes on the back. Most of the first 10 BRs are old friends, but Backhaus's version of the C major concerto appears to be new. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe concerto has usually been issued as a 12-incher, mostly with a fill-up. Serkin, in a now deleted Philips, got it on to ten-inch format by galloping the first movement; Backhaus doesn't need to do that—he and Isserstedt take it rather slower than the fine Solomon\/Menges (H.M.V. ALP 1583) performance. But Backhaus plays the Largo as a rather Schubertian Andante, which no doubt helps him to get the last two movements on to one side. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eIt's a dashing, mettlesome performance, well poised; I had forgotten how lively and companionable a pianist Backhaus could be (I'm not a fan of his readings of the last three concertos), and the performance reminded me that he used to be an admired Mozart pianist. The florid runs and the sense of shape are particularly good; I only didn't care for the extensive meno mosso which Backhaus declares before the Adagio in the coda of the last movement— it overweights the music. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe piano tone is inclined to glare at you, and the range of orchestral tone is a bit small. Perhaps that explains the popular label; musically it's an agreeable performance, smartly accompanied.. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eW.S.M. - The Gramophone, November 1959\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":40245158861,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":40245158925,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":40245158989,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC326.jpg?v=1499347157"},{"product_id":"pasc327","title":"KEMPEN Beethoven: Symphonies 2 \u0026 5, Creatures of Prometheus (1940\/41) - PASC327","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Creatures of Prometheus, Op. 43 - Overture, Ballet No. 8\u003c\/span\u003e\u003c\/span\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cb\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 2 in D major, Opus 36\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\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. 5 in C minor, Op. 67 \u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1940 \u0026amp; 1941\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:16\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDresden Philharmonic Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePaul van Kempen\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fA heartfelt warmth, unhurried grandeur where required and some beautifully limpid wind playing578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eThe Dutch conductor Paul van Kempen (1893-1955) has been a name that crops up rather than a constant presence in the world of recorded music. There are those who prefer Wilhelm Kempff’s first cycle of Beethoven concertos not least on account of Van Kempen’s conducting. His easy cohabitation with the Nazi regime did not endear him to his own countrymen or help him to rebuild his career in Holland after the war. His recordings were not numerous and he did not make later LP versions of any of the works on this issue. As transferred by Mark Obert-Thorn these discs have good presence and body and a wider dynamic range than was common at the time. This raises the question whether Van Kempen himself did not insist on a wider dynamic range than many of his contemporaries on the podium. The gentle, unforced lyrical playing of the quieter passages combined with the often forceful approach to fortes suggest this may have been the case. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eVan Kempen is said to have had an eruptive musical personality, particularly suited to Tchaikovsky. This is not notably born out in the Prometheus Overture, where a nicely shaped introduction is followed by a vigorous but unexceptionable allegro, nor in the Ballet Music, where a degree of un-balletic overemphasis seems to stem from Beethoven himself. It is noticeable at a few points in the outer movements of the Second Symphony, where the music is momentarily pushed ahead of the well-chosen tempi and a touch of hysteria enters the proceedings. On the other hand, the slow movement is beautifully shaped, at a fairly slow tempo but not so slow as to lose a very natural sense of flow. This movement can overstay its length; this is, for me, a rare case among slower versions where this did not happen. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe first movement of the Fifth also has a few odd moments of incipient hysteria, though they cannot conceal the fact that most of it is very effectively hammered out while the few lyrical moments are really beautiful. Van Kempen’s shaping of the blunt chords shortly before the recapitulation points out - uniquely in my experience - which of the two chords is harmonically the more important. He is also very un-indulgent - especially by the standards of his time - over the famous four-note motive, for which he slows down hardly at all. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe scherzo is steady but well-sprung and very clear. The justification of a steady scherzo, though, is that the difficult trio doesn’t become a scramble. Unfortunately the eruptive Van Kempen intervenes and things get a bit scrappy. The finale is launched in fine style, but shortly after the beginning of the development there is a loss of tension, the tempo slightly slackens and even the recording has less presence. I don’t know where the side joins were - all power to Obert-Thorn for linking them up so seamlessly - but I’m wondering of the proceedings were interrupted at that point, maybe for some time, and did not immediately pick up with the same degree of tension. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eWhich leaves the slow movement. Taken on the slow side it has a heartfelt warmth, unhurried grandeur where required and some beautifully limpid wind playing. This brings back the old, never-answered question. \u003cem\u003eshould\u003c\/em\u003e something recorded in wartime Nazi Germany express such timeless, benign humanity? \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eReaders will have decided long ere now whether this latter aspect worries them. In any case, I’d say that these are not exactly essential Beethoven performances. But those with large collections and a fascination for the interpretation of these inexhaustible works should find a place for them. They may well conclude that the slow movements are among the finest in their library. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cem\u003eChristopher Howell\u003cbr\u003eMusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC327.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c!--[if gte mso 9]\u003e\u003cxml\u003e\n \u003cofficedocumentsettings\u003e\n  \u003callowpng\u003e\u003c\/allowpng\u003e\n \u003c\/officedocumentsettings\u003e\n\u003c\/xml\u003e\u003c![endif]--\u003e\u003c!--[if gte mso 9]\u003e\u003cxml\u003e\n \u003cworddocument\u003e\n  \u003cview\u003eNormal\u003c\/view\u003e\n  \u003czoom\u003e0\u003c\/zoom\u003e\n  \u003ctrackmoves\u003e\u003c\/trackmoves\u003e\n  \u003ctrackformatting\u003e\u003c\/trackformatting\u003e\n  \u003cpunctuationkerning\u003e\u003c\/punctuationkerning\u003e\n  \u003cvalidateagainstschemas\u003e\u003c\/validateagainstschemas\u003e\n  \u003csaveifxmlinvalid\u003efalse\u003c\/saveifxmlinvalid\u003e\n  \u003cignoremixedcontent\u003efalse\u003c\/ignoremixedcontent\u003e\n  \u003calwaysshowplaceholdertext\u003efalse\u003c\/alwaysshowplaceholdertext\u003e\n  \u003cdonotpromoteqf\u003e\u003c\/donotpromoteqf\u003e\n  \u003clidthemeother\u003eEN-GB\u003c\/lidthemeother\u003e\n  \u003clidthemeasian\u003eX-NONE\u003c\/lidthemeasian\u003e\n  \u003clidthemecomplexscript\u003eX-NONE\u003c\/lidthemecomplexscript\u003e\n  \u003ccompatibility\u003e\n   \u003cbreakwrappedtables\u003e\u003c\/breakwrappedtables\u003e\n   \u003csnaptogridincell\u003e\u003c\/snaptogridincell\u003e\n   \u003cwraptextwithpunct\u003e\u003c\/wraptextwithpunct\u003e\n   \u003cuseasianbreakrules\u003e\u003c\/useasianbreakrules\u003e\n   \u003cdontgrowautofit\u003e\u003c\/dontgrowautofit\u003e\n   \u003csplitpgbreakandparamark\u003e\u003c\/splitpgbreakandparamark\u003e\n   \u003cenableopentypekerning\u003e\u003c\/enableopentypekerning\u003e\n   \u003cdontflipmirrorindents\u003e\u003c\/dontflipmirrorindents\u003e\n   \u003coverridetablestylehps\u003e\u003c\/overridetablestylehps\u003e\n  \u003c\/compatibility\u003e\n  \u003cmathpr\u003e\n   \u003cmathfont m:val=\"Cambria Math\"\u003e\u003c\/mathfont\u003e\n   \u003cbrkbin m:val=\"before\"\u003e\u003c\/brkbin\u003e\n   \u003cbrkbinsub m:val=\"--\"\u003e\u003c\/brkbinsub\u003e\n   \u003csmallfrac m:val=\"off\"\u003e\u003c\/smallfrac\u003e\n   \u003cdispdef\u003e\u003c\/dispdef\u003e\n   \u003clmargin m:val=\"0\"\u003e\u003c\/lmargin\u003e\n   \u003crmargin m:val=\"0\"\u003e\u003c\/rmargin\u003e\n   \u003cdefjc m:val=\"centerGroup\"\u003e\u003c\/defjc\u003e\n   \u003cwrapindent m:val=\"1440\"\u003e\u003c\/wrapindent\u003e\n   \u003cintlim m:val=\"subSup\"\u003e\u003c\/intlim\u003e\n   \u003cnarylim m:val=\"undOvr\"\u003e\u003c\/narylim\u003e\n  \u003c\/mathpr\u003e\u003c\/worddocument\u003e\n\u003c\/xml\u003e\u003c![endif]--\u003e\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":34133884685,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34133884749,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC327.jpg?v=1489576991"},{"product_id":"pasc330","title":"BACKHAUS Beethoven Edition: Volume 10 - Piano Concertos 2 and 3 (1950\/52) - PASC330","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concerto No. 2 in B flat major, Op. 19 \u003c\/span\u003e\u003c\/span\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cb\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concerto No. 3 in C minor, Op. 37\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1952 and 1950\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 61:45\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eWilhelm Backhaus, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eVienna Philharmonic Orchestra \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eClemens Krauss, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eKarl Böhm, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor \u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fClassical CD Review review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fBackhaus glitters in the quick movements and sings beautifully in the middle one578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eGreat second, problematic third. For sure, Backhaus knows how to play the\n      piano. No one has ever questioned his regard for, even worship of Beethoven.\n      However, I found his complete traversals of the piano sonata cycle inconsistent,\n      to say the least. Superb, sharply-etched readings stand side-by-side with\n      clueless, shapeless ones. Furthermore, a certain corporate blandness hangs\n      over too many -- a \"white paper\" interpretation, rather than\n      a personal one.\u003cbr\u003e      \n      \u003cbr\u003e\n      Consequently, I approached this disc gingerly. I set my expectations low,\n      and Backhaus confounded them with strong performances in both cases. The\n      Classical period sorted concertos into various types: lyrical, pastoral,\n      divertissement, and martial or military among them. Beethoven concentrated\n      exclusively on the martial concerto, probably since it best fit his style\n      of extreme dramatic contrast. Most performers treat the Concerto No. 2\n      like a poor relation. They put up with it but would prefer to spend time\n      communing with Nos. 3 through 5. For years, I made excuses for the Second\n      as almost student Beethoven. I had the excuse that Beethoven himself afterward\n      rated this and No. 1 as \"not among my best,\" but I feel ashamed\n      of myself. Backhaus changed my mind. I now don't think of the work as an\n      inferior Beethoven concerto, lacking the innovations of, say, No. 4, but\n      a superior Mozart one, moving with great assurance within the conventions\n      of late Classicism. Years later, Beethoven himself still thought enough\n      of it to write a cadenza for it.\u003cbr\u003e      \n      \u003cbr\u003e\n      Formally, the concerto follows the usual lines: a sonata first movement,\n      an A-B-A song slow movement, and a rondo finale (A-B-A-C-A-B-A). However,\n      the level of thematic invention and variation remains high throughout. \u003cbr\u003e      \n      \u003cbr\u003e\n      Backhaus glitters in the quick movements and sings beautifully in the middle\n      one. However, Böhm and the Vienna Phil also contribute substantially\n      to make this one of the great recordings of the concerto. In the first\n      movement, the Vienna strings, forgetting their usual suavity, give their\n      lines exciting little nips that perk up your ears. In the second, Böhm\n      finds the depth in a movement that too often just goes by. Both he and\n      Backhaus convince you that this is one of the great Beethoven adagios.\n      The final movement is noteworthy for the way Backhaus and the orchestra\n      flick the syncopations of the main theme. Backhaus's passagework sparkles.\n      The near-perfect ensemble balance reinforces the unanimity of intention\n      between soloist and orchestra.\u003cbr\u003e      \n      \u003cbr\u003e\n      The third concerto lacks that strong connection. First, under Krauss the\n      orchestra's attack (particularly the strings) becomes spongy. The winds,\n      for the most part, manage sharp attacks but combined with the strings,\n      the ensemble is often raggedy, particularly not really what you want in\n      such a martial concerto. You miss certain important thematic details from\n      the orchestra, not helped by a poor recording balance on the original LP\n      which puts the players slightly too far back in the image, like a consort\n      who walks seven paces behind the ruler. In the first movement, another\n      c-minor storm like the \u003cem\u003ePathétique\u003c\/em\u003e Sonata, the orchestra handles\n      the introduction beautifully, with superbly well-managed crescendos. However,\n      as the movement progresses, it begins to lose focus. Backhaus becomes the\n      rather stern marshal, apparently taking direction over from Krauss by an\n      insistence on the rhythmic integrity of the measure. I reserve most of\n      my admiration for Backhaus, who gives a vivid performance. He uses his\n      own cadenza, which starts out well, but sometimes veers away from Beethoven\n      into Liszt-Rachmaninoff territory (I think especially of a loud sequential\n      passage of articulated diminished-seventh chords). On the one hand, it's\n      great piano playing, but I'm not sure what to make of the stylistic difference.\n      If we long for the days when the soloist actually improvised his cadenza,\n      then I think we must expect an individual take on the material and take\n      into account that the soloist has heard music the composer has not and\n      that such experience likely goes into the improvisation. The question then\n      becomes the worth of the cadenza. I think, ultimately, that the cadenza\n      shows me less about Beethoven and more about Backhaus the pianist, the\n      wizard of the keys.\u003cbr\u003e      \n      \u003cbr\u003e\n      The second-movement Largo is a variation set. Krauss and Backhaus go for\n      Profundity (a peeve of mine), but, by Granny's undies, they pretty near\n      pull it off. Backhaus toes the line of pokey, but manages to keep the musical\n      line spinning. The strings of the Vienna Phil are gorgeous here, Backhaus's\n      pedaling as well. As far as I can tell, he actually follows Beethoven's\n      pedaling indications, not usual enough to take for granted.\u003cbr\u003e      \n      \u003cbr\u003e\n      The performers regard the rondo finale in an off-beat way. Usually, players,\n      considering other Beethoven c-minor scores, look to storm the heavens.\n      Backhaus and Krauss work to stress intimacy and ensemble.\u003cbr\u003e      \n      \u003cbr\u003e\n      Backhaus's second I think an essential performance, the third less so,\n      though by no means routine. It's a reading you add once you've experienced\n      more basic ones. \u003cstrong\u003ePristine\u003c\/strong\u003e delivers one of its better sonic reconstructions.\n      Extraneous noises and distortions have been cleaned up. More importantly,\n      in LPs of this era, the sound tends to reproduce as if three dimensions\n      have been flattened to two. \u003cstrong\u003ePristine\u003c\/strong\u003e has an ap for that:\n      you seem to hear the ambience of the hall.\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003e S.G.S. (November 2012)\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC330.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\n    \u003cem\u003e\n        \u003cspan style=\"font-size: 24px;\"\u003e\"A fine performance matched by a first-class recording\" - Gramophone\n    \u003c\/span\u003e\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\n    \u003cem\u003e\n        \u003cspan style=\"font-size: 18px;\"\u003eBackhaus's classic Concerto recordings have been completely transformed\n        in these new remasters\n    \u003c\/span\u003e\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Both of these recordings, whilst fundamentally sound, have benefited\n    enormously from a thorough restoration and XR remastering - given the\n    recording dates, right at the beginning of the adoption of tape mastering\n    and LP distribution, the myriad of now-correctable faults was entirely\n    unsurprising. Pitch generally fluctuated between about A=335Hz and A=440Hz,\n    and these variations have been evened out to concert pitch - but the coda\n    of Concerto No. 2 came in at A=432Hz - a significant drop suggesting a\n    section edited in from a very different recording.\n\u003c\/p\u003e\n\u003cp\u003e\n    The tonal difficulties suggested in contemporary reviews sound even more\n    pronounced today, I would suggest, given our far improved listening\n    equipment over a reviewer of the early 1950s. Fortunately we now also have\n    the technology and expertise to address these shortcomings. I've also been\n    able to make significant inroads on tape hiss and an assortment of\n    extraneous noises and irrirants. The results here have proved particularly\n    satisfying - a full, clear, clean sound has been discovered both for piano\n    and orchestra to an extent that demands a critical reassessment of both of\n    these recordings. My sense is that, as has happened regularly before, the\n    listener will now find significantly more to enjoy here than in any\n    previous release.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cem\u003eAndrew Rose\u003c\/em\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\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Concerto No. 2 in B flat major, Op. 19\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eWilhelm Backhaus\u003c\/b\u003e piano\u003cb\u003e\u003cbr\u003eVienna Philharmonic Orchestra\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eClemens Krauss \u003c\/b\u003econductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003eRecorded 25-26 May 1952 \u003cbr\u003eFirst issued as Decca LX 3084\u003cbr\u003eProducer Victor Olof \u003cbr\u003eEngineer Cyril Windebank \u003cbr\u003eRecorded at Grosser Saal, Musikverein, Vienna\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Concerto No. 3 in C minor, Op. 37\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eWilhelm Backhaus\u003c\/b\u003e piano\u003cb\u003e\u003cbr\u003eVienna Philharmonic Orchestra\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eKarl Böhm \u003c\/b\u003econductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003eRecorded 23 September 1950 \u003cbr\u003eFirst issued as Decca LXT 2553\u003cbr\u003eProducer Victor Olof \u003cbr\u003eEngineer Cyril Windebank \u003cbr\u003eRecorded at Grosser Saal, Musikverein, Vienna\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, February-March 2012\u003cbr\u003eCover artwork based on a photograph of Wilhelm Backhaus\u003cbr\u003e\u003cbr\u003eTotal duration: 61:45\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\/PASC330.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC330.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eREVIEW\u003c\/b\u003e - Piano Concerto No. 2 (excerpt)\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eBackhaus gives it a performance that is markedly \nmore sensitive than some of those he has lately accorded the solo \nsonatas ... Throughout everything is clear and in place; a fine \nperformance matched by a recording that manages to be first-class in \nspite of—or perhaps because of—the absence of any endeavour to be \nsensational. That quality, indeed, would not be in place; and sobriety \nof the order that is unwaveringly maintained throughout this disc is not\n at all to be despised. The millennium will occur when this standard is \nthe normal minimum to be expected of all records offered for public \nsale...\u003c\/p\u003e\u003cp class=\"body\"\u003eM.M. - The Gramophone, February 1953\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eREVIEW\u003c\/b\u003e - Piano Concerto No. 3 (excerpt)\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eBackhaus's performance has his usual brittleness \nand precision. He is here the classic-minded performer, more interested \nin form and pattern than in the personal expression of Beethoven the man\n ; and his treatment suits this work better than it would, perhaps, the G\n major. The orchestral playing is discreet rather than forceful ; there \nis, to one pair of ears, a slight over-prominence of the piano, just as \nthere is a slight excess in the use of the damper pedal. The recording \nas such is not wholly satisfactory, for it suffers from that odd quality\n to which long-players seem to be liable—unevenness. The piano jangles \nsomewhat on its first entrance, then the tone warms up, then there is \nsome more jangling, and then, in the cadenza' the piano tone comes \nproperly into focus (though even here it is a little hard). On the first\n side the bass is light...\u003c\/p\u003e\u003cp\u003e\nH.F. - The Gramophone, February 1951\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":40280449357,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":40280449421,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":40280449485,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":40280449549,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC330_9c2ce3fe-dd9f-4cd2-88fe-04aa9b992f77.jpg?v=1499414100"},{"product_id":"pacm001","title":"THIBAUD \u0026 CORTOT Beethoven 'Kreutzer' Sonata (1929) - PACM001","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eViolin Sonata No. 9, Op. 47\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eDuration 30:22\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eJacques Thibaud, \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eAlfred Cortot, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM001.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThibaud and Cortot's Classic 1929 Recording\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eXR remastered for finest sound quality\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/span\u003e \u003cbr\u003e\n\n\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eWhen I initially revisited this recording \nand gave it the Pristine Audio Natural Sound treatment I was delighted \nwith the sound quality I achieved - but ultimately decided a completely \nnew restoration might yield even better results. Hence this 2007 \nrestoration and remastering, direct from the original 78s.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003ePerhaps the most popular Violin Sonata of \nall time gets a fabulous treatment here by two of the most eminent \nchamber musicians of the twentieth century. Every single note of this \nsuperb recording is a joy to hear as the musicians draw you into this \nsublime work. As Robert Stumpf II said in a review of this performance \nat Classical Net, \"\u003cem\u003e\u003cspan style=\"color: #000099;\"\u003e...this is the real thing. The players here are making music, not just playing it.\u003c\/span\u003e\u003c\/em\u003e\"\u003c\/p\u003e\u003cp align=\"left\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eViolin Sonata No. 9, Op. 47\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 27, 28th May 1929, Salle Chopin \u0026amp; Salle Pleyel, Paris\u003cbr\u003e Issued as 4 HMV 78s, D.B.1328-D.B.1331\u003cbr\u003e Matrix numbers 2-08068 - 2-08075, takes 3, 2, 3, 1, 2, 1, 2, 3\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM001.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM001.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":32417876301,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32417876493,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":32417876621,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM001_1d82a0e1-5200-47ba-b874-3c4060b8b30d.jpg?v=1646214035"},{"product_id":"pacm007","title":"ITALIAN QUARTET Beethoven: String Quartets 6 \u0026 7 (1952) - PACM007","description":"overviewfb55cd020f0643f08418183279e63a5f\n\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eString Quartet No.6 in B flat Op.18, No.6\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eString Quartet No.7 in F Op.59, No.1\u003c\/span\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\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eJuly 1952, Santa Cecilia, Rome\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eDuration 68:24\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eITALIAN QUARTET\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\n\u003c\/b\u003e\u003cp data_liveedit_tagid=\"000000000D776030\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM007.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe Italian Quartet masterful in Beethoven\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eThese\n two String Quartets, written just 6 years apart in 1800 and 1806 \nrespectively, came at a time of huge creativity for Beethoven, which was\n to include the first three symphonies, numerous piano and violin \nsonatas, the Third Piano Concerto and many other works. They were \nfollowed in 1807 by the 4th Symphon and in 1808 by the 5th and 6th \nSymphonies.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eBeethoven's\n first nine string quartets were written in two groups - the six of Op. \n18 and the three \"Razumovsky\" quartets of Op. 59, and here we leap from \nthe last of the first set to the first of the second set in two \nbeautiful Decca recordings from 1954, superbly remastered for Pristine \nAudio by Peter Harrison at \u003cem\u003edisk2disc\u003c\/em\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eIt\n is astonishing to read, when one listens to these interpretations, that\n these recordings were not particularly highly regarded at the time. \nPerhaps that explains their failure to be reissued until now. But we \nlike them a lot - and we think you will too!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr style=\"color: #000000; font-family: Georgia,Times New Roman,Times,serif;\"\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eString Quartet No.6 in B flat Op.18, No.6\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eString Quartet No.7 in F Op.59, No.1\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eJuly 1952, Santa Cecilia, Rome\u003cbr\u003eIssued as \u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eUK Decca LXT2811 \u0026amp; LXT2856\u003c\/span\u003e\u003cbr\u003eDuration 68:24\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cb\u003ePaolo Borciani, \u003c\/b\u003eviolin\u003cbr\u003e\u003cb\u003eElisa Pegreffi\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003ePiero Farulli\u003c\/b\u003e, viola\u003cbr\u003e\u003cb\u003eFranco Rossi\u003c\/b\u003e, cello\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM007.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM007.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":31418116045,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":31418116109,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM007.jpg?v=1487682263"},{"product_id":"pakm051","title":"BACKHAUS Beethoven: Complete Piano Sonatas, Vol. 1 (1952\/53) - PAKM051","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\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\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Sonatas 1-4\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\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\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1952 and 1953\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:27\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWilhelm Backhaus, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fI found myself charmed by his conception of these early sonatas578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWhen I was growing up in the early \n1960s, Wilhelm Backhaus was generally known as a finely chiseled but \nsomewhat lightweight pianist, best suited to the music of Chopin and \nMozart. Thus it was a considerable surprise when he recorded an \nexciting, beautifully shaped performance of the Brahms Piano Concerto \nNo. 2 with Karl Böhm conducting; even critics with a longstanding \nantipathy toward Backhaus raved about that recording, and with good \nreason. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBecause of this, I decided to consider \nreviewing CD 1 of Pristine’s restoration of the pianist’s early mono \nBeethoven cycle. Sonata No. 3 was recorded in 1952, the others on this \ndisc in November 1953. Restoration engineer and annotator Andrew Rose \nindicates that the original recordings, despite having been made by a \nmajor label, were beset with technical problems. In addition to those \nmentioned in a contemporary review of one of the LPs—“the tone sounds \nhard in the development section,” “slight mechanical erraticisms of \npitch and surface-hum”—Rose also mentions “some wayward tape speeds, \nresulting in pianos pitched variously between A433 and A440.” Whether or\n not this was due to tape slippage when originally mastered, or actual \ndifferences in the pianos that Backhaus played (there were still, in \nGermany at that time, some instruments pitched below A440), Rose has \nconsistently pitched all of the Backhaus recordings to our modern \nstandard. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWithout knowing what the rest of the \nseries sounds like (this is my first hearing of these recordings), I can\n attest that Backhaus’s performances of the opp. 2 and 7 sonatas are, in\n general outline and feeling, very similar to the recordings of Irish \npianist John O’Conor, with some differences. Those differences are a \nlittle more obvious ritards and rubato than that employed by O’Conor, \nwith the result that some of the movements in these performances have a \ndecidedly Old World feeling to them (one such example is at the 3:15 to \n3:30 mark in the last movement of the First Sonata). On the other hand, \nBackhaus’s occasional “stop-and-listen-to-this” moments are not nearly \nas exaggerated as those of Wilhelm Kempff, whose Beethoven sonata cycle \nwas all the rage in the 1960s. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eIndeed, as this set of the first four \nsonatas proceeded to play, I found myself charmed by his conception of \nthese early sonatas. My only caveat, as is the case with O’Conor’s \ncycle, is that Backhaus fails to make as much of the sharp dynamic \ncontrasts written into the scores, which Artur Schnabel and Craig \nSheppard bring out so well (Schnabel at the proper brisk tempos, \nSheppard a shade slower). Thus the reader of this review is faced with a\n bit of dilemma. Does one really wish to start collecting this early \nBackhaus cycle? He did rerecord every sonata except the “Hammerklavier” \nin stereo for Decca, and that cycle is currently available as a boxed \nset. Rose indicates that many listeners consider this earlier, mono \ncycle to have been the better of the two. Yet if you have part, or all, \nof the Schnabel cycle (I particularly recommend his reading of the early\n sonatas, at least 1–12 plus the op. 49, which was written earlier) and \neither the complete O’Conor or Sheppard cycles, you may not feel a \npressing need for Backhaus. I don’t really know how the later discs of \nthis series will play out, but I will say this: If his performances of \nthe “Pathétique,” “Waldstein,” “Appassionata,” “Les Adieux,” and, yes, \neven the “Hammerklavier,” not to mention all the important sonatas in \nbetween, are as good as his stereo recording of the Brahms Concerto No. \n2, you may want to opt for Backhaus in your collection. I, for one, will\n be looking for the further issues in this series in order to make my \ndetermination. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eLynn René Bayley\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e This article originally appeared in Issue 35:6 (July\/Aug 2012) of Fanfare Magazine.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM051.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBackhaus's magnificent first Beethoven Sonata cycle begins here\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eLong only available on rare imports, and in new 32-bit XR remasters - this is unmissable\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eWilhelm Backhaus's first Beethoven Piano Sonata cycle, \nrecorded between 1950 and 1953, was one of the first for the Long \nPlaying record, and may well have been the first of several contemporary\n accounts to reach completion. Backhaus was already considered, as the \nreview above points out, a \"veteran\" pianist, yet later that same decade\n he started the sonatas all over again, once more for Decca, this time \nin stereo, a cycle which he almost completed prior to his death in 1969,\n leaving only the \u003cem\u003eHammerklavier\u003c\/em\u003e not re-recorded.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe existence of the stereo cycle has led to this mono \ncycle, which a number of listeners consider the better of the two, to be\n neglected by Decca - outside of Japan and a very limited Italian issue,\n it has never been reissued by the company. Sonically there's no doubt \nthat the later recordings improved considerably over these early 50s \nmono versions, but there's much that can now be achieved in improving \nconsiderably the sound quality of these recordings, as well as \ncorrecting the \"slight mechanical erraticisms of pitch and surface-hum\" \nreferred to in the review above.\u003c\/p\u003e\u003cp class=\"body\"\u003eIn making these historic recordings, from one of the \ngreatest of Beethoven interpreters, available again in fine-sounding \n32-bit XR remasters, collectors can at last and with ease determine \ntheir own preferences with regard to the Backhaus discography.\u003c\/p\u003e\u003cp class=\"body\"\u003eFinally a note about pitch: The recordings so far \nanalysed suggest some wayward tape speeds, resulting in pianos pitched \nvariously at between A=432 and A=444, as well as some notable pitch \nchanges, both sudden and sliding, during movements within recordings. \nOne later recording in the series (to be released as part of Volume \nThree) includes what I take to be a \"sticky edit\", causing the pitch to \nlurch alarmingly (at one point it drops more than a semitone) over the \ncourse of several notes before steadying itself. Previously just about \nunfixable, these problems have all been resolved and the pitch of each \nrecording standardised to A=440.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 1 in F minor, Op. 2 No. 1\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded November 1953\u003cbr\u003e Issued as Decca LXT 2902\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 2 in A major, Op. 2 No. 2\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded November 1953\u003cbr\u003e Issued as Decca LXT 2920\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 3 in C major, Op. 2 No. 3\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded May 1952\u003cbr\u003e Issued as Decca LXT 2747\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 4 in E flat major, Op. 7\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded November 1953\u003cbr\u003e Issued as Decca LXT 2809\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e \u003cbr\u003e \u003cbr\u003e Wilhelm Backhaus\u003c\/span\u003e\u003c\/b\u003e \u003cspan class=\"body\"\u003epiano\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recording producer: Victor Olof\u003cbr\u003e Recorded at Victoria Hall, Geneva \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAKM051.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM051.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb class=\"bodymid\"\u003eThe Backhaus Beethoven Edition\u003c\/b\u003e \u003cbr\u003e (A Pristine Classical newsletter editorial by Andrew Rose)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eA few weeks ago I was trawling through the thousands of \nrecords here at Pristine, looking for inspiration, and out of curiousity\n dug out a box set of Backhaus's Beethoven sonata recordings. A quick \nflick through them revealed that although the majority would be off \nlimits due to their recording dates, a handful had fallen into the \npublic domain. But would I be able to bring anything to them?\u003cbr\u003e \u003cbr\u003e I\n started with a couple of test transfers and they sounded promising. \nCertainly they seemed to have potential. But what a shame the entire set\n wasn't ever going to be possible, as a result of the changes in \nEuropean copyright law due to take effect in the next year or two.\u003cbr\u003e \u003cbr\u003e\n Of course there was the earlier, mono collection - which might indeed \nhold more promise of remastering improvements. I decided to check when \nDecca had last reissued them so that I could download a few samples from\n iTunes. I searched and searched, but they were nowhere to be found.\u003cbr\u003e \u003cbr\u003e\n So I started doing some serious digging around, scouring discographies \nand old Internet discussions on the subject, and was astonished to find \nthat, despite some people swearing by them as the better of the two \ncycles from Backhaus - and the only complete one, as he died before the \nfinal recording of his stereo cycle could be made - there had been no CD\n issue outside of Japan and an exceptionally rare Italian issue (which, \nconfusingly, had the same catalogue number as the stereo cycle, leading \nme to wonder whether the Italian release was in error).\u003cbr\u003e \u003cbr\u003e I \nsuppose this isn't entirely unusual. We've remastered a number of mono \nMercury recordings over the last couple of years which have been passed \nover by the company themselves in favour of reissuing their stereo back \ncatalogue. A lot of recordings fell into a bit of a mono \"black hole\" in\n the early-to-mid 1950s, and surprising as it seems for such an \nimportant release - possibly the first complete Beethoven sonata cycle \nof what you might call the \"hi-fi\" age - Backhaus's only truly complete \ncycle is one of them.\u003cbr\u003e \u003cbr\u003e The recordings were all made in Victoria \nHall, Geneva, Switzerland. They began in July 1950 (Nos. 12, 21, 30), \nwith the first six recordings being issued both on 78s and LPs, before \ndropping the 78rpm releases for the third batch of recordings, made in \nApril and May 1952.\u003cbr\u003e \u003cbr\u003e And what a marathon that proved to be - \nBackhaus set down 11 of the sonatas during those sessions. Possibly this\n was too much for him, as he returned to Victoria Hall six months later \nto re-record three of them. \u003cbr\u003e \u003cbr\u003e Sadly, in no cases does the \narchive indicate precise recording dates. We know for sure that the \nmajority, quite possibly all, were produced by Victor Olof, with either \nArthur Haddy or Gil Went engineering, where this was noted. Went was at \nthe controls for the final sessions, the most gruelling of the lot, in \nNovember 1953, when fourteen of the thiry-two were recorded, yielding \nsome five LPs which were released during the course of 1954. Perhaps by \nthis stage Decca had got wind of Wilhelm Kempff's DG series and wanted \nto get to the end first...\u003cbr\u003e \u003cbr\u003e Ironically, the next entry in \nDecca's Geneva recordings discography after this mammoth session, which \ntook place in May 1954, bears the following prefix: \"These were Decca's \nfirst stereo recordings\". What a shame for Backhaus, who'd be going \nthrough the whole thing again a very few short years later - and already\n well into his mid-seventies.\u003cbr\u003e \u003cbr\u003e I'm pleased to report that a \nstereo recording was made of Backhaus's Diabelli Variations of October \n1954, also the case of course for his 1958-59 Vienna recordings of the \nfive concertos with Schmidt-Isserstedt. We hope to turn to these once \nthe present sonata cycle is complete, but I'm also interested in the \nmono concerto recordings. Curiously here Backhaus recorded all five for \nDecca in 1950-53 with the Vienna Philharmonic under variously Krauss and\n Böhm, but the First was never issued. (I would make clear that in my \nDecca discography it doesn't appear even as an unreleased item, but my \nBackhaus discography states a recording of the First Concerto was made \nin April 1951 by Decca and remains unissued.)\u003cbr\u003e \u003cbr\u003e So what do we \nmake of the earlier sonata recordings. Well I'm going to reserve comment\n on performances because (a) I've not heard them all, and (b) there are \nfar better experts than myself who will no doubt pass judgement in due \ncourse. Contemporary reviewers' reactions in many way mirror those for \nthe Schnabel series twenty years earlier - a mixture of rapturous \napproval and some quite pointed criticism. Whether the years since their\n recording have changed opinions generally or specifically remains to be\n seen. Backhaus certainly had heritage and was already a seasoned \n\"veteran\" performer (to quote from a Gramophone reviewer) by the time he\n began the first cycle, at the age of 64.\u003cbr\u003e \u003cbr\u003e Technically there are\n few surprises. The sound quality Decca achieved in its Geneva \nrecordings of this period has never particularly excited me - they're \njust not on a par with what they were capable of in London at the time -\n but they're adequate as far as the early years of high fidelity tape \nare concerned. They've certainly benefited from a good dusting off with \nXR remastering putting some real life back into the rather dull, dusty \noriginals, but it's been a constant battle against hiss to do so.\u003cbr\u003e \u003cbr\u003e\n Pitch also has proved erratic. On one movement of the first four \nsonatas I spotted a clear change of pitch midway through, as a result of\n a tape edit. Elsewhere another bad edit meant the same note was \neffectively struck twice. All of this is correctable today, as is the \nwobbliness of pitch in the Third Sonata, and the wide variation of \ntuning frequencies heard across the sonatas - of those analysed so far \nI've seen them range from A=433 up to A=444, something which seems more \nlikely to be caused by slight inaccuracies in tape record and replay \nspeeds than the piano itself. For the sake of argument I'm adjusting \nthem all to A=440 and leaving them there.\u003cbr\u003e \u003cbr\u003e Thanks to a \ncombination of tempi and choices of repeats, we should be able to get \nall 32 sonatas, in order, onto 8 CDs rather than the 10 of the Schnabel \nseries. Thereafter we'll see what we can do with the rest of the \nrecordings - concertos and variations - that Backhaus made during this \nera, ultimately making up a set which includes all five concertos, all \n32 sonatas and the Diabelli Variations.\u003cb\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/b\u003e\u003cem\u003e\u003cb\u003eAndrew Rose, February 3, 2012\u003c\/b\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":31975199693,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975199821,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975199885,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975200013,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM051_e6508ee6-ade2-443a-acaf-be6d6c2262a3.jpg?v=1487681847"},{"product_id":"pakm052","title":"BACKHAUS Beethoven: Complete Piano Sonatas, Vol. 2 (1952\/53) - PAKM052","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\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Sonatas 5-9\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\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\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 in 1952 and 1953\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 70:08\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWilhelm Backhaus, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fHis feeling for classical balance and his sometimes-impish sense of humor enliven these pieces and give full measure to the music578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eVolumes 2 \u0026amp; 3\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eMy earlier enthusiasm for the first \nfour Beethoven sonatas by Wilhelm Backhaus cooled considerably with \nthese releases, especially when I came to the “Pathétique” Sonata. Here \nBackhaus is being either deliberately perverse or uncaringly inaccurate.\n The introduction is played both much too fast and without the correct \ndynamic contrasts in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003efp\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e chords, and when he moves into the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eallegro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e section of the movement, his playing is entirely glib, on the surface of the music, and with strange, uncalled-for \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eritards\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n when he plays the minor-key melody in the middle. In short, there is \nnothing to recommend this performance beyond the range of a curio, and \nthere are certainly enough cold and perverse readings of Beethoven out \nthere the way it is. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHis performance of the second movement \nof this sonata is also rather fast and glib—except for the ending, which\n he suddenly slows down to a crawl. The last movement is OK in both \ntempo and phrasing, but has all the excitement of stewed prunes. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBackhaus is considerably better in the \nsmaller-scaled sonatas, Nos. 5–7 and 9–11. Here, his feeling for \nclassical balance and his sometimes-impish sense of humor enliven these \npieces and give full measure to the music. (In a few places, for \ninstance the final scherzo of No. 10, his method of rubato—shortening \ncertain bars in tempo while slightly extending others to balance \nout—reminds me of Annie Fischer’s and Craig Sheppard’s approaches.) \nBackhaus is also good in the quirky opening of Sonata 11; the second \nmovement, again, sounds as if played on autopilot, but he’s good in the \nlast two movements. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn the “Funeral March” Sonata (No. 12),\n Backhaus plays the first movement with fine classical balance but \nrather dispassionately. The second movement has lilt and lift, but in \nthe third (the funeral march) Backhaus’s tempo is right but the mood is \ntoo glib. True, he gives the music a certain amount of punch, but here \nit sounds lively and happy, not the least bit funereal. The last \nmovement, almost predictably, is excellent. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eWe end with the sonata that comes just \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ebefore\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n the “Moonlight,” op. 27 No. 1. By this point, Beethoven was moving away\n from the more classical structure and style of the early sonatas and \nworking his way toward not only a grander but more impassioned form of \nexpression. In this respect, Backhaus’s performance of Sonata No. 13 is \ngood but does not explore the undertow of the music. Even John O’Conor, \nwhose Beethoven cycle is resolutely lyrical in approach, draws more out \nof this music than Backhaus does here, and I won’t even make the \nobviously unfair comparison with Schnabel. The bottom line: What was a \ngood Beethoven sonata cycle in its day has not worn its uneven approach \nwell. If you want a lyrical sonata cycle, you can buy O’Conor in digital\n stereo. If you want a dynamic and individual approach, you can try \nSheppard. If you want the most consistent musical approach to all 32 \nsonatas, however, you must get either Schnabel or Fischer, and Fischer \nhas the edge in both sonics and technical security. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eLynn René Bayley\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 36:1 (Sept\/Oct 2012) of Fanfare Magazine.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM052.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSecond volume in Backhaus's magnificent first Beethoven Sonata cycle\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eLong only available on rare imports, and in new 32-bit XR remasters - this is unmissable\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eGramophone's reviewer in 1951 notes some blasting on \nlouder passages on his LP copy, and likewise I had to deal with \nshortcomings of the recording which I firmly ascribe to the early tape \nsystem in use - which was much improved by November 1953 for the later \nthree recordings in this volume. Whether or not the reviewer was hearing\n disc blasting, there was often a tendency towards a mushy kind of tape \nhiss to surround the upper frequencies of louder notes and chords, and \nI've spent a lot of time removing or taming these.\u003c\/p\u003e\u003cp class=\"body\"\u003eElsewhere, pitch has once again been susprisingly \nvariable, both in terms of overall tuning, and in clear issues with both\n tape machines and editing, all of which can now be remedied. Sound \nquality was generally good - my aim here, which I feel has been \nachieved, has been to clarify the piano tone whilst reducing background \nnoise and hiss.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 5 in C minor, Op. 10 No. 1\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded March 1951\u003cbr\u003e Issued as Decca LXT 2603\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 6 in F major, Op. 10 No. 2\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded March 1951\u003cbr\u003e Issued as Decca LXT 2603\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 7 in D major, Op. 10, No. 3 \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded November 1953\u003cbr\u003e Issued as Decca LXT 2809\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 8 in C minor, Op. 13, \"Pathétique\" \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded November 1953\u003cbr\u003e Issued as Decca LXT 2903\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 9 in E major, Op. 14, No. 1 \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded November 1953\u003cbr\u003e Issued as Decca LXT 2903\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e \u003cbr\u003e \u003cbr\u003e Wilhelm Backhaus\u003c\/span\u003e\u003c\/b\u003e \u003cspan class=\"body\"\u003epiano\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recording producer: Victor Olof\u003cbr\u003e Recorded at Victoria Hall, Geneva \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAKM052.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM052.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":31975203597,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975203725,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975203853,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975203917,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM052_6230b1b8-ff1e-4d25-9830-0fa27cd78ba5.jpg?v=1487681850"},{"product_id":"pakm053","title":"BACKHAUS Beethoven: Complete Piano Sonatas, Vol. 3 (1950-53) - PAKM053","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\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\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Sonatas 10-13\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\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\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded between 1950 and 1953\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 66:40\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWilhelm Backhaus, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fHis feeling for classical balance and his sometimes-impish sense of humor enliven these pieces and give full measure to the music.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eVolumes 2 \u0026amp; 3\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eMy earlier enthusiasm for the first \nfour Beethoven sonatas by Wilhelm Backhaus cooled considerably with \nthese releases, especially when I came to the “Pathétique” Sonata. Here \nBackhaus is being either deliberately perverse or uncaringly inaccurate.\n The introduction is played both much too fast and without the correct \ndynamic contrasts in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003efp\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e chords, and when he moves into the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eallegro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e section of the movement, his playing is entirely glib, on the surface of the music, and with strange, uncalled-for \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eritards\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n when he plays the minor-key melody in the middle. In short, there is \nnothing to recommend this performance beyond the range of a curio, and \nthere are certainly enough cold and perverse readings of Beethoven out \nthere the way it is. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHis performance of the second movement \nof this sonata is also rather fast and glib—except for the ending, which\n he suddenly slows down to a crawl. The last movement is OK in both \ntempo and phrasing, but has all the excitement of stewed prunes. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBackhaus is considerably better in the \nsmaller-scaled sonatas, Nos. 5–7 and 9–11. Here, his feeling for \nclassical balance and his sometimes-impish sense of humor enliven these \npieces and give full measure to the music. (In a few places, for \ninstance the final scherzo of No. 10, his method of rubato—shortening \ncertain bars in tempo while slightly extending others to balance \nout—reminds me of Annie Fischer’s and Craig Sheppard’s approaches.) \nBackhaus is also good in the quirky opening of Sonata 11; the second \nmovement, again, sounds as if played on autopilot, but he’s good in the \nlast two movements. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn the “Funeral March” Sonata (No. 12),\n Backhaus plays the first movement with fine classical balance but \nrather dispassionately. The second movement has lilt and lift, but in \nthe third (the funeral march) Backhaus’s tempo is right but the mood is \ntoo glib. True, he gives the music a certain amount of punch, but here \nit sounds lively and happy, not the least bit funereal. The last \nmovement, almost predictably, is excellent. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eWe end with the sonata that comes just \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ebefore\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n the “Moonlight,” op. 27 No. 1. By this point, Beethoven was moving away\n from the more classical structure and style of the early sonatas and \nworking his way toward not only a grander but more impassioned form of \nexpression. In this respect, Backhaus’s performance of Sonata No. 13 is \ngood but does not explore the undertow of the music. Even John O’Conor, \nwhose Beethoven cycle is resolutely lyrical in approach, draws more out \nof this music than Backhaus does here, and I won’t even make the \nobviously unfair comparison with Schnabel. The bottom line: What was a \ngood Beethoven sonata cycle in its day has not worn its uneven approach \nwell. If you want a lyrical sonata cycle, you can buy O’Conor in digital\n stereo. If you want a dynamic and individual approach, you can try \nSheppard. If you want the most consistent musical approach to all 32 \nsonatas, however, you must get either Schnabel or Fischer, and Fischer \nhas the edge in both sonics and technical security. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eLynn René Bayley\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 36:1 (Sept\/Oct 2012) of Fanfare Magazine.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM053.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThird volume in Backhaus's magnificent first Beethoven Sonata cycle\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eLong only available on rare imports, and in new 32-bit XR remasters - this is unmissable\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\nAs with other releases in this series I've taken great care to bring \nconsistency to the tuning of Backhaus's piano where previously it was \nabsent - the average pitches for each of these four sonatas as presented\n by Decca were A4 = 433.9, 442.5, 432.7 and 438.7 hertz respectively. \nFurthermore the 12th started low, before drifting gradually upwards, \nwhilst the opposite effect was to be heard in the 13th. Owners of the \nJapanese Decca (London) CD reissue of the 13th will also be familiar \nwith a 'sticky edit' pitch lurch of more than a tone in the finale, not \npresent here, as well as several completely missing notes in the middle \nof first movement!\u003cbr\u003e\u003cbr\u003eTonally I've continued to accept slightly \nhigher than usual levels of tape hiss in order to bring out the full \ntone of Backhaus's piano, something which was considerably muted in the \nDecca incarnation. Once again it was no surprise to discover that the \nlater recordings were of somewhat better audio quality than the earlier \nones.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003ePiano Sonata No. 10 in G major, Op. 14, No. 2 \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded April 1952 \u003cbr\u003e Issued as Decca LXT 2931\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 11 in B flat major, Op. 22\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded November 1953 \u003cbr\u003e Issued as Decca LXT 2920\u003cbr\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 12 in A flat major, Op. 26 \"March Funébre\" \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded June 1950 \u003cbr\u003e Issued as Decca LXT 2532\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 13 in E flat major, Op. 27, No. 1 \"Quasi una fantasia\" \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded November 1952 \u003cbr\u003e Issued as Decca LXT 2780\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e \u003cbr\u003e \u003cbr\u003e Wilhelm Backhaus\u003c\/span\u003e\u003c\/b\u003e \u003cspan class=\"body\"\u003epiano\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recording producer: Victor Olof\u003cbr\u003e Recorded at Victoria Hall, Geneva \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAKM053.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM053.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":31975206925,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975206989,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975207053,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975207117,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM053_5c000dbb-a293-41dc-aa60-bbde59f86a8f.jpg?v=1487681853"},{"product_id":"pakm054","title":"BACKHAUS Beethoven: Complete Piano Sonatas, Vol. 4 (1952\/53) - PAKM054","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\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Sonatas 14-17\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\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\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 in 1952 and 1953\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 75:26\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWilhelm Backhaus, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fGramophone Historic Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe last movement, needless to say, is played in the grand manner and is undeniably exciting578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\"It is disagreeable to write about artists of \ndistinction as if they were candidates at a competitive festival, but it\n would be ingenuous not to make a comparison between Gieseking's and \nBackhaus's playing of the \" Moonlight \" Sonata. I have spoken elsewhere \nin this issue of the moving interpretation Gieseking gives of the \nAdagio. Backhaus takes a much more matter-of-fact view, is wayward over \nthe rhythm, and makes a very decided ritardando before the recapitu \nlation. I find here a serious meditation devoid of poetic impulse, a \nlack which shows in the treatment of the accompanimental triplets. There\n is rather a heavy stress on the first beats of the Allegretto and, in \nthe second section, the quaver figure sounds jerky (Gieseking plays it \nsmoothly, using no emphasis).\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eThe last movement, needless to say, is played in \nthe grand manner and is undeniably exciting, but without the fine \nnuances of phrasing and articulation Gieseking gives us. The recording \nstands up pretty well to the pianist's assault on the last movement and \nis rather fuller in tone than Gieseking's in the preceding movement, \nalthough never more than adequate.\"\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eA.R. The Gramophone\u003c\/b\u003e, October 1953 (Reviewing LXT2780, \u003cem\u003eexcerpt concerning Sonata No. 14\u003c\/em\u003e)\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\"His \" Pastoral \" Sonata can be compared with \nthat of Denis Matthews on Columbia 33SX1021, reviewed by L.S. last month\n (a review I am entirely at one with). In I Matthews is smooth, \nreflective and sober ; he observes the repeat. Backhaus, without repeat,\n is rougher ; on the last page he disregards the pianissimo. In the \nfirst section of II Matthews is far steadier and more sensitive than \nBackhaus, but he smooths down the discords too much. In the section \nmarked l' is tesso tempo Backhaus suddenly achieves that sparkling \nelegance which is a mark of his playing at its best here Matthews \nconveys the impression of alertness but with unsuitable timidity. In III\n the English pianist is too tame, slightly too slow. And his lack of \npower in IV is all too apparent ; how exciting Backhaus is as he works \ntowards the climax.\"\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"body\"\u003e\u003cb\u003eA.R. The Gramophone\u003c\/b\u003e, June 1954 (Reviewing LXT2903, \u003cem\u003eexcerpt concerning Sonata No. 15\u003c\/em\u003e)\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM054.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFourth volume in Backhaus's magnificent first Beethoven Sonata cycle\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eLong only available on rare imports, and in new 32-bit XR remasters - this is unmissable\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eGenerally speaking these recordings provided reasonably straightforward \nwork for the remastering engineer, especially coming, as this volume \nhas, a good number of sonatas into the series, with many \ncarefully-chosen settings now determined for the series, restoration \ntechniques suitable for the material worked out, and only minor \nvariations to be found. The Moonlight offers slightly higher background \nhiss - this seems to be a characteristic of this work in a number of \nrecordings, possible as a result of the works intrinsically wide dynamic\n range.\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003ePiano Sonata No. 14 in C sharp minor, Op. 27 No. 2 \"Moonlight\"\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded October 1952\u003cbr\u003e Issued as Decca LXT 2780\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 15 in D major, Op. 28 \"Pastorale\"\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded November 1953 \u003cbr\u003e Issued as Decca LXT 2903\u003cbr\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 16 in G major, Op. 31 No. 1 \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded November 1953 \u003cbr\u003e Issued as Decca LXT 2950\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 17 in D minor, Op. 31 No. 2 \"The Tempest\" \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded May 1952 \u003cbr\u003e Issued as Decca LXT 2747\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e \u003cbr\u003e \u003cbr\u003e Wilhelm Backhaus\u003c\/span\u003e\u003c\/b\u003e \u003cspan class=\"body\"\u003epiano\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recording producer: Victor Olof\u003cbr\u003e Recorded at Victoria Hall, Geneva \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAKM054.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM054.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":31975208013,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975208077,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975208141,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975208205,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM054_a4a921b9-5f9c-4019-8ec7-9862124d0157.jpg?v=1487681855"},{"product_id":"pakm055","title":"BACKHAUS Beethoven: Complete Piano Sonatas, Vol. 5 (1950-54) - PAKM055","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\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Sonatas 18-22\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\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\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 1950 and 1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 64:29\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWilhelm Backhaus, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fConfirms Backhaus’s reputation as one of the great Beethoven interpreters578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eVolumes 5 \u0026amp; 6\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWilhelm Backhaus (1884–1969) recorded \ntwo Beethoven sonata cycles for Decca. These are the fifth and sixth \nvolumes in Pristine Audio’s reissue of the first, lesser-known cycle, \nwhich was recorded in mono between 1950 and 1954. Engineer Andrew Rose \nsuggests that the second cycle, from later in the 1950s through the \n’60s, was done for reasons other than the obvious change to stereo. He \ndescribes Decca’s first production team in Geneva as “struggling badly \nwith new technology” and has worked to correct peak distortion, wayward \nelectrical tones, high background hiss, poor overall tone, and most \negregiously, extreme changes in pitch. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe result is perfectly listenable \nsound. Backhaus’s basic sonority is full and rather bright, slightly \npiercing in the high treble, perhaps due to the Bösendorfer that he \nplayed. There’s still an impression of very close miking or recording at\n overly high levels. Rose takes issue with the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGramophone\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n critic who, in the ’50s, complained that Backhaus “refuses” to play \nquieter than at a medium dynamic level, but even with Pristine’s \nadmirably reworked sound, I perceive the same thing. The fact that in a \nfew spots, such as at the opening of the last movement of No. 18 (op. \n31\/3), and in parts of the “Appassionata’s” first movement, we hear \nmoments of truly quiet playing confirms it. It’s a significant drawback \nin what I find to be an uneven series of performances that, all the \nsame, have a few superb highlights. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHere is a survey of the performances: \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eNo. 18: Compared to the first two, more\n experimental sonatas in Beethoven’s op. 31, the third is more like a \nsuite or divertimento. Three of its four movements stay, more or less, \nin one character. Backhaus understands the work’s comic spirit, and \ngives well-controlled, happy, but generally too loud performances of the\n second and fourth movements. The sonata’s most interesting feature is \nthe way in which Beethoven integrates slower lyrical material—heard at \nthe opening, where it has the effect of being an introduction—into the \ncheerful \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e \nfirst movement. Backhaus responds with sensitivity to the pleading \nthree-note motive, though he pedals through the important rests that \nfollow it. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eNos. 19 and 20: Subtly paced phrasing \nand beautiful singing tone—Backhaus scales back his characteristically \nsturdy sound—make these model performances. His casual pedaling through a\n few rests is a small price to pay for such fresh, unassuming readings \nof these two sonatinas. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eNo. 21: Successful performances of the \n“Waldstein” require, in the first movement, precise, energetic playing \ncontrasted with smooth legato in the second theme’s angelic chordal \nmelody. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIntroduzione\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n can operate at one of the slowest tempos anywhere in Beethoven, and the\n finale, employing long pedals at the opening, should be simple, quiet, \nand sublime in its main material, exciting in the episodes, and \nthrilling in the coda. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBackhaus’s looser approach doesn’t \nreally meet most of these requirements, but causes me to rethink them, \nsomewhat. The first movement’s second theme is played downright \nperversely; it’s loud, percussive, and lacking in line. There’s quite a \nbit of tempo fluctuation throughout the first movement, and even more in\n the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIntroduzione\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. The finale is conceived along the right lines, though there’s no true \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epianissimo.\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Backhaus offers clarity, the long pedals are observed, and there’s \nvirtuosic abandon in the faster episodes. He humbly slows down to play \nthe famous glissando octaves as separate strokes. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eNo. 22: This underappreciated, \nexperimental sonata owes much to Haydn in its construction and humor. In\n the first movement, a minuet parody with two variations is interrupted \nby unruly outbursts of octaves and parallel sixths. (I have always \nthought of the minuet sections as representing Haydn, and the subversive\n interruptions representing his student, Beethoven.) Backhaus notches up\n the tempo in the octave sections, heightening the contrast with the \nmain material, but the movement holds together better if they are united\n with the minuet in pulse if not in spirit. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eLike most pianists, Backhaus plays the difficult second movement faster than I think it should go—it’s a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003emoto perpetuo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e marked \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegretto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n that should only give way to a faster tempo in its coda—yielding to the\n temptation of turning it into a showy toccata. In his performance \nthere’s no tempo increase at the end. There’s more wit and subtlety, \neven a kind of mystical stillness at the heart of its constant motion \nthan Backhaus provides, but he certainly plays it with great energy and \nfine fingerwork. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eNo. 23: The “Appassionata”s first \nmovement receives a taut, impassioned reading with carefully gauged \ndynamics. (Backhaus didn’t get around to remaking either the \n“Appassionata” or the “Hammerklavier” for his second cycle.) The playing\n is splendid from a technical point of view, steadier and more \ndisciplined than usual, as if Backhaus had borrowed Rudolf Serkin’s \nmetronome. In the finale, Beethoven, in an unusual sonata form that he \ndeveloped in the finale of op. 54, very clearly asks for the lengthier, \nsecond part of the movement to be repeated before arriving at the coda. \nI’m confounded as to why so many pianists, Backhaus included, don’t take\n this repeat. The design of the entire sonata is compromised and \ntrivialized by abbreviating this movement. Backhaus is also inclined to \nplay this movement loudly, even though so much material in it is meant \nto be quiet. He anticipates the final \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epresto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e by accelerating way too soon before it is indicated. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOp. 78: After allowing the opening four\n measures to unfold expansively, Backhaus rattles off the first movement\n in a way that robs it of some of the lyricism that the opening phrase \ninvokes. His slightly measured tempo in the second movement is a \npleasant surprise. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOp. 79: The first movement could \nbenefit from a simpler steadiness. The second movement, which uncannily \nanticipates Mendelssohn’s Venetian boat songs, plods along at too slow a\n tempo, but Backhaus finds a witty, throwaway quality for the finale \nthat’s just right. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOp. 81a: Here is a thoughtfully \nplanned, fully engaged performance that communicates the yearning and \nnostalgia in the first two movements and the last movement’s joyous \nexcitement. This “Les Adieux,” like his “Emperor” Concerto with Clemens \nKrauss (also issued on Pristine and reviewed elsewhere), confirms \nBackhaus’s reputation as one of the great Beethoven interpreters. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eDespite my feeling that many of \nBackhaus’s Beethoven sonatas aren’t characterized with enough detail, \nhis playing always seems sincere and alive, unegotistical, with a human \nquality. Schnabel’s pioneering EMI cycle from the 1930s delineates \nBeethoven’s dynamics and goes deeper interpretively. It has been issued \non Pristine with splendidly improved sound. Nonetheless, it’s good to \nhave Backhaus’s unfussy second opinion. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003ePaul Orgel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 36:2 (Nov\/Dec 2012) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM055.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFifth volume in Backhaus's magnificent first Beethoven Sonata cycle\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eLong only available on rare imports, and in new 32-bit XR remasters - this is unmissable\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cbr\u003e\u003cblockquote\u003e\n\u003cp class=\"bodybigblue\"\u003e\"The two little Sonatas, for many of us our first\n steps in Beethoven, are given with charm and simplicity. The recording \nof all these is good.\"\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003eA.R. The Gramophone\u003c\/b\u003e, October 1953 (Reviewing LXT2780\u003cem\u003e, excerpt concerning Sonatas Nos. 19 \u0026amp; 20\u003c\/em\u003e)\u003c\/p\u003e\n\u003cp class=\"bodybigblue\"\u003e\"In the C major, Backhaus is frequently allowed \nto \"play through the piano\" (the two sides were listened to \nconsecutively at exactly the same level of dynamics, on the same set, \nand in the same room). Colour-range is good, but the atmosphere is \nstudio-like, and the total effect resembles Beethoven's instrument much \nnearer than Backhaus's. The second movement opened with warmer tone, but\n I was out of sympathy with the playing here. There is one triumph for \nBackhaus on this side—his magnificent handling of the Rondo with its \nalmost magical (certainly fairystory) quality of mysteriousness. From \nthis the pianist builds up a castle-like structure. The recording \nengineers were kind (at last) to his opening but allowed unlikeable \nthinness to creep in as he warmed up his interpretation.\"\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eH.F. The Gramophone\u003c\/b\u003e, June 1951 (Reviewing LXT2532, \u003cem\u003eexcerpt concerning Sonata No. 21, \"Waldstein\"\u003c\/em\u003e)\u003c\/span\u003e\u003cspan class=\"body\"\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\u003cp class=\"body\"\u003eOf the two contemporary reviews quoted here, the second,\n of the Waldstein, perhaps puts its finger on a significant point \nregarding a good number of the mono Beethoven sonata recordings made by \nBackhaus for Decca between 1950 and 1954 and represented in this series -\n and their often less-than-glowing reception at the time . It also \nsuggests to me that their remakes later in the same decade and through \nthe 1960s were for reasons more varied than simply the advent of stereo.\u003c\/p\u003e\u003cp class=\"body\"\u003ePut simply, I believe that the Decca production team in \nGeneva were struggling badly with new technology, particularly in the \nearlier of the recordings, and all too frequently either made basic \nerrors or were let down by the new-fangled tape equipment at their \ndisposal.\u003c\/p\u003e\u003cp class=\"body\"\u003eNever in this era have I seen pitch change as much as is\n heard in the original recording of Sonata No. 19. It begins more or \nless in tune, though with some wavering through the first of the two \nmovements. But the second, across just three minutes, sinks an entire \nsemitone, leaving the piano tuned to 422Hz rather than 440Hz. It's \nastonishing that a player as sensitive to pitch as Backhaus could have \napproved this.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe acoustic was often desperately lacking in sympathy, \nsomething I've aimed to ameliorate. But I've also had to tackle peak \ndistortion, wayward electrical tones, high background hiss, and poor \noverall tone. I can only wonder at how much more favourable some of the \nreviews might have been had the performances been properly recorded in \nthe first place.\u003c\/p\u003e\u003cp class=\"body\"\u003eCritical assessment of performances can too often be \nbadly skewed by inadequate recordings, where crucial aspects of those \nperformances are lost. Backhaus deserved better - I hope this series \nrectifies this.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003ePiano Sonata No. 18 in E flat major, Op. 31, No. 3 \"The Hunt\"\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded May 1954\u003cbr\u003e Issued as Decca LXT 2950\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 19 in G minor, Op. 49, No. 1\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded November 1952 \u003cbr\u003e Issued as Decca LXT 2780\u003cbr\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 20 in G major, Op. 49, No. 2 \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded January 1953 \u003cbr\u003e Issued as Decca LXT 2780\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 21 in C major, Op. 53 \"Waldstein\"\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded July 1950\u003cbr\u003e Issued as Decca LXT 2532\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e \u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 22 in F major, Op. 54\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded April 1952 \u003cbr\u003e Issued as Decca LXT 2931\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e \u003cbr\u003e \u003cbr\u003e Wilhelm Backhaus\u003c\/span\u003e\u003c\/b\u003e \u003cspan class=\"body\"\u003epiano\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recording producer: Victor Olof\u003cbr\u003e Recorded at Victoria Hall, Geneva \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAKM055.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM055.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":31975208333,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975208397,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975208461,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975208525,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM055_dc4283ed-db23-4ee3-9c80-166b4c35d356.jpg?v=1487681858"},{"product_id":"pakm056","title":"BACKHAUS Beethoven: Complete Piano Sonatas, Vol. 6 (1951-53) - PAKM056","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\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\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Sonatas 23-26\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\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\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded between 1951 and 1953\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 55:41\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWilhelm Backhaus, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fHis playing always seems sincere and alive578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eVolumes 5 \u0026amp; 6\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWilhelm Backhaus (1884–1969) recorded \ntwo Beethoven sonata cycles for Decca. These are the fifth and sixth \nvolumes in Pristine Audio’s reissue of the first, lesser-known cycle, \nwhich was recorded in mono between 1950 and 1954. Engineer Andrew Rose \nsuggests that the second cycle, from later in the 1950s through the \n’60s, was done for reasons other than the obvious change to stereo. He \ndescribes Decca’s first production team in Geneva as “struggling badly \nwith new technology” and has worked to correct peak distortion, wayward \nelectrical tones, high background hiss, poor overall tone, and most \negregiously, extreme changes in pitch. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe result is perfectly listenable \nsound. Backhaus’s basic sonority is full and rather bright, slightly \npiercing in the high treble, perhaps due to the Bösendorfer that he \nplayed. There’s still an impression of very close miking or recording at\n overly high levels. Rose takes issue with the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGramophone\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n critic who, in the ’50s, complained that Backhaus “refuses” to play \nquieter than at a medium dynamic level, but even with Pristine’s \nadmirably reworked sound, I perceive the same thing. The fact that in a \nfew spots, such as at the opening of the last movement of No. 18 (op. \n31\/3), and in parts of the “Appassionata’s” first movement, we hear \nmoments of truly quiet playing confirms it. It’s a significant drawback \nin what I find to be an uneven series of performances that, all the \nsame, have a few superb highlights. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHere is a survey of the performances: \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eNo. 18: Compared to the first two, more\n experimental sonatas in Beethoven’s op. 31, the third is more like a \nsuite or divertimento. Three of its four movements stay, more or less, \nin one character. Backhaus understands the work’s comic spirit, and \ngives well-controlled, happy, but generally too loud performances of the\n second and fourth movements. The sonata’s most interesting feature is \nthe way in which Beethoven integrates slower lyrical material—heard at \nthe opening, where it has the effect of being an introduction—into the \ncheerful \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e \nfirst movement. Backhaus responds with sensitivity to the pleading \nthree-note motive, though he pedals through the important rests that \nfollow it. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eNos. 19 and 20: Subtly paced phrasing \nand beautiful singing tone—Backhaus scales back his characteristically \nsturdy sound—make these model performances. His casual pedaling through a\n few rests is a small price to pay for such fresh, unassuming readings \nof these two sonatinas. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eNo. 21: Successful performances of the \n“Waldstein” require, in the first movement, precise, energetic playing \ncontrasted with smooth legato in the second theme’s angelic chordal \nmelody. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIntroduzione\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n can operate at one of the slowest tempos anywhere in Beethoven, and the\n finale, employing long pedals at the opening, should be simple, quiet, \nand sublime in its main material, exciting in the episodes, and \nthrilling in the coda. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBackhaus’s looser approach doesn’t \nreally meet most of these requirements, but causes me to rethink them, \nsomewhat. The first movement’s second theme is played downright \nperversely; it’s loud, percussive, and lacking in line. There’s quite a \nbit of tempo fluctuation throughout the first movement, and even more in\n the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIntroduzione\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. The finale is conceived along the right lines, though there’s no true \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epianissimo.\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Backhaus offers clarity, the long pedals are observed, and there’s \nvirtuosic abandon in the faster episodes. He humbly slows down to play \nthe famous glissando octaves as separate strokes. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eNo. 22: This underappreciated, \nexperimental sonata owes much to Haydn in its construction and humor. In\n the first movement, a minuet parody with two variations is interrupted \nby unruly outbursts of octaves and parallel sixths. (I have always \nthought of the minuet sections as representing Haydn, and the subversive\n interruptions representing his student, Beethoven.) Backhaus notches up\n the tempo in the octave sections, heightening the contrast with the \nmain material, but the movement holds together better if they are united\n with the minuet in pulse if not in spirit. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eLike most pianists, Backhaus plays the difficult second movement faster than I think it should go—it’s a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003emoto perpetuo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e marked \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegretto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n that should only give way to a faster tempo in its coda—yielding to the\n temptation of turning it into a showy toccata. In his performance \nthere’s no tempo increase at the end. There’s more wit and subtlety, \neven a kind of mystical stillness at the heart of its constant motion \nthan Backhaus provides, but he certainly plays it with great energy and \nfine fingerwork. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eNo. 23: The “Appassionata”s first \nmovement receives a taut, impassioned reading with carefully gauged \ndynamics. (Backhaus didn’t get around to remaking either the \n“Appassionata” or the “Hammerklavier” for his second cycle.) The playing\n is splendid from a technical point of view, steadier and more \ndisciplined than usual, as if Backhaus had borrowed Rudolf Serkin’s \nmetronome. In the finale, Beethoven, in an unusual sonata form that he \ndeveloped in the finale of op. 54, very clearly asks for the lengthier, \nsecond part of the movement to be repeated before arriving at the coda. \nI’m confounded as to why so many pianists, Backhaus included, don’t take\n this repeat. The design of the entire sonata is compromised and \ntrivialized by abbreviating this movement. Backhaus is also inclined to \nplay this movement loudly, even though so much material in it is meant \nto be quiet. He anticipates the final \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epresto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e by accelerating way too soon before it is indicated. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOp. 78: After allowing the opening four\n measures to unfold expansively, Backhaus rattles off the first movement\n in a way that robs it of some of the lyricism that the opening phrase \ninvokes. His slightly measured tempo in the second movement is a \npleasant surprise. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOp. 79: The first movement could \nbenefit from a simpler steadiness. The second movement, which uncannily \nanticipates Mendelssohn’s Venetian boat songs, plods along at too slow a\n tempo, but Backhaus finds a witty, throwaway quality for the finale \nthat’s just right. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOp. 81a: Here is a thoughtfully \nplanned, fully engaged performance that communicates the yearning and \nnostalgia in the first two movements and the last movement’s joyous \nexcitement. This “Les Adieux,” like his “Emperor” Concerto with Clemens \nKrauss (also issued on Pristine and reviewed elsewhere), confirms \nBackhaus’s reputation as one of the great Beethoven interpreters. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eDespite my feeling that many of \nBackhaus’s Beethoven sonatas aren’t characterized with enough detail, \nhis playing always seems sincere and alive, unegotistical, with a human \nquality. Schnabel’s pioneering EMI cycle from the 1930s delineates \nBeethoven’s dynamics and goes deeper interpretively. It has been issued \non Pristine with splendidly improved sound. Nonetheless, it’s good to \nhave Backhaus’s unfussy second opinion. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003ePaul Orgel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 36:2 (Nov\/Dec 2012) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM056.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSixth volume in Backhaus's magnificent first Beethoven Sonata cycle\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eLong only available on rare imports, and in new 32-bit XR remasters - this is unmissable\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\n\u003cp class=\"bodybigblue\"\u003e\"While Backhaus's understanding of Beethoven is \nnot, at this time of day, in any dispute, there is room to question \nwhether these particular performances succeed in conveying it to the \nlistener. They are dominated by a savage attack, and a refusal to play \nbelow an mp-mf degree of volume; a refusal that may be the result of \nmany years' experience of recording under less satisfactory technical \nconditions than to-day's—which are here not on their very best \nbehaviour, but are nevertheless good, and of course greatly superior to \nthose that may be in Backhaus's mind .. The Appassionata stands up to \nthe strain fairly well ; and is, indeed, particularly in the last \nmovement, an impressive display of technical powers of the most advanced\n kind.\"\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003eM.M. The Gramophone\u003c\/b\u003e, September 1952 (Reviewing LXT2715, \u003cem\u003eexcerpt concerning Sonata No. 23\u003c\/em\u003e) \u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodybigblue\"\u003e\"The classical, precise, authoritative Backhaus \nis presented here with uncommonly lifelike quality. He has his minor \nerraticisms, but they are no more than a part of the person who is \npresenting a great master for our full attention. Backhaus's own intense\n conviction of the composer's mastery fully overcomes any doubts one \nmight have about the music. In truth, not one of these three sonatas is \nof great magnitude—that in G major (op. 79), Beethoven himself entitled \"\n sonate facile ou sonatine.\"... I like the brittle, guitarry effect \nBackhaus creates for the opening movement of Op. 79: it has a kind of \npeasant air about it. The andante is taken well under walking pace, and I\n could bear the vivace finale more headlong. From this disc I had slight\n trouble with blast, which remained even if one turned the dynamics \ndown. Backhaus's percussive style need not lead to this fault.\"\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eH.F. The Gramophone\u003c\/b\u003e, October 1951 (Reviewing LXT2603, \u003cem\u003eexcerpt concerning Sonata No. 25\u003c\/em\u003e) \u003cem\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eI have pointed out in previous technical notes that it \nhas increasingly become my opinion that this series of Beethoven sonata \nrecordings is one neglected - and, in its day, often disparaged - not \nprimarily as a result of the playing by Backhaus of these works, but the\n by the raw deal he was served up by Decca's inadequate recordings.\u003c\/p\u003e\u003cp class=\"body\"\u003eIn this volume pitch is, for the most part, not the issue seen previously, the exception being the first movement of the \u003cem\u003eAppassionata\u003c\/em\u003e,\n which dips alarmingly to begin with before proceeding to waver and jump\n about throughout the movement, most probably the result of editing \ntogether various takes as much as poor general tape speed stability. \nThis has, for the first time, been corrected.\u003c\/p\u003e\u003cp class=\"body\"\u003eI would have to take issue with \u003cem\u003eThe Gramophone\u003c\/em\u003e reviewer's suggestion that Backhaus refuses to play below \u003cem\u003emp-mf \u003c\/em\u003ethroughout\n the work - but can well imagine that impression being given by poor \nreproduction of his playing. Much of this is now happily alleviated \nhere, and these interpretations can be more clearly judged within the \nexcellent sonata cycle they so clearly combine to produce.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003ePiano Sonata No. 23 in F minor, Op. 57 \"Appassionata\"\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded April 1952 \u003cbr\u003e Issued as Decca LXT 2715\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 24 in F sharp major, Op. 78 \"A Thérèse\"\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded April 1952 \u003cbr\u003e Issued as Decca LXT 2931\u003cbr\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 25 in G major, Op. 79\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded March 1951 \u003cbr\u003e Issued as Decca LXT 2603\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 26 in E flat major, Op. 81a \"Les Adieux\" \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded November 1953 \u003cbr\u003e Issued as Decca LXT 2902\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e \u003cbr\u003e \u003cbr\u003e Wilhelm Backhaus\u003c\/span\u003e\u003c\/b\u003e \u003cspan class=\"body\"\u003epiano\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recording producer: Victor Olof\u003cbr\u003e Recorded at Victoria Hall, Geneva \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAKM056.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM056.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":31975208653,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975208717,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975208781,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975208845,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM056_ce0fb841-4230-437c-bad1-1052f2c61e84.jpg?v=1487681861"},{"product_id":"pakm057","title":"BACKHAUS Beethoven: Complete Piano Sonatas, Vol. 7 (1952\/54) - PAKM057","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\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Sonatas 27-29\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\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\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 in 1952 and 1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 71:01\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWilhelm Backhaus, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fFor collectors interested in late-period Beethoven, what Backhaus has to say is important578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eVolumes 7 \u0026amp; 8\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThese discs were originally Decca \nstudio recordings made between 1952 and 1954—No. 27, op. 90, No. 28, op.\n 101, No. 29, op. 106—and between 1950 and 1953—No. 30, op. 109, No. 31,\n op. 110, No. 32, op. 111. They constitute, respectively, Volumes 7 and 8\n of Pristine’s Backhaus Beethoven Edition. Wilhelm Backhaus was one of \nthe very great pianists of the last century. He was a contemporary of \nArtur Schnabel. There is information (possibly inaccurate) that in the \n1930s HMV Records first approached Backhaus for the project of recording\n all the Beethoven piano sonatas, but eventually settled on Schnabel \nbecause an agreement with Backhaus could not be reached. Here we have \nPristine Audio’s remastering in the form of two of Backhaus’s Beethoven \nsonata discs based on recordings made 20 years after the failed attempt \nby HMV. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBackhaus’s approach to these sonatas \nis, in many places, unique but idiosyncratic. The idiosyncrasies are not\n necessarily conducive to good judgment. The two-movement op. 90 sonata \nis played effectively, admirably in fact. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSturm und Drang\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n of the first movement is met contrastingly by the sunny disposition of \nthe second movement. The first movement of op. 101 is played \ninappropriately fast; it’s all over in 3:07. By comparison, Pollini \ntakes 3:44 (very fast but not inappropriately so), Schnabel takes 4:02, \nArrau takes 4:46, and Serkin takes 4:47. In the second movement (Vivace \nalla Marcia in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003escherzo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n form), Backhaus ignores the second repeat, but this may have been the \nresult of limited vinyl disc space. In any event, this is an undesirable\n omission. At bar 20 in the third movement where a large group of grace \nnotes introduces the final movement, the notation \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003enon presto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e appears (in the Schnabel edition and I presume in the autograph). Backhaus plays this as \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epresto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, if not \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eprestissimo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n obscuring the distinction between the four sets of quintuplet eighth \nnotes and the 10 sets of triplet eighth notes that comprise the \ngrace-note group. At this tempo it is unrealistic, if not physically \nimpossible, to follow Beethoven’s instruction of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNach und nach mehrere Saiten\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (to pass gradually from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003euna corda\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003etutti corda\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e). I know of no other performance where Backhaus’s approach is taken. Otherwise, op. 101 comes off well. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe “Hammerklavier” is a mixed bag of \ngreat inspiration and questionable judgment. Although Beethoven’s \nnotorious metronome marking for the beginning of the first movement (a \nvery fast minim of 138) is often ignored for a slower tempo, Backhaus \ncarries this to the level of malicious noncompliance resulting in the \nslowest opening I can recall—noticeably slower than Rudolf Serkin’s \ndidactically (but pleasingly) slow tempo. Throughout the first movement \nBackhaus introduces many tempo fluctuations, which seems to work for a \nwhile. The third movement has Backhaus at his best. Superb phrase \nshaping by subtle tempo and dynamic adjustments reveals the internal and\n external architecture of this magnificent movement. The final \nmovement’s giant fugue starting at the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro risoluto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is again managed masterfully by Backhaus, but the introductory 10 bars \nare played frenetically, ignoring the many indicated tempo variations in\n favor of an always-frenetic pulse. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe opening movement of op. 109 repeats\n the ill of that of op. 101—an inappropriately fast tempo. At an \nover-before-it-begins 2:40, this is to be compared to Pollini’s fast \n3:15, Schnabel’s 3:58, Arrau’s 3:57, and Serkin’s 4:04. On the other \nhand, in the third-movement variations, Backhaus’s excursion is a \nrevelation of Beethoven’s genius in this musical form. The first \nmovement of op. 110 is again at a fast tempo, but this time it merely \nblurs the passagework and gives the music no time to breathe, but the \nfinal two movements of op. 110 are again a revelation. From the first \nappearance of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, through the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eKlagender Gesang\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, through the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e’s second appearance and the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eErmattet Klagend\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n Backhaus is phenomenal. In the two appearances of the fugue, he again \nis the master, bringing forth clarity of line and delineation of \nstructure. But there is a downside. The nine G-Major chords that bridge \nthe second \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e with the second fugue are not played with a continuous crescendo, but rather are allowed to die away at their conclusion. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBackhaus’s first movement of op. 111 is\n so powerful and so revealing that it is the most rewarding performance \nthat I can recall. His treatment of the second-movement variations is \nmarked (or marred) by some peculiarly fast tempos. The first variation \nis played rather fast, which has the effect of having the slow and \nheavenly Arietta theme followed by an awakening, almost jarring, first \nvariation. Several of the succeeding variations are also played at \nunconventionally fast tempos. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eHow does one judge these discs in \nrecommendatory terms? For collectors interested in late-period \nBeethoven, what Backhaus has to say is important, whether in agreement \nor in disagreement with one’s views or expectations. In many ways, \nBackhaus and Schnabel each represent very different approaches to this \nmusic. Both approaches should be availed for a more enriching \nunderstanding of these sonatas. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eBurton Rothleder\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003eThis article originally appeared in Issue 36:2 (Nov\/Dec 2012) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM057.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSeventh volume in Backhaus's magnificent first Beethoven Sonata cycle\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eLong only available on rare imports, and in new 32-bit XR remasters - this is unmissable\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eListening to these three recordings it's not difficult \nto distinguish the sonata recorded in 1954 from those recorded two years\n previously. The overall tone of Sonata 27 has a richer quality than \nI've been able to bring out in Sonatas 28 and 29, and in its original \nreview in The Gramophone (not quoted here) the reviewer ends with an \nobservation that: \"The whole of this disc is very well recorded\", \nsomething of a contrast to the criticism directed at the \u003cem\u003eHammerklavier\u003c\/em\u003e recording.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe latter sounds, to modern ears, especially flat and \nboxy, with a very limited lower extension which appears almost to hollow\n out the sound of the piano. The result is indeed a recording which \nsuggested a much poorer performance than Backhaus actually gives as it \nminimises the impact of both the dynamic range of his playing and the \nsubtleties therein.\u003c\/p\u003e\u003cp class=\"body\"\u003eIn all three sonatas in this volume I've been able to \nenact a dramatic transformation in the sound of the piano, despite \nalmost constantly having to fight against multiple shortcomings in the \noriginal recordings, something that has been a constant throughout this \nseries. Pitchwise, apart from a sag during the first movement of Sonata \n28, these were generally fine. But in the recovery of piano tone I've \nhad to lift a lot of tape \"shash\" into the realms of audibility - and \nthen try to suppress this whilst retaining the piano. By and large this \nhas been a successful mission, but at times one may still be reminded of\n the vintage of these recordings.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 27 in E minor, Op. 90\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded January 1954 \u003cbr\u003e Issued as Decca LXT 2902\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 28 in A major, Op. 101\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded April 1952 \u003cbr\u003e Issued as Decca LXT 2715\u003cbr\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 29 in B flat major, Op. 106 \u003cbr\u003e \"Große Sonate für das Hammerklavier\"\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded April 1952 \u003cbr\u003e Issued as Decca LXT 2777\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e \u003cbr\u003e \u003cbr\u003e Wilhelm Backhaus\u003c\/span\u003e\u003c\/b\u003e \u003cspan class=\"body\"\u003epiano\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recording producer: Victor Olof\u003cbr\u003e Recorded at Victoria Hall, Geneva \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAKM057.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM057.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":31975212045,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975212109,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975212173,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975212237,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM057_eb8339ec-5a61-4139-8fd1-803e757b60b6.jpg?v=1487681864"},{"product_id":"pakm058","title":"BACKHAUS Beethoven: Complete Piano Sonatas, Vol. 8 (1950\/53) - PAKM058","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\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Sonatas 27-29\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\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\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 in 1950 and 1953\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 56:26\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWilhelm Backhaus, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fBackhaus and Schnabel each represent very different approaches to this music. Both approaches should be availed for a more enriching understanding of these sonatas.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eVolumes 7 \u0026amp; 8\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThese discs were originally Decca \nstudio recordings made between 1952 and 1954—No. 27, op. 90, No. 28, op.\n 101, No. 29, op. 106—and between 1950 and 1953—No. 30, op. 109, No. 31,\n op. 110, No. 32, op. 111. They constitute, respectively, Volumes 7 and 8\n of Pristine’s Backhaus Beethoven Edition. Wilhelm Backhaus was one of \nthe very great pianists of the last century. He was a contemporary of \nArtur Schnabel. There is information (possibly inaccurate) that in the \n1930s HMV Records first approached Backhaus for the project of recording\n all the Beethoven piano sonatas, but eventually settled on Schnabel \nbecause an agreement with Backhaus could not be reached. Here we have \nPristine Audio’s remastering in the form of two of Backhaus’s Beethoven \nsonata discs based on recordings made 20 years after the failed attempt \nby HMV. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBackhaus’s approach to these sonatas \nis, in many places, unique but idiosyncratic. The idiosyncrasies are not\n necessarily conducive to good judgment. The two-movement op. 90 sonata \nis played effectively, admirably in fact. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSturm und Drang\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n of the first movement is met contrastingly by the sunny disposition of \nthe second movement. The first movement of op. 101 is played \ninappropriately fast; it’s all over in 3:07. By comparison, Pollini \ntakes 3:44 (very fast but not inappropriately so), Schnabel takes 4:02, \nArrau takes 4:46, and Serkin takes 4:47. In the second movement (Vivace \nalla Marcia in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003escherzo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n form), Backhaus ignores the second repeat, but this may have been the \nresult of limited vinyl disc space. In any event, this is an undesirable\n omission. At bar 20 in the third movement where a large group of grace \nnotes introduces the final movement, the notation \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003enon presto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e appears (in the Schnabel edition and I presume in the autograph). Backhaus plays this as \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epresto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, if not \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eprestissimo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n obscuring the distinction between the four sets of quintuplet eighth \nnotes and the 10 sets of triplet eighth notes that comprise the \ngrace-note group. At this tempo it is unrealistic, if not physically \nimpossible, to follow Beethoven’s instruction of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNach und nach mehrere Saiten\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (to pass gradually from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003euna corda\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003etutti corda\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e). I know of no other performance where Backhaus’s approach is taken. Otherwise, op. 101 comes off well. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe “Hammerklavier” is a mixed bag of \ngreat inspiration and questionable judgment. Although Beethoven’s \nnotorious metronome marking for the beginning of the first movement (a \nvery fast minim of 138) is often ignored for a slower tempo, Backhaus \ncarries this to the level of malicious noncompliance resulting in the \nslowest opening I can recall—noticeably slower than Rudolf Serkin’s \ndidactically (but pleasingly) slow tempo. Throughout the first movement \nBackhaus introduces many tempo fluctuations, which seems to work for a \nwhile. The third movement has Backhaus at his best. Superb phrase \nshaping by subtle tempo and dynamic adjustments reveals the internal and\n external architecture of this magnificent movement. The final \nmovement’s giant fugue starting at the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro risoluto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is again managed masterfully by Backhaus, but the introductory 10 bars \nare played frenetically, ignoring the many indicated tempo variations in\n favor of an always-frenetic pulse. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe opening movement of op. 109 repeats\n the ill of that of op. 101—an inappropriately fast tempo. At an \nover-before-it-begins 2:40, this is to be compared to Pollini’s fast \n3:15, Schnabel’s 3:58, Arrau’s 3:57, and Serkin’s 4:04. On the other \nhand, in the third-movement variations, Backhaus’s excursion is a \nrevelation of Beethoven’s genius in this musical form. The first \nmovement of op. 110 is again at a fast tempo, but this time it merely \nblurs the passagework and gives the music no time to breathe, but the \nfinal two movements of op. 110 are again a revelation. From the first \nappearance of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, through the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eKlagender Gesang\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, through the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e’s second appearance and the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eErmattet Klagend\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n Backhaus is phenomenal. In the two appearances of the fugue, he again \nis the master, bringing forth clarity of line and delineation of \nstructure. But there is a downside. The nine G-Major chords that bridge \nthe second \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e with the second fugue are not played with a continuous crescendo, but rather are allowed to die away at their conclusion. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBackhaus’s first movement of op. 111 is\n so powerful and so revealing that it is the most rewarding performance \nthat I can recall. His treatment of the second-movement variations is \nmarked (or marred) by some peculiarly fast tempos. The first variation \nis played rather fast, which has the effect of having the slow and \nheavenly Arietta theme followed by an awakening, almost jarring, first \nvariation. Several of the succeeding variations are also played at \nunconventionally fast tempos. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eHow does one judge these discs in \nrecommendatory terms? For collectors interested in late-period \nBeethoven, what Backhaus has to say is important, whether in agreement \nor in disagreement with one’s views or expectations. In many ways, \nBackhaus and Schnabel each represent very different approaches to this \nmusic. Both approaches should be availed for a more enriching \nunderstanding of these sonatas. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eBurton Rothleder\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003eThis article originally appeared in Issue 36:2 (Nov\/Dec 2012) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM058.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eEighth and final volume in Backhaus's magnificent first Beethoven Sonata cycle\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eLong only available on rare imports, and in new 32-bit XR remasters - this is unmissable\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eSonata No. 30 was among the earliest recorded in this series and \namong the few to be released on 78s alongside an LP. Nevertheless it's \nalmost on a par with the two 1953 recordings with regard to technical \nquality. All three were again less than ideal, with various flaws \nfamiliar to this cycle, yet beyond a tendency to upper-frequency \nfuzziness and some pre- and post-echo they were generally at the higher \nend of the quality scale when looked at in that context. Perhaps the \nfact of a 78rpm issue of the first of these three works should serve as a\n reminder of the somewhat primitive technical origins of Backhaus's \nfirst complete cycle - by the time he returned to Beethoven sonatas in \nthe Decca studios a few short years later, recording technology had \nadvanced considerably.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 30 in E major, Op. 109\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded July 1950 \u003cbr\u003e Issued as Decca LXT 2535 and on 78s as AX361-62\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 31 in A flat major, Op. 110\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded November 1953 \u003cbr\u003e Issued as Decca LXT 2939 \u003cbr\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 32 in C minor, Op. 111\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded November 1953 \u003cbr\u003e Issued as Decca LXT 2939 \u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e \u003cbr\u003e \u003cbr\u003e Wilhelm Backhaus\u003c\/span\u003e\u003c\/b\u003e \u003cspan class=\"body\"\u003epiano\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recording producer: Victor Olof\u003cbr\u003e Recorded at Victoria Hall, Geneva \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAKM058.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM058.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":31975212365,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975212429,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975212493,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975212557,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM058_af99cffd-ec43-4358-b387-699325dcda26.jpg?v=1487681866"},{"product_id":"pacm093","title":"BUSCH QUARTET Beethoven: The Late Quartets (1933-42) - PACM093","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eString Quartets Nos. 7, 12-16\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cdiv\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio Recordings · 1933-42\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 3hr 46:42\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Busch Quartet\u003c\/span\u003e\u003c\/b\u003e\u003cem data_liveedit_tagid=\"000000001BABB630\"\u003e\u003c\/em\u003e\u003cbr\u003e\u003cem data_liveedit_tagid=\"000000001BABB630\"\u003e\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fAs exemplars of mid-1930s performance practices, the Busch’s Beethoven is unmatched578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eReviewing this set of Beethoven’s late quartets \nperformed by one of yesteryear’s pre-eminent string quartet ensembles \nrequires me to make an exception to my longstanding, and by now \ntiresome, pledge not to review recordings of these works wherein the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGrosse Fuge\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n from the op. 130 Quartet is shifted to after the alternate finale or \nworse, placed on another disc altogether. Neither is the case here, \nsince the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGrosse Fuge\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is nowhere to be found on these three discs. Whether the Busch String Quartet ever recorded the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGrosse Fuge\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n in its original form, I don’t know, but the ensemble did record it in \nan arrangement by Felix Weingartner, which was included in a three-disc \nEMI set of the complete late quartets, reviewed by Mortimer Frank in \n31:6.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs Frank and other \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n reviewers have noted, these Busch Beethoven studio recordings, made \nbetween 1933 and 1942, have long circulated in various configurations on\n various labels—Biddulph, Dutton, CBS\/Sony, EMI, and Preiser. These are \nthe same recordings at hand, cleaned up, of course, and remastered by \nAndrew Rose for these Pristine discs.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIf you’re already familiar with the performances \non one or another of the above-named labels, your only question is \nlikely to be about the sound of these Pristine restorations; and on that\n count I can tell you that what Rose has achieved is quite remarkable.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eNo, you won’t think you’re listening to the latest\n SACD to come off the press, but comparing Pristine’s “XR” processing to\n the Dutton transfers I’ve heard, Pristine’s sound is definitely more \nopen (i.e., not as damped sounding), lending greater separation to the \nvoices, and providing an extended sense, perhaps perceived rather than \nactual, of high and low frequency response. Purely on the merits of \nrecorded sound, these Pristine versions are superior and preferable to \nthe Dutton versions I’ve heard. I can’t speak to the Biddulph transfers \nbecause I haven’t heard them.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIf you’re not already familiar with the \nperformances, I can tell you that the Busch Quartet was in its prime and\n recording these Beethoven quartets at virtually the same time that its \napproximately contemporaneous rival, the Budapest String Quartet, was \nrecording some of its earliest Beethoven, also in the mid-1930s. Those \nperformances, recorded in London by HMV, can be heard in transfers on \nBiddulph, and comparison to the Busch Quartet in terms of aesthetic \nstyle and approach is instructive.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eOne already hears in the Budapest’s playing \nreadings that are transitioning to a more modern interpretive stance and\n understanding of the music. Tempos are a bit swifter, there’s less \nportamento, and vibrato is more modulated in accordance with dynamic and\n expressive markings. The Busch’s readings, in contrast, project a \nwarmth that’s somewhat downplayed in the Budapest’s readings, and it’s \nthat warmth that gives the Busch’s performances a wonderful inner glow \nand feeling of devout concentration. But by today’s standards, the \nunalleviated vibrato and especially the profusion of portamento—too few \nposition shifts and intervals of greater than a third are navigated \nwithout a slide—really do become cloying in fairly short order.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs exemplars of mid-1930s performance practices, \nthe Busch’s Beethoven is unmatched. Accepted on their own terms, these \nreadings represent the very best in string quartet playing of their \ntime, and these magnificent Pristine refurbishments enhance our \nunderstanding of why this ensemble was—and for many still is—so highly \nregarded. \u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJerry Dubins  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM093.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003ePioneering Busch String Quartet brilliant with Brahms\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"The Busch Quartet are at the top of their form ... exceedingly good\" - The Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThese recordings of the late quartets of Beethoven were recorded in \nHMV at Abbey Road Studios between 1935 and 1937, supplemented by \nColumbia's recordings of 1941\/42 at the Liederkranz Hall in New York \nCity. As with some previous Pristine restorations I've found the best \nresults have come from LP transcriptions of the original 78s, \ntransferred and issued in the days before digital remastering. With \nlimited options for improving sound quality, the onus on engineers was \nto get the very best from the original masters, often by either playing \nthe metal plates directly or by pressing quiet vinyl copies from them in\n order to make their transfers. Although it's unclear here which methods\n were used, both the CBS and EMI vinyl reissues of later decades proved \nexcellent starting points for the present set.\u003c\/p\u003e\u003cp\u003eIn each case XR remastering has made significant improvements in \nsound quality, with the higher frequencies now far clearer than before, \nespecially in the otherwise better-recorded Columbia takes. The slightly\n boxy sound of the HMV studio recordings has also opened out \nconsiderably, and overall the impression is of a much fuller, richer and\n more dynamic sound than might be anticipated from recordings of this \nera.\u003c\/p\u003e\u003cp\u003eThe pitching of the original transfers varied considerably. There was\n also some pitch variance within individual recordings. Here I've chosen\n to pitch all of the recordings to standard concert pitch. The use of \npitch stabilisation software has also enabled the elimination of wow \nfrom the original discs, as well as other pitch anomalies.\u003c\/p\u003e\u003cp\u003eThe Late Quartets don't normally include the 7th Quartet; with the \nfive quartets, 12-16, complete there was a perfect Quartet No. 7-sized \ngap in CD1, hence its inclusion here.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Quartet No. 7 in F, Op. 59, No. 1 \"Rasumovsky\"\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003eRecorded 15\/25 May 1942, Liederkranz Hall, New York\u003cbr\u003eCat. Nos. Columbia 71474-D - 71479-D \u003cbr\u003eMatrices XCO.32832-37; 32869-73\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Quartet No. 12 in E flat, Op.127\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003eRecorded 2\/16\/17 November 1936, Abbey Road Studio 3\u003cbr\u003eCat. Nos. HMV DB.3044-48 \u003cbr\u003eMatrices 2EA.4401-07\u003cbr\u003e \u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Quartet No. 13 in B flat, Op.130\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003eRecorded 13\/16 June 1941, Liederkranz Hall, New York\u003cbr\u003eCat. Nos. Columbia 71220-D - 71224-D \u003cbr\u003eMatrices XCO.30695-704\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Quartet No. 14 in C sharp minor, Op.131\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003eRecorded 2 March 1936, Abbey Road Studio 3\u003cbr\u003eCat. Nos. HMV DB.2810-14 \u003cbr\u003eMatrices 2EA.3120-29\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Quartet No. 15 in A minor, Op.132\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003eRecorded 7 October 1937, Abbey Road Studio 3\u003cbr\u003eCat. Nos. HMV DB.3375-3380s \u003cbr\u003eMatrices 2EA.5464-68\/71-76\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Quartet No. 16 in F major, Op.135\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003eRecorded 13 November 1933, Abbey Road Studio 3\u003cbr\u003eCat. Nos. HMV DB.2113-16 \u003cbr\u003eMatrices 2B.5436-43\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cblockquote\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003eThe Busch String Quartet:\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAdolf Busch\u003c\/b\u003e violin\u003cbr\u003e\u003cb\u003eGösta Andreasson\u003c\/b\u003e violin\u003cbr\u003e\u003cb\u003eKarl Doktor\u003c\/b\u003e viola\u003cbr\u003e\u003cb\u003eHermann Busch\u003c\/b\u003e cello\u003c\/p\u003e\n\u003c\/blockquote\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM093.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM093.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eARTICLE: \"The Busch Quartet\" (excerpt)\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eOnly the Busch ensemble, in my experience, have \npresented the Beethoven quartets on record in their full majesty - and \ndaring. Among the qualities that made Adolf Busch a great violinist were\n his uniquely long bow strokes, controlled with profound intensity and \ninvested with a strong spiritual charge. Believing that the late \nquartets had to be taken to extremes, he played fast movements very fast\n - often up to Beethoven’s controversial markings - and slow movements \nvery slowly. With a rhythmic sense as rigorous in broad tempi as it was \nexhilarating in quick tempi, he inspired his colleagues to match him in \nexceptional feats of concentration. Acting as his own producer, with a \ntrusted HMV engineer such as ‘Chick’ Fowler, he generally made just one \ntake of each side in a slow movement, so as to keep the intensity going \nfrom take to take. The luminous beauty of the Busch Quartet’s playing \ncan snatch your breath away in any of their repertoire, but the \nuninitiated should start with late Beethoven.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eTully Potter, Gramophone\u003c\/b\u003e, November 2013\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodymidarial\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eREVIEW \u003c\/b\u003e1976 LP reissue\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eBefore the war the Busch Quartet played Beethoven better than any \nother ensemble, and they still sound marvellous. They were always at \ntheir best in the late quartets and with the arrival of these two discs \ntheir newly transferred performances of all but the Grosse Fuge are now \navailable. The playing seems more spacious than that of the best modern \nensembles; they uncover the musical thought at their leisure. This \nimpression results in part from the very slow tempo in the stow \nmovements, but they can also sound almost leisured even when, according \nto my watch, the tempo is normal, as in the Scherzo of the F major. I \nthink this is because they seem less prone than modern ensembles to push\n their own technical accomplishments. Everything is subservient to the \nmusic. The slow movement of the E flat is most beautifully done; quaver \nlengths hardly vary in spite of all Beethoven's changes of tempo, but if\n the tempo is slow enough at the start they don't need to. The slow \nmovement of the C sharp minor is so thoughtfully played that the Quartet\n as a whole takes three or four minutes longer than usual, and very \nmoving it sounds. In the very difficult Scherzo that follows the rhythm \nis uneven in places; here alone complete success eludes the players.\u003c\/p\u003e\u003cp\u003eThough the Busch Quartet scooped much less than most ensembles of the\n 1930s the 1976 listener will certainly notice such scoops as there are.\n The trick is applied with curious inconsistency. For instance in the \nfirst allegro theme of the E flat Busch himself sometimes slides up from\n the first crotchet to the second (as in the first bar) and sometimes \ndoesn't (as when the same phrase is repeated four bars later); when this\n phrase is developed by all four players there is similar inconsistency.\n It must follow that during rehearsals there was never any discussion \nbetween the players as to whether they should scoop or not; it was just \nleft to chance like a touch of eighteenth-century improvisation. I do \nnot myself find the trick in any way worrying. Indeed in the first \nmovement of the E flat one can even persuade oneself that it adds a \ntouch of emotion to the sound. The illusion of leisured thinking is here\n at its very best; the last page seems to me the very perfection of \nplaying. Here and elsewhere pianissimos are a constant wonder.\u003c\/p\u003e\u003cp\u003eBearing in mind that all this music was recorded forty years ago and \nmore, the quality is splendid; furthermore these excellent performances \nof superb music are very reasonably priced. Strongly recommended.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eR.F., Gramophone\u003c\/b\u003e, November 1976, review of LP reissue on World Records\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":31975424077,"sku":null,"price":48.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975424269,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975424397,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975424461,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM093_bf0b6aa9-fd05-4841-be29-8bcb2185cf7a.jpg?v=1487681943"},{"product_id":"pasc455","title":"COATES Mozart: Symphony No. 41; Beethoven: Symphony No. 3 (1926-27) - PASC455","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\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\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 41\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e The Impresario, Overture\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 3\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eHMV Studio Recordings ∙ 1926 – 1927\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 71:42\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eAlbert Coates, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eLondon Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\"Symphony Orchestra\"\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cdiv style=\"padding-left: 30px\"\u003e\n\u003c\/div\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe LSO play with fire and conviction, while the spruced up 1926 Kingsway Hall recorded sound is the best we’re ever likely to hear578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBorn in Russia of English \nparents—as a boy, he once played for Tchaikovsky—Albert Coates studied \nwith Rimsky-Korsakov in St. Petersburg (where his father was a \nsuccessful businessman) and in Leipzig with Arthur Nikisch, who gave him\n his first job as \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003erépétiteur\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n at the Leipzig Opera. By 1910, he had made his debut with the London \nSymphony, serving as its chief conductor from 1919 to 1922, after which \nhe never again held a permanent post in Britain. Along with famously \nspoiling the world premiere of Elgar’s Cello Concerto by allotting the \ncomposer insufficient rehearsal time, he made some of the great \nrecordings of the 78-rpm era, including the 1929 Frieda Leider\/Lauritz \nMelchior recording of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTristan \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003elove duet whose vocal opulence and sheer intensity have yet to be surpassed. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eCoates’s 1926 recording of Mozart’s “Jupiter” Symphony begins with an \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro vivace \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewhose\n sheer blistering speed beggars the imagination, although incredibly \nenough the acoustical version from 1923 is even faster. (Coates was \nfamous for unbuttoned tempos: Witness that breathlessly exhilarating \nversion of Borodin’s Second Symphony.) The craziest thing is how \nconvincing it becomes on repeated hearings, as shock gives way to \ndumbfounded amazement which yields open admiration. At very least, as \nproducer Mark Obert-Thorn correctly points out, “Conventional wisdom \nmaintains that the Historically Informed Performance movement rescued \nClassical-era works from the stodginess of big orchestra performances. \nThe present recordings are, perhaps, exceptions that prove the rule.” \nWhile the elegantly shaped second movement and bouncing minuet are far \nmore normal, the finale underscores the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003emolto \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ein the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003emolto allegro \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003emood\n indication, and—as in the opening movement—the conductor observes the \nexposition repeat. Although clearly at odds with today’s belligerent \nneo-Puritanism, this—and a genuinely mad, three-and-a-half minute \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eImpresario \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture—is a heartening reminder of a kind of interpretive individuality and courage that have all but vanished today. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eTempos in the Coates “Eroica” are \nbrisk but never break-neck, with a quarter-hour funeral march that tugs \nat the heart-strings in a direct and very moving way. The oozing string \nslides that were Mengelberg’s signature in Beethoven (and elsewhere) are\n almost entirely absent, and what rubato creeps in is applied in a \nuniformly tasteful manner. Apart from a scherzo that clocks in at under \nfour minutes—a combination of a snappy tempo and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eno \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003erepeats—the outer movements sound surprisingly modern, with a bracing sense of inevitability in the most famous of all \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro con brio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es\n and a sequence of variations which—as in all great performances—add up \nto considerably more than the sum of their richly various parts. The \nLSO—as the “Symphony Orchestra” on the labels almost certainly was—play \nwith fire and conviction, while the spruced up 1926 Kingsway Hall \nrecorded sound is the best we’re ever likely to hear. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\n\n\u003cb\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJim Svejda\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 40:1 (Sept\/Oct 2016) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC455.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eCoates' astonishing 1920s Beethoven \u0026amp; Mozart\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e \"Mozart’s\n “Jupiter” Symphony begins with an Allegro vivace whose sheer blistering\n speed beggars the imagination ... a heartening reminder of a kind of \ninterpretive individuality and courage that have all but vanished today\"\u003cbr\u003e- Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eConventional wisdom maintains that the Historically Informed \nPerformance movement rescued Classical-era works from the stodginess of \nbig orchestra performances.  The present recordings are, perhaps, \nexceptions that prove the rule.  No one could ever accuse Albert Coates \n(1882 - 1953) of being stodgy in \u003cem\u003eany\u003c\/em\u003e repertoire; but his tempi \nin the works of Mozart and Beethoven stand out particularly in the \ncontext of most other conductors of his era.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCoates had previously recorded Mozart’s \u003cem\u003eJupiter\u003c\/em\u003e \nSymphony acoustically in 1923 (reissued on Pristine PASC 298), a \nperformance whose tempos are, amazingly, even faster than the present \nelectrical remake, although its running time is longer due to the \ninclusion there of the second movement repeat.  The \u003cem\u003eImpressario\u003c\/em\u003e\n Overture was the filler side for both versions.  Both the symphony and \nthe overture were recorded at an August, 1927 session, incongruously \nseparated by excerpts from \u003cem\u003eDie Walküre\u003c\/em\u003e and \u003cem\u003eGötterdammerung\u003c\/em\u003e\n for the “Potted Ring”, and the first movement was re-recorded at makeup\n session two months later.  The fact that HMV chose Coates to do the \nelectric remake suggests that both they and the public did not find his \ntempi to be unacceptably outrageous.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIf the tempos of the \u003cem\u003eJupiter\u003c\/em\u003e still seem a bit extreme, the \u003cem\u003eEroica\u003c\/em\u003e\n would strike today’s sensibilities as perfectly acceptable, with crisp \nexecution and an inevitable forward momentum.  Coates had already \nrecorded the Beethoven Seventh twice, both acoustically (PASC 298) and \nan unpublished early electric, and the Ninth had similarly been done in \nboth acoustic and electric (PASC 296) versions.  Clearly, HMV looked \nupon Coates as their “go-to” conductor for this repertoire.  It is odd, \nover a year into electrical recording, to hear acoustic-style tuba \nreinforcement of the bass lines; yet, this practice was to continue even\n into the Kreisler\/Blech Beethoven Violin Concerto, recorded in Berlin \nat the end of 1926.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA word is in order about the unnamed “Symphony Orchestra” heard\n in the Beethoven.  At the time it was recorded, the London Symphony \nOrchestra was under contract to the rival Columbia label.   Coates had \nbeen the principal conductor of the LSO from 1919 to 1922, and he \ncontinued to be closely associated with the ensemble.  It is likely that\n the anonymous orchestra is in whole or greater part the LSO.  By 1927, \nthe orchestra was under exclusive contract to HMV, and is so credited \nfor the Mozart recordings.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe quietest shellac sources were used for the present \ntransfers – the best sides from two copies each of prewar US Victor “Z” \npressings for the Mozart (album M-30) and a late prewar black label \nVictor reissue (set G-2) of the Beethoven. \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eMOZART \u003c\/b\u003e Symphony No. 41 in C major, K.551 ‘Jupiter’\u003cbr\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cbr\u003eRecorded 26 August and 25 October 1927 in Queen’s Hall, London\u003cbr\u003eMatrix nos. - CR 1476-3A, 1477-2, 1478-2A, 1479-2A, 1480-2A, 1481-1A and 1482-1A\u003cbr\u003eFirst issued on HMV D 1359\/62\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eMOZART \u003c\/b\u003e The Impressario, K. 486 (Der Schauspieldirektor) - Overture \u003cbr\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cbr\u003eRecorded 26 August 1927 in Queen’s Hall, London\u003cbr\u003eMatrix nos. - CR 1488-1A\u003cbr\u003eFirst issued on HMV D 1362\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003e Symphony No. 3 in E flat major, Op. 55, ‘Eroica’\u003cbr\u003e\u003cb\u003eSymphony Orchestra\u003c\/b\u003e\u003cbr\u003eRecorded 16 September and 26 October 1926 in Kingsway Hall, London\u003cbr\u003eMatrix nos. - CR 678-3A, 679-1, 680-2A, 681-1A, 682-1A, 683-1A, 684-3A, 685-1,  686-1, 687-1 and 688-1\u003cbr\u003eFirst issued on HMV D 1158\/63\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAlbert Coates\u003c\/b\u003e, conductor\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC455.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC455.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":31975470093,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31975470157,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC455.jpg?v=1773741403"},{"product_id":"pasc408","title":"DOHNÁNYI plays Dohnányi, Haydn, Beethoven, Schumann (1951\/56) - PASC408","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDohnányi\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Variations on a Nursery Tune\u003c\/span\u003e\u003cb\u003e \u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eHaydn\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Andante and Variations in F minor\u003c\/span\u003e\u003cb\u003e \u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBeethoven\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Andante favori\u003c\/span\u003e\u003cb\u003e \u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBeethoven\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Sonata No. 17 in D minor (“Tempest”)\u003c\/span\u003e\u003cb\u003e \u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSchumann\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Kinderszenen.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e \u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio Recordings · 1951\/56\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:18 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eErnö Dohnányi, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Adrian Boult, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\n\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe restoration of the Remingtons has been a valuable feature of these releases578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eWe are moving to a position where almost all Dohnányi’s recordings as a \npianist are available; certainly in the case of the studio recordings. \nThis release completes the release of his Remington LP performances \nbegun on \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2011\/Nov11\/brahms_sonatas_spalding_PACM078.htm\"\u003ePACM078\u003c\/a\u003e – the three Brahms sonatas with violinist Albert Spalding, somewhat painful examples of late Spalding - and \u003ca href=\"http:\/\/www.musicweb-international.com\/classRev\/2013\/June13\/Dohnanyi_plays_Dohnanyi_PASC381.htm\"\u003ePASC381\u003c\/a\u003e, where we find his own Violin Sonata, again with Spalding, and the \u003cem\u003eFour Rhapsodies\u003c\/em\u003e.\u003cbr\u003e  \u003cbr\u003e\n Haydn’s Andante and Variations in F minor, Hob. XVII:6 was taped for \nRemington in 1951 and displays a degree of expressive romanticism to \nemerge from, or – if one is unsympathetic – to be overlain on the music.\n Beethoven’s \u003cem\u003eAndante favori\u003c\/em\u003e, from the same time, is a \nconvincing performance of largely unchallenging music and prefaces the \ngreater challenges of the Sonata in D minor, the \u003cem\u003eTempest\u003c\/em\u003e. Here \none gets something of an insight into Dohnányi’s recreative conceptions \nthough they are ones somewhat compromised by a technique that is liable \nto strain in the finale. Nevertheless this is an important document in \nhis discography and it is invaluably made available here, in a fine \ntransfer, insofar as any transfer of a Remington disc can be said to be \nfine; certainly the restoration is fine. These pieces were released on a\n different LP to that of Schumann’s \u003cem\u003eKinderszenen\u003c\/em\u003e, recorded, I \nassume, at the same time, or around the same time. The interesting \nfeature of this 1951 LP is that we hear spoken introductions (in \nEnglish), by the pianist, to each scene. The overriding feature here is \nof a romanticist approach to the music in which \u003cem\u003elegato\u003c\/em\u003e and \u003cem\u003erubato\u003c\/em\u003e play a profoundly important role. There are times when he comes almost to a full stop, though the mock heroics of \u003cem\u003eAn Important Event\u003c\/em\u003e are well done. \u003cem\u003eTräumerei\u003c\/em\u003e\n is not too slow, with a flexible pulse, and one really does feel the \nchild does indeed fall asleep in the penultimate scene. The poet, \nspeaking, is very plain-speaking indeed; no Carl Friedberg here.\u003cbr\u003e  \u003cbr\u003e The most familiar item is the only non-Remington, the September 1956 Abbey Road recording of the \u003cem\u003eVariations on a Nursery tune\u003c\/em\u003e.\n He had recorded it in London a quarter of a century earlier with \nLawrence Collingwood but here had the advantage of Boult – there were \nattempts to interest Beecham with, after all, his own orchestra, but \nthey fell through – directing the Royal Philharmonic. This was recorded \nat the same sessions that gave us the Second Piano Concerto, released on\n Pristine \u003ca href=\"http:\/\/www.musicweb-international.com\/classRev\/2013\/June13\/Dohnanyi_plays_Dohnanyi_PASC381.htm\"\u003ePASC381\u003c\/a\u003e.\n The earliest releases were on mono LP but this Pristine has been \ntransferred from a stereo LP release, and very successfully too.\u003cbr\u003e  \u003cbr\u003e\n The disc could hardly be packed more to the gills than it is: 79 \nminutes of Dohnányi. The restoration of the Remingtons has been a \nvaluable feature of these releases.\u003cbr\u003e  \u003cbr\u003e \u003cb\u003e\u003cem\u003eJonathan Woolf\u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003eMusicWeb International, September 2014\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC408.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eDohnányi's 1950s Beethoven, Haydn and Schumann - plus his own brilliant stereo Variations on a Nursery Tune \u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"The\n aged composer tosses off a dashing, youthful-sounding performance that \ncatches the warmhearted irony of the music\" - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThis release completes the reissue of Dohnányi’s Remington recordings\n which was begun with the three Brahms Violin Sonatas with Albert \nSpalding (Pristine Audio PACM 078) and continued with recordings of his \nown Violin Sonata (again with Spalding) and Four Rhapsodies (PASC 381).\u003c\/p\u003e\u003cp\u003eAs with the previous reissues, Remington’s original engineering and \npressings posed several restoration challenges. Probably the most \nsignificant hurdle was locating quiet pressings in good condition. \nRemington was the original “budget” LP label, and their cost-cutting \nmanifested itself most noticeably in the quality (or lack thereof) of \nthe material on which they were pressed. Initial releases featured a \nhard, plastic-like compound high in surface noise, while later issues \nwere on somewhat quieter vinyl. All of the Remington recordings on the \ncurrent release were taken from pristine copies of the later editions.\u003c\/p\u003e\u003cp\u003eIn the case of the Schumann Kinderszenen (with spoken announcements \nin English by the pianist), this posed a dilemma. The early pressings \nare extremely noisy, with some of the softer passages almost lost in \nsurface crackle. In the later pressings, however, there appears to be a \ntape tracking problem which causes a watery sound on some of the \nselections. In the case of “Wichtige Begebenheit”, these were serious \nenough that I was forced to patch in the version from the earlier \npressing. For the remaining items, I felt that the trade-off favored the\n later edition, even with its flaws.\u003c\/p\u003e\u003cp\u003eNo such reservations need apply to the EMI recording of Dohnányi’s \nVariations on a Nursery Tune with Boult. Recorded at the same sessions \nas his Second Piano Concerto (PASC 381), it was a return to a work the \ncomposer\/pianist had first recorded in London 25 years earlier under \nLawrance Collingwood (PASC 252), but this time on stereo tape rather \nthan wax 78 rpm masters. It has been transferred here from a British LP \npressing.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cb\u003eHAYDN \u003c\/b\u003eAndante and Variations in F minor, Hob. XVII:6 \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Andante favori in F major, WoO 57 \u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Sonata No. 17 in D minor, Op. 31, No. 2 (“Tempest”)\u003cbr\u003eFirst issued on Remington RLP-199-16, rec. 1951 \u003cbr\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eKinderszenen, Op. 15 (Scenes of childhood) \u003cbr\u003eFirst issued on Remington RLP-199-43, rec. 1951\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eDOHNÁNYI \u003c\/b\u003eVariations on a Nursery Tune, Op. 25 [STEREO]\u003cbr\u003eFirst issued on HMV ALP 1514\u003cbr\u003eRecorded 10 – 11 September 1956 in Abbey Road Studio 1, London  \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eSir Adrian Boult\u003c\/b\u003e, conductor \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eErnö Dohnányi\u003c\/b\u003e, piano\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC408.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC408.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eErnö Dohnányi\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eAt one time the list of recordings of Dohnányi’s music, some in the \ncomposer’s own performances, was quite impressive, but now, apart from \nfour versions of his \u003cem\u003eVariations on a Nursery Song\u003c\/em\u003e for piano and\n orchestra there are only the early Piano Concerto, an orchestral suite,\n the Cello Sonata and one of the four Piano Rhapsodies.\u003c\/p\u003e\u003cp\u003eErnö Dohnányi, or Ernst von Dohnányi as for a time he preferred to be\n called, was born in Poszony (Pressburg) in Hungary on July 27th, 1877 \nand died in New York on February 11th, 1960. Brilliantly gifted from \nchildhood, he began to study the piano and later harmony with the local \ncathedral organist at the age of eight and by the time he went to the \nAcademy of Music in Budapest in 1893 he had written a string sextet, \nsome string quartets, piano pieces and songs. His Symphony in F gained \nfor him the King’s Prize in 1897, in which year he made his début as a \npianist in Berlin and Vienna, having worked with Eugen d’Albert for a \nshort time. A year later he played one of Beethoven’s piano concertos at\n a Richter concert in London’s Queen’s Hall. Over the years he travelled\n extensively and became very popular in America, and among the \nappointments he held at different times were professor of piano at the \nBerlin High School of Music, Director of the Budapest Conservatory, \nconductor of the Budapest Philharmonic Orchestra and Director of \nHungarian Radio. For political reasons he left Hungary in 1946 and \ntaught in Argentina for a year or so before being appointed \ncomposer-in-residence at the Florida State University in Miami.\u003c\/p\u003e\u003cp\u003eDohnányi would seem to have been blessed with a broad and simple \nsense of humour, clearly revealed in his tongue-in-check opening to the \u003cem\u003eVariations on a Nursery Song\u003c\/em\u003e,\n He had a fund of entertaining stories, one of which relates to two \nministers in Glasgow. They had flats on the first floor and periodically\n one would drag his piano into the other’s flat so that they could play \nduet sonatas. Not very skilled performers, they were delighted when \nafter several less successful attempts one evening they finished \ntogether. After a celebratory noggin of whisky one said, “Splendid \nDonald, now let’s try the second movement” and Donald replied “But, man \nAngus, that was the second movement that I was playing”.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eW. A. Chislett, Gramophone\u003c\/b\u003e, July 1977\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":37198599821,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37198599885,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37198600013,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC408.jpg?v=1494407269"},{"product_id":"pacm088","title":"EDWIN FISCHER TRIO plays Beethoven, Brahms and Schumann (1953) - PACM088","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Piano Trio No. 5 in D, \"Ghost\", Op. 70, No. 1\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\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Piano Trio No. 1 in B, Op. 8\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUMANN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Piano Trio No. 1 in D minor, Op. 63\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 August 1953 at the Mozarteum, Salzburg\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 58:58\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eEdwin Fischer, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eWolfgang Schneiderhan, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eEnrico Mainardi, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM088.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eOne of the great piano trio ensembles - superb new XR remasters\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eThree live piano trios by Beethoven, Brahms and Schumann, heard as never before\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003eIn Paul Badura-Skoda's notes to the Fonit \nCetra LP issue of this concert, from which the present transfer was \ndrawn, he observes: \"Unfortunately it must be observed that the tone \nbalance does not always match the sound I personally heard in the \nconcert hall. Unhappily the microphone had been placed just in front of \nthe violin and also close to the cello, so that the sound of the piano \nseems to come from a distant background. Probably the sound technician \nhad noted that generally the pianist in a chamber group plays too \nloudly. But in Fischer’s case the very opposite was true. The spiritual \nforce can nevertheless still be felt, even though the listener’s \nimagination must supply what cannot be heard.\"\u003cbr\u003e\u003cbr\u003eAlthough it is not\n within the bounds of technology today to alter the microphone placement\n of a recording made 60 years ago, it's instructive to note the \ndifference that XR remastering has made to the overall impression of \nbalance here. The original recording was clear but lacking in body, both\n from the cello and, in particular the full-bodied sound of the piano \nwhich helps so much to round out the overall sonic texture of the \nensemble. Restoring these hidden frequencies makes a huge difference to \nthe impression one receives from the performances themselves, which take\n on far more life and immediacy. Note that the Schumann Piano Trio No. \n1, also performed at the same concert, was too long to fit onto CD - it \ncan be downloaded at no cost from our website.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Trio No. 5 in D, \"Ghost\", Op. 70, No. 1\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Piano Trio No. 1 in B, Op. 8\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Piano Trio No. 1 in D minor, Op. 63\u003cspan type=\"_moz\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded 8 August 1953 at the Mozarteum, Salzburg\u003cbr\u003eA Bavarian Radio recording\u003cbr\u003eProducer and XR remastering engineer: Andrew Rose\u003cbr\u003e Cover artwork based on a photograph of Edwin Fischer Trio\u003cbr\u003eTotal duration: 58:58\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003eEdwin Fischer, \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003eWolfgang Schneiderhan, \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003eEnrico Mainardi, \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003ecello\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eBecause the total duration of the three trios exceeds that of a standard\n audio CD this piece has been excluded from the CD issue. It is however \nincluded in all downloads.\u003cspan style=\"font-size: medium;\"\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\/PACM088.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM088.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":31975524301,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975524429,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975524493,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975524621,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM088_c23f9d7e-4a4f-4583-b8b1-e410374167f5.jpg?v=1487682062"},{"product_id":"pacm086","title":"FEUERMANN plays Beethoven, Brahms, Reger \u0026 Schubert (1934-39) - PACM086","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Cello Sonata No. 3 in A major, Op. 69\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUBERT\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Arpeggione Sonata in A minor, D.821\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Cello Sonata No. 1 in E minor, Op. 38\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eREGER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Suite for Unaccompanied Cello in G Major, Op. 131c, No. 1\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr data_liveedit_tagid=\"000000000D7722F0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003cspan\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1934-39\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 72:59\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/p\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eEmanuel Feuermann, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eMyra Hess, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eGerald Moore, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eTheo van der Pas, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fGramophone Historic Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fBRAHMS Cello Sonata 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"body\"\u003eThe ’cello is really a short-length solo instrument, \nlacking sufficient suppleness and variety of tone for longer courses, \nbut in this sonata Brahms has exploited the range and personality of the\n instrument with such resource that one is never overcome by the feeling\n of monotony that is the danger of its rich tones.\u003c\/p\u003e\u003cp class=\"body\"\u003ePerhaps I may refer readers to an analysis of the music \nthat I did for the “Brahms” volume in the “Golden Treasury of Recorded \nMusic” Series (II.M.V., 1s.) and proceed to discuss the performance.\u003c\/p\u003e\u003cp class=\"body\"\u003eFeuermann is in the front rank of 'cellists and it goes \nwithout saying that his playing is magnificent. He is at his best in the\n last movement—one of great force and brilliance. I should have liked a \nsharper differentiation of tone for the second subject of the first \nmovement—it is too much of a piece with what has gone before—and the \ncharming scherzo (in the style of a minuet) should surely have been \ngiven, by both artists, much more lightly and whimsically; the Trio \nespecially. For this movement (the second) I prefer Beatrice Harrison's \nrecording.\u003c\/p\u003e\u003cp class=\"body\"\u003eIf only the balance had been as good as in the \n“Kreutzer” discs of last month! Unfortunately, the pianist, whose \nplaying is clearly excellent, sounds too distant and as if his \ninstrument had a very feeble bass.\u003c\/p\u003e\u003cp class=\"body\"\u003eWith this reservation the recording is very good, the deep notes of the ’cello coming out extraordinarily well.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eA.R., The Gramophone\u003c\/b\u003e, October 1935\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM086.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eA fabulous Chamber Music recital from Emanuel Feuermann\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Feuermann is in the front rank of 'cellists ... his playing is magnificent\" - The Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThe sources for the transfers were all American Columbia pressings – \n“Full-Range” label copies for the Beethoven and Schubert; a large label,\n post-“Viva-Tonal” set for the Brahms; and a “Gold Microphone” label \nedition for the Reger.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Cello Sonata No. 3 in A major, Op. 69\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 28\/29 June 1937 in EMI Abbey Road Studio No. 3, London\u003cbr\u003e Matrices: CAX 8004-8 (all Take 1)\u003cbr\u003e First issued on Columbia LX 641-43\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cb\u003eMyra Hess\u003c\/b\u003e piano\u003c\/span\u003e \u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSCHUBERT\u003c\/b\u003e Arpeggione Sonata in A minor, D.821\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 29\/30 June 1937 in EMI Abbey Road Studio No. 3, London\u003cbr\u003e Matrices: CAX 8009-13 (all Take 1)\u003cbr\u003e First issued on Columbia LX 717-19 \u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cb\u003eGerald Moore\u003c\/b\u003e piano\u003c\/span\u003e \u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Cello Sonata No. 1 in E minor, Op. 38\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 10\/11 July 1934 in EMI Abbey Road Studio No. 3, London\u003cbr\u003e Matrices: CAX 7211-1, 7212-1, 7213-2, 7214-2 and 7215-1\u003cbr\u003e First issued on Columbia LX 404-06\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cb\u003eTheo van der Pas\u003c\/b\u003e piano\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eREGER\u003c\/b\u003e Suite for Unaccompanied Cello in G Major, Op. 131c, No. 1\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 7 February 1939 in EMI Abbey Road Studio No. 3, London\u003cbr\u003e Matrices: CAX 8439-42 (all Take 1)\u003cbr\u003e First issued on Columbia LX 817-18\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eEmanuel Feuermann\u003c\/b\u003e cello\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\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\/PACM086.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM086.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":31975544205,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31975544269,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM086_28e9165f-7a9a-4d59-a08b-45730ad7c67a.jpg?v=1487682077"},{"product_id":"pacm028","title":"FOURNIER, JANIGRO \u0026 BADURA-SKODA Beethoven: \"Archduke\" Trio (1951) - PACM028","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Trio No 7 in B flat, Op. 97, \"Archduke\"\u003c\/span\u003e\u003cb\u003e\n\u003c\/b\u003e\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM028.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFournier, Janigro and Badura-Skoda play Beethoven\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eWestminster classical LP recording remastered for finest sound quality\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eTo include repeats or not to include repeats? If it means your \nlistener will be forever changing sides of 78s you'll probably leave \nmost of them out, whereas with the fuller span of an LP you can afford \nto be a little more generous - hence the extra five and half minutes of \nBeethoven heard on this recording, by comparison to our 1943 \nSolomon-Holst-Pini release (PACM022).\u003cbr\u003e\u003cp\u003e\u003cbr\u003eHowever, if the third, slow\n movement had been taken here at the same pace as the earlier recording a\n further minute could have been added to the duration here - clearly the\n trio felt no need to use their extra time needlessly! \u003cbr\u003e\u003cbr\u003eI've \nchosen to highlight with our free download here the final movement, \nwhere Fournier, Janigro and Badura-Skoda begin with a sense of real \njollity so clear that you can definitely hear them smiling at each other\n as they play!\u003c\/p\u003e\n\u003cp\u003eOnce again I'm glad to report an excellent job of restoration by \nPeter Harrison, who seems to do the impossible and raise the bar every \nmonth on what can be achieved from these 1950's mono recordings. Take a \nlisten and you'll hear a superb recording, wonderfully played, and not a\n hint that it's 54 years old.\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Trio No 7 in B flat, Op. 97, \"Archduke\"\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 15-30 October 1951, Konzerthaus, Mozart-Saal, Vienna\u003cbr\u003eReleased as Westminster WL5131 \u0026amp; XWN18270\u003cbr\u003eDuration 40:03\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cb\u003eJean Fournier, \u003c\/b\u003eviolin\u003cb\u003e \u003cbr\u003e Paul Badura-Skoda, \u003c\/b\u003epiano\u003cbr\u003e\u003cb\u003eAntonio Janigro\u003c\/b\u003e, cello\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\/PACM028.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM028.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":31463418957,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":31463419021,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACM028.jpg?v=1782980151"},{"product_id":"pasc400","title":"FRICSAY Beethoven: Piano Concerto No. 3, Triple Concerto (1957-60) - PASC400","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concerto No. 3\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eTriple Concerto\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e2 Concert Rondos (K.382, K.386) (download-only)\u003c\/span\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\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in stereo, 1957, 1959 \u0026amp; 1960\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 89:42 (CD: 72:39)\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\n\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eAnnie Fischer, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eGéza Anda, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eWolfgang Schneiderhan, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ePierre Fournier, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello \u003c\/span\u003e\n\u003c\/div\u003e\u003cb\u003e\n\u003c\/b\u003e\u003cdiv\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBavarian State Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/div\u003e\u003cb\u003e\n\u003c\/b\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBerlin Radio Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eFerenc Fricsay, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fA memento of treasurable artists at their very best.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eCombining two Beethoven concerto \nrecordings by Ferenc Fricsay is a splendid idea. As we know from his \nstriking and individual “Eroica” in his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGreat Conductors of the 20th Century\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n set, Fricsay is a Beethoven conductor of passion and brilliance. His \nThird Piano Concerto with Annie Fischer is a great recording. The two \nHungarians have a heightened rapport with each other. Fricsay’s opening \ntutti in the first movement is vigorous and lyrical at the same time, \nwith a contrast of light and shade as in an etching. Fischer takes up \nthis mood with a big but beautifully articulated sound. She employs just\n enough rubato to give the music a sense of flow. The movement is \nabsolutely \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003econ brio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n with Fischer and Fricsay creating drama even in quiet moments. Her \ncadenza is an immense accomplishment, exhibiting the quality of the \nimprovisations Beethoven was famous for. Fischer establishes a rapt mood\n at the start of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLargo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n As the movement proceeds, her playing acquires the charm appropriate to\n a light, romantic episode. Fricsay’s accompaniment is full of subtle \ncolors. The Rondo begins with the music being propelled along, though \nwith no heavy-handedness. Fischer’s playing sparkles. The music making \nhere combines depth with energy. The coda is like a gemstone in a \nperfect setting. Andrew Rose’s remastering is excellent, achieving a \nsense of both space and color. He has left in just enough tape hiss to \npreserve tonal vibrancy. As he notes, intercutting between takes in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLargo \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ecauses the image of the piano to shift at times, but this is not unduly disturbing. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe recording of the Triple Concerto is\n justly famous. Fricsay sets a spacious tempo at the start that brings \nout the majesty of the opening movement. The exchanges between the \nsoloists are civilized and gently Romantic. Schneiderhan and Fournier \ncould not play more elegantly. Anda’s contribution here is more \npropulsive and agitated, what we think of as traditionally Beethovenian.\n In the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLargo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, \nFournier’s entrance is the stuff of legends. The trio blends \nbeautifully, taking the lead away from Fricsay. The concluding Rondo \npossesses a winsome quality. Schneiderhan plays with a gloriously \nsinging tone. The development section’s Polish rhythms are brought out \nby all concerned. The work’s conclusion has dash, élan, and, what’s \nmore, wit. I have the LP of this recording, so I was able to hear what \nAndrew Rose did in his remastering. He has increased substantially the \nair surrounding the performers. The balance among the soloists is \nimproved, as is that between the trio and the orchestra. The tone \nquality of the Berlin Radio Symphony here is truthful to what we hear on\n their broadcast recordings under Fricsay. I enjoyed Rose’s rather \ninterventionist take on this recording very much. That said, I still \nprefer the LP. Its up-close perspective on the performers enhances the \nchamber music feel of this score. Most importantly, the tone quality of \nthe instruments is so much richer that at times I feel like I’m hearing a\n different performance than the one on the CD. If you only want this \nrecording on CD, Rose’s edition will do, but to really experience what \nthe artists have accomplished you need the LP. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eOther renditions I like of the Third \nConcerto are the remastered version by Alfred Brendel with James Levine,\n which I prefer to Brendel’s final recording with Simon Rattle, and the \nCD by Peter Rösel with Claus Peter Flor. Karajan’s disc of the Triple \nConcerto with Richter, Oistrakh, and Rostropovich certainly is the equal\n or greater of Fricsay’s, not least for the increased intimacy in the \nRussians’ playing. I once heard a gorgeous account of the Triple \nConcerto in concert with the Kalichstein-Laredo-Robinson Trio and the \nNew Jersey Symphony, Jaime Laredo demonstrating remarkable conductorial \ncontrol over the orchestra while playing his solos. If you don’t know \nthe Fricsay recordings of these concertos, by all means get this CD. It \nis a memento of treasurable artists at their very best. \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 37:5 (May\/June 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC400.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFricsay a masterful maestro with brilliant soloists Fischer, Anda, Schneiderhan \u0026amp; Fournier\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"This would be my own choice\" - \"I have never heard it better played\" - The Gramophone, 1961\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eBoth of these recordings were essentially very well made, and these \nnew transfers have, with XR remastering, built on very fine originals a \nclean, clear and full sound that in both cases might have been recorded \njust last week, rather than more than fifty years ago. One problem did \nrear its head in the second movement of the piano concerto, where cuts \nbetween takes caused considerable jumps in the stereo soundstage's \nintended centre image. These I have attempted to ameliorate as much as \npossible, though the careful listener on headphones may still spot the \njoins.\u003c\/p\u003e\u003cp\u003eThat said, this is unlikely to detract from these wonderful performances and recordings.\u003c\/p\u003e\u003cp style=\"text-align: left;\" align=\"center\"\u003e\u003cspan class=\"bodymid\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/span\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\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 3 in C minor, Op. 37\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eRecorded 3 December, 1957\u003cbr\u003eHerkulesaal, Munich\u003cbr\u003eIssued as DGG SLPM 138087\u003cbr\u003e\u003cb\u003eAnnie Fischer, piano\u003cbr\u003eBavarian State Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eBEETHOVEN \u003c\/b\u003e Triple Concerto in C major, Op. 56\u003cbr\u003eRecorded 1 May, 1960\u003cbr\u003eJesus Christus-Kirche, Berlin\u003cbr\u003eIssued as DGG SLPM 136236\u003cbr\u003e\u003cb\u003eGéza Anda, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eWolfgang Schneiderhan, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003ePierre Fournier, \u003c\/b\u003ecello\u003cb\u003e\u003cbr\u003eBerlin Radio Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e \u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e*MOZART Concert Rondo in D, K.382\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e*MOZART Concert Rondo in A, K.386\u003c\/b\u003e\u003cbr\u003eHerkulesaal, Munich\u003cbr\u003eIssued as DGG SLPM 138087\u003cbr\u003e\u003cb\u003eAnnie Fischer, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eBavarian State Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eFerenc Fricsay, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003e\u003cb\u003e*\u003c\/b\u003e\u003cb\u003eDownload only: \u003c\/b\u003e due to lack of space on the CD disc, these tracks are download-only. They are included in all downloads. \u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC400.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC400.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":57542770714,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":57542803482,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":57542836250,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC400.jpg?v=1501146603"},{"product_id":"pasc317","title":"FRIED Beethoven: Symphony No. 9 (1928) - PASC317","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\u003cb\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN Symphony No. 9\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\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;\"\u003eStudio recording, 1928\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 62:05\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLotte Leonard, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003esoprano\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eJenny Sonnenberg, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econtralto\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eEugen Transky, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003etenor\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eWilhelm Guttmann, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ebass\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBruno Kittel Choir \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBerlin State Opera Orchestra \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Oskar Fried\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fMark Obert-Thorn’s bright, open new transfer comprehensively outclasses the curiously dull, featureless one by David Lennick on Naxos578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOskar Fried’s early electrical Ninth \n(1928) comes as a welcome follow-up to Pristine’s recent release of his \nacoustic “Eroica.” The original recording was not one of the better ones\n of its day, poorly balanced with the woodwinds too distant. But Mark \nObert-Thorn’s bright, open new transfer comprehensively outclasses the \ncuriously dull, featureless one by David Lennick on Naxos. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFreid’s conception of the Ninth is \nlean, sharp-edged, and modernist, in the manner of Coates, Weingartner, \nand Toscanini—although from one perspective expressively more neutral, \nless highly dramatized than any of them, Fried’s ascetic rigor, at times\n evoking an almost Stravinskian angularity, is highly compelling on its \nown terms (interestingly, his style is far less expressively molded here\n than in his “Eroica” of a few years earlier). The first movement is \nvery successful in its taut, punchy, incisive way, despite some patches \nof approximate ensemble. Edgy sextuplets set the scene and are much \nemphasized at their periodic returns later in the movement, with the \neffect of a subterranean stream bubbling to the surface. Phrases are \ndriven forward with Fried’s trademark quickening thrust. I am less \nenthusiastic about the Scherzo, where the rhythmic drive becomes \nunsubtle, with overdone attacks on the fugal entries. It is also \nsurprisingly inconsistent in tempo, with the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eda capo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n after the Trio taken very noticeably faster than first time through. \nLike Coates and Toscanini, Fried takes the Adagio up to tempo (or closer\n to it than most pre-period-performance conductors, at 14:05), though \nagain his style is cooler and more detached, less singing, than either. \nBut he is audibly galvanized in the finale, building and integrating the\n movement’s disparate elements most impressively. The solo quartet \ndisplays good teamwork, singing with incisive clarity, and the choral \nwork really blazes, with an exciting sense of spontaneity. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThis is highly recommended as the \nbest-sounding edition yet of an important recording in the Ninth’s early\n discography, and a mandatory upgrade for those possessing the old Naxos\n disc. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eBoyd Pomeroy\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 36:1 (Sept\/Oct 2012) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC317.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eOne of the first truly great recordings of Beethoven's Ninth\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e \"Highly recommended as the best-sounding edition yet of an important recording in the Ninth’s early discography\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cli\u003e\n\u003cp class=\"body\"\u003eThe source for the present transfer was a set of French \nPolydor pressings. The exact date of recording is not known; the \n“Mechan. Copt.” date given on the discs is 1928, although some \ndiscographic sources claim it was made the previous year. Some of the \nloudest choral passages overloaded the early microphones, causing a \ncouple moments of sputtering which are inherent in the original \nrecording.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\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\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 9 in D minor, Op. 125, “Choral”\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cul\u003e\u003cli\u003e\n\u003cspan class=\"body\"\u003e\u003cb\u003eLotte Leonard\u003c\/b\u003e soprano\u003cbr\u003e\u003cb\u003eJenny Sonnenberg\u003c\/b\u003e contralto\u003cbr\u003e\u003cb\u003eEugen Transky\u003c\/b\u003e tenor\u003cbr\u003e\u003cb\u003eWilhelm Guttmann\u003c\/b\u003e bass\u003cbr\u003e\u003cb\u003eBruno Kittel Choir · Bruno Kittel\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBerlin State Opera Orchestra \u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003eRecorded in 1928 in Berlin\u003cbr\u003e\u003cbr\u003eFirst issued on Grammophon\/Polydor 66657 through 66663\u003cbr\u003e\u003cbr\u003e1st movement matrices: 633 bm, 634 bm and 635 bm\u003cbr\u003e2nd movement matrices: 588 ¾ bm and 636 bm\u003cbr\u003e3rd movement matrices: 637 bm, 638 bm and 639 ½ bm\u003cbr\u003e4th movement matrices: 586 ½ bm, 587 bm, 566 ½ bm, 564 ½ bm, 565 ½ bm and 567 ½ bm \u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003eOskar Fried\u003c\/b\u003e conductor\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eCover artwork based on a photograph of Oskar Fried\u003cbr\u003e\u003cbr\u003eTotal duration: 62:05\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\/PASC317.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC317.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":34130054477,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34130054541,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC317.jpg?v=1489570622"},{"product_id":"pakm019","title":"FRUGONI Beethoven: Three Piano Sonatas (1951) - PAKM019","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\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eMoonlight, Pathétique, Appassionata Sonatas\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\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\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 1951\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eDuration 46:52\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrazio Frugoni, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fBill Rosen's Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eOrazio Frugoni occupied only a few decaying cells in my memory as a \nlong-time professor of piano at the Eastman School of Music. I dimly \nremembered that these sonatas had been released on VOX in the USA in the\n early 50's on an LP weighing about three pounds, but remembered nothing\n about the performance. Like Peter Harrison, I was tempted to give it a \nmiss. After the first movement of the \"Moonlight\", I was hooked. Here \nwas another case, like Kathleen Long, of an outstanding pedagogue who \nwas also a great artist, but did not pursue a concert career.\u003cbr\u003e\u003cbr\u003eFrugoni's\n artistic temperament, at least in Beethoven, is very classical, \nmoderate, free of idiocyncracy, but none-the-less exciting. A bit like \nWilhelm Kempff, if you will.\u003cbr\u003e\u003cbr\u003eIn the \"Moonlight\", the first \nmovement casts its spell over me anew. Th second movement sounds like \nmore than an interlude and the finale is enormously exciting, highly \narticulated without banging. Wow, I love the \"Moonlight\" all over again.\n The piano sound here and in the other two sonatas is clear, pearly and \npowerful.\u003cbr\u003e\u003cbr\u003eThe \"Pathetique\" first movement is exciting, but the \n\"crack of doom\/cheap thrills\" way of playing the opening chords and the \nallegro has no place here. This is not Liszt. This was a ground-breaking\n work. Moscheles remembered when he was 8 years old and living with his \nteacher that he was forbidden to practice this work. So he would take a \nsmall candle and try to memorize the score in bed. Perhaps the teacher \nmight have approved of Frugoni's performance. I always dread that \nmoment, when after the exposition has been repeated and the development \nplayed when the recapititulation comes and Beethoven seems suddenly at a\n loss for what to do and just goes on and repeats the broken chords of \nthe allegro that we have heard so many times. Well, Frugoni almost gets \nme through it.\u003cbr\u003e\u003cbr\u003eThe second movement is almost too austere, but at \nleast it doesn't remind me of the theme music introduction to Karl Haas \n\"Adventures in Good Music\", a program which may have contributed to the \ndecline of classical music in the United States. The finale, usually a \nbit of an anti-climax, ends up being the most exciting movement of all, \ntaken a a rip-roaring pace.\u003cbr\u003e\u003cbr\u003eThe \"Appasionata\" is very well \nplayed, but perhaps a little too controlled. The first movement is very \nclean and free of rhetorical banging. The final presto of the movement \nis very exciting but not a scramble. The second movement variations, not\n one of Beethoven's most inspired sets, held my interest throughout due \nto Frugoni's beautiful tone and the pellucid restoration of the sound. \nThe finale is very well articulated--not a note out of place. Frugoni \nhardly breaks a sweat--and that is a problem in the finale. One does \nneed just a little bit of broken glass here, doesn't one?\u003cbr\u003e\u003cbr\u003eOverall,\n a forgotten, but near great, Italian-Swiss-American pedagogue and \nartist brought wonderfully back to life with something to say worth \nhearing in three overfamiliar Beethoven works.\u003cbr\u003e\u003cbr\u003eReviewer: Bill Rosen\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM019.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFrugoni's 1951 Beethoven Sonata recordings\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"direct,\n sure and delicate playing gives his performances a vitality that more \ncelebrated executants often fail to achieve in these works\" - The Record\n Guide\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp align=\"left\"\u003e\u003cspan style=\"color: #000000; font-family: arial,helvetica,sans-serif;\"\u003eIt\n seems almost pointless to introduce the three sonatas for piano that \nconstitute this recording - they are amongst the best known and well \nloved music ever written. Indeed, it was only by chance that we even \ndecided to listen to the LP from which this restoration was made. \u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"left\"\u003e\u003cspan style=\"color: #000000; font-family: arial,helvetica,sans-serif;\"\u003eI was making a rare visit to Peter Harrison's studio at \u003cem\u003edisk2disc\u003c\/em\u003e\n (our communications are normally via telephone and e-mail) and we were \ntaking the opportunity to run through a batch of LPs together supplied \nfor remastering by Don Petter. \u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"left\"\u003e\u003cspan style=\"color: #000000; font-family: arial,helvetica,sans-serif;\"\u003ePeter got as far as the Beethoven and said something along the lines of \"\u003cem\u003ethe last thing the world needs is another set of this lot!\u003c\/em\u003e\" - to which I replied, \"\u003cem\u003ewell let's at least give it a listen!\u003c\/em\u003e\"\n So he slipped it out of the sleeve, gave it a quick dusting off, placed\n it onto the turntable and lowered the stylus. I only wish I could have \nrecorded the sound of Peter's jaw dropping when the playing began!\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"left\"\u003e\u003cspan style=\"color: #000000; font-family: arial,helvetica,sans-serif;\"\u003eI\n know that Don's been itching to get this one restored for a long time -\n it's one of those long-lost treasures that somehow has escaped reissue,\n until now. Double-starred in \u003cem\u003eThe Record Guide\u003c\/em\u003e in 1955, the authors' comment pretty well sums up what you will hear:\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"left\"\u003e\u003cspan style=\"color: #000000; font-family: arial,helvetica,sans-serif;\"\u003e\"\u003cem\u003eAmong\n the miscellaneous sonata records listed below we would direct attention\n particularly to the Vox disc of the three popular 'named' sonatas - the\n 'Pathétique', the 'Moonlight' and the 'Appassionata', by the young \nSwiss-American pianist Orazio Frugoni. His direct, sure and delicate \nplaying gives his performances a vitality that more celebrated \nexecutants often fail to achieve in these works. We get, besides, a good\n deal of music for our money, and the recording is flawless.\u003c\/em\u003e\"\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cspan style=\"color: #000000; font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003eBEETHOVEN Piano Sonata \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003eNo 14\u003c\/b\u003e, 'Moonlight' in C sharp minor\u003cb\u003e, \u003c\/b\u003eOp. 27\u003cb\u003e \u003c\/b\u003eNo. 2\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cb\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cbr\u003eBEETHOVEN \u003cspan style=\"color: #000000; font-family: Arial,Helvetica,sans-serif;\"\u003ePiano Sonata \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003eNo. 8, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e'Pathétique' in C minor\u003c\/span\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e, Op. 13\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cb\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003eBEETHOVEN \u003cspan style=\"color: #000000; font-family: Arial,Helvetica,sans-serif;\"\u003ePiano Sonata \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003eNo. 23, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e'Appassionata' in F minor\u003c\/span\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e, Op. 57\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\n\u003cb\u003e\u003cbr\u003eOrazio Frugoni\u003c\/b\u003e, piano\u003cbr\u003e \u003cbr\u003eRecorded 27-28 August 1951, Columbia 30th Street Studio, New York, issued as Vox LP PL7160\u003c\/p\u003e\u003cp\u003eDuration 46:52\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\/PAKM019.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM019.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":34050706253,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":34050706317,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM019.jpg?v=1489496971"},{"product_id":"paco095","title":"FURTWÄNGLER Beethoven: Fidelio (1953) - PACO095","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 class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eFidelio\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 1953 \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 14:42\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeonore\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Martha Mödl\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eFlorestan\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e – Wolfgang Windgassen\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eDon Pizarro\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Otto Edelmann\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eRocco\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e – Gottlob Frick\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eWilhelm Furtwängler\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e, conductor\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fPristine’s sound is fuller, the voices sound less cramped and less harsh, and the ambience that comes from the XR process is a welcome addition and never intrusive578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAndrew Rose’s remastering of EMI’s 1953\n studio recording is masterful. Although I labelled it “monaural” in the\n headnote, because the original recording is indeed monaural, I heard it\n in Pristine’s XR stereo format. I directly compared it to EMI’s CD \nremastering (CHS 7 64496 2), comparing individual segments and then \nhearing the entire opera in both versions. Pristine’s sound is fuller, \nthe voices sound less cramped and less harsh, and the ambience that \ncomes from the XR process is a welcome addition and never intrusive. \nEMI’s edition is not bad, but the difference is meaningful, particularly\n over the length of the opera. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHowever, the question is whether this is the Furtwängler \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFidelio \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eto\n have, if one is having only one. I would say not. The decision was made\n to eliminate all of the dialogue and record only musical numbers. One \nproblem is that this gives a less-than-complete picture of the drama \nthat is \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFidelio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. \nMore importantly, while this would be a valuable performance to have if \nthere were no alternative, the truth is that this is somewhat earthbound\n when compared to the conductor’s 1950 Salzburg Festival performance, \nwell transferred by EMI (CHS 764901 2). That is a complete, live, staged\n performance from August 5, 1950, and it has the smell of the theater \nrunning through from beginning to end. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn comparing casts, the Salzburg comes \nout somewhat ahead as well. Mödl is excellent here, but she doesn’t have\n the tonal splendor of Flagstad in Salzburg. Even in 1950, the richness \nof the Flagstad sound is something of a miracle. Additionally, Julius \nPatzak is a significantly superior Florestan: more varied in tone and \ninflection. The remainder of the cast is relatively evenly balanced. \nJurinac here, Schwarzkopf there as Marzelline are both superb, Paul \nSchöffler’s Pizzaro (Salzburg) is more subtly drawn than Edelmann here, \nthough Edelmann has the blacker voice. Anton Dermota’s sound is more \nappealing in Salzburg as Jaquino. There are slight mishaps that one \nexpects in a live performance, though none are serious. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eBut it is in the conducting, and \noverall pacing of the opera that the Salzburg performance really \noutshines the studio effort. From subtle rubatos to more spontaneously \nshaded dynamics, it is clear that everyone was “on” that evening, and \nthe result is thrilling. If any performance could accuarately be \ndescribed as “explosive,” the Salzburg \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFidelio \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\n it. The EMI studio sound, as realized here by Pristine, is better, but \nit isn’t that much better as to compensate for the musical and dramatic \nedge of the Salzburg performance. Perhaps Pristine will have a go at \nthat one some day. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 37:4 (Mar\/Apr 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO095.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFurtwängler's brilliant 1953 studio recording of Beethoven's Fidelio\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"The glory of this performance is in the orchestral playing under Furtwängler\" - The Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003eFurtwängler's only studio\n recording of Beethoven's only opera, Fidelio, took place in Vienna's \nMusikvereinsaaal between 13th and 17th October 1953, and followed a \nperformance on 12th October in the Theater an der Wien with almost the \nsame cast (Alwin Hedricks replaced Hermann Gallos for the recording).\u003cbr\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cbr\u003eThe recording was \ncertainly well made for its era, though it's no surprise to find most of\n the dialogue absent in a studio recording of its time. Remastering it \nhas, however, brought far more musicality out of the performance than \nwas previously apparent. In addition to curing some small pitch \nanomalies (early tape machines frequently drifted up and down in speed),\n I've used XR remastering techniques to completely open up the sound, \nwith a far more even frequency response than could be captured at the \ntime generating a much more natural tone across both instruments and \nvoices. The lower end is fuller and richer, the top end clear and \nbrighter, whilst the latest digital noise reduction techniques have \nhelped reduce tape hiss without damaging the clarity of the sound.\u003cbr\u003e\u003cbr\u003eAmbient Stereo processing\n has worked wonders to bring our the natural acoustic of the recording \nvenue, and is highly recommended for this recording.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eFidelio\u003c\/span\u003e\u003cbr\u003eAn opera in 2 Acts with libretto by  Joseph Sonnleithner \u0026amp; Friedrich Tritschke after Jean-Nicolas Bouilly\u003cbr\u003e\u003cbr\u003eRecorded 13-17 October 1953\u003cbr\u003eMusikvereissaal, Vienna\u003cbr\u003eProducer: Lawrance Collingwood\u003cbr\u003e\u003cbr\u003eFirst issued as HMV LPs ALP1130-2\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"body\"\u003e\u003cb\u003eCAST\u003cbr\u003e \u003c\/b\u003e\u003cbr\u003e Leonore - \u003cb\u003eMartha Mödl\u003c\/b\u003e\u003cbr\u003eFlorestan – \u003cb\u003eWolfgang Windgassen\u003c\/b\u003e\u003cbr\u003eDon Pizarro - \u003cb\u003eOtto Edelmann\u003c\/b\u003e\u003cbr\u003eRocco – \u003cb\u003eGottlob Frick\u003c\/b\u003e\u003cbr\u003eMarzelline - \u003cb\u003eSena Jurinac\u003c\/b\u003e\u003cbr\u003eJacquino - \u003cb\u003eRudolf Schock\u003c\/b\u003e\u003cbr\u003eDon Fernando - \u003cb\u003eAlfred Poell\u003c\/b\u003e\u003cbr\u003eFirst Prisoner - \u003cb\u003eAlwin Hendricks\u003c\/b\u003e\u003cbr\u003eSecond Prisoner -\u003cb\u003e Franz Bierbach\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eVienna Phiharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilhelm Furtwängler\u003c\/b\u003e  -  conductor\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\/PACO095.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO095.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":32533624845,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32533624909,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32533625037,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32533625101,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO095.jpg?v=1487757416"},{"product_id":"pasc488","title":"FURTWÄNGLER Beethoven: Symphony No. 3; Coriolan Overture (1943\/44) - PASC488","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\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eCoriolan Overture\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 3\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;\"\u003eLive concert recordings, 1943\/44\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 62:07\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWilhelm Furtwängler, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBerlin Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px\"\u003e\n\u003cp\u003e\u003cb\u003e \u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is a must-have for Furtwängler devotees in particular, and collectors of historical performances in general.\nEmphatically recommended578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eBoth of these fabled performances have enjoyed \nmany releases before, but what Andrew Rose has accomplished here is \nsomething of a sonic miracle. In all other hands these recordings were \nclotted, constricted, and compressed, and one had to employ some degree \nof imagination to go beyond the compromised audio signal for what were \nobviously superlative interpretations. Now, without any discovery of a \nsuperior source but simply application of his signature XR sound \nreprocessing technology, Rose has lifted the veil, and both of these \nperformances have been brought up to a level of many radio broadcasts \nfrom a decade later. Fair warning: The sound of both performances is \nquite reverberant; those who prefer a relatively dry acoustic will be \nrepelled and consider the results unnatural. For my part, having heard \nprevious remasterings, I find that Rose adds great presence and depth \nwithout falsifying the original sonic profiles; no details are obscured,\n and many that previously were indiscernible or indistinct are now \nmanifest and clear.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eFurtwängler’s reading of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCoriolan \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture\n is shattering and cataclysmic, as over the top emotionally as his \nfabled but controversial 1942 performance of the Ninth Symphony. There \nis simply no other reading like it. For me, this account is definitive \nfor capturing the truly apocalyptic dimension of the Roman general’s \ntragic fall (though my reference point is of course Shakespeare, not the\n virtually forgotten play of Heinrich Joseph von Collin for which \nBeethoven wrote his overture). Compared to the Music \u0026amp; Arts \nremastering that colleague Henry Fogel reviewed in 18:3, the sound here \nis far more natural—the frequency and dynamic ranges are opened up, and \nan annoying rippling sound in the background has been totally removed.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eFor the “Eroica,” the point of comparison will be \nthe remastering of this symphony in the 18-CD set of Furtwängler’s \nVienna Philharmonic performances. Fogel has reviewed multiple releases \nof this performance; see for example issues 13:2 (Rodolphe), 20:4 (Music\n \u0026amp; Arts), 23:2 (Music \u0026amp; Arts), and 37:3 (the Orfeo set) for his \ndescriptions of both the performance itself and the comparative quality \nof the various remasterings. I agree with him that the Orfeo (I own both\n that and the M\u0026amp; A release) was the best to date. The Orfeo is very \ngood, and I could happily continue to live with it; but, for my money, \nthe new Pristine version gives the orchestra burnished warmth and glow \nof sound that the comparatively dry Orfeo remastering does not. I also \nagreed with Henry that, until now, the desert-island choice among \nFurtwängler’s 11 published performances of the “Eroica” was the Berlin \nPhilharmonic broadcast on 12\/8\/1952, issued in superior sound in a 12-CD\n set by Audite; see his reviews of prior releases in 19:2 (Music \u0026amp; \nArts) and 21:3 (Tahra). But with the improved sonics in this 1944 \nperformance, it now bids fair to replace that 1952 outing as the \nFurtwängler interpretation of choice. Like the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCoriolan\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n it is a performance of extremes: monumental in tempos and scale; \nwhite-hot in intensity; fierce, brooding, and desperate in struggle, \nwith forced cheer in its sunnier passages. No other conductor so \nperfectly mirrored his environment, and the anguish of confronting \ntotalitarian brutality and the horrors of war is palpably in evidence.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn short, this is a must-have for Furtwängler \ndevotees in particular, and collectors of historical performances in \ngeneral—and anyone who isn’t dead-set on having only high-fidelity \ndigital or analog stereo recordings in a collection should acquire it as\n well. Emphatically recommended, and a major candidate for the 2017 Want\n List. \u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames A. Altena  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\n\n      \n    \n  \n  \u003cbr\u003e\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003eThis article originally appeared in Issue 40:4 (Mar\/Apr 2017) of \u003ci\u003eFanfare\u003c\/i\u003e Magazine.\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC488.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFurtwängler's unrivalled wartime Beethoven - in sound quality to knock you out\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e \"The intensity of this reading is searing\" - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003eThese two wartime recordings, as John Ardoin poined out in his essential\n guide to the recordings of Wilhelm Furtwängler, really do capture the \nconductor - and his musicians - at a higher level than perhaps any other\n time in his career. They sit along other classic concert recordings \nFurtwängler made during the darkest days of the 20th century as perhaps \ndefinitive readings of the music of Beethoven. Naturally therefore both \nhave surfaced on a number of previous issues, yet never with the \nfidelity and level of realism to be heard in these new XR remasters.\u003cbr\u003e\u003cli\u003e\n\u003cbr\u003eOf the two, the Coriolan shows perhaps the rougher edges - the \nsound is full, clear and superbly dynamic, but things start to fall \napart at the uppermost frequencies when the music is at its loudest.\u003cbr\u003e\u003cbr\u003eThe Eroica on the other hand is a revelation, and I had to \ndouble-check when returning to it for final tracking that I'd not \naccidentally substituted a much later recording when initially restoring\n it. But no, it's definitely the 1944 VPO performance, which Ardoin \ndates across 19th and 20th December, with the unmistakeably strident \nbrass, but also with a fullness, richness and clarity that previous \nissues have barely hinted at.\u003cbr\u003e\u003cbr\u003eA truly essential Eroica  for all - even if it's already in your collection from a previous release elsewhere.  \u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Coriolan Overture, Op. 62\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: small;\"\u003eBerlin Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003e Symphony No. 3 in E flat major, \"Erioca\", Op. 55\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"bodybigblue\" style=\"font-size: small;\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003e\u003cb\u003eVienna \u003cspan style=\"font-size: small;\"\u003ePhilharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eCoriolan Overture: Recorded 27-30 June 1943, Alte Philharmonie, Berlin\u003cbr\u003eSymphony No. 3: Recorded 19-20 December 1944,  Musikvereinsaal, Vienna\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWilhelm Furtwängler\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC488.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eThe Coriolan performances range in time over eight years, but the \npost-war performances, despite their effectiveness, are no match for the\n 1943 performance, one of the most supercharged and dramatic of \nFurtwängler’s performances. It is like a great fist delivering a series \nof crippling blows, and along with the sense of struggle and agony in \nthe 1943 performance comes the sensation of life ebbing away, of breath \nleaving a body.\u003cbr\u003e\u003cbr\u003eThree places in particular are worth special \nmention. First, those opening blows, which sweep upward with enormous \nthrust from the depths to the heights of the orchestra, then the eerie \nmoment Furtwängler makes of the final section (seventy bars from the \nend), and finally the coda, which along with the end of the Mahler Ninth\n Symphony, comes as close as music can to capturing the sensation of \ndeath and dying.\u003cbr\u003e\u003cbr\u003eThe magnificent 1944 performance with the Vienna\n Philharmonic, an authenticated performance that is not only \nFurtwängler’s noblest and most compelling Eroica, but one unrivalled on \ndisc. In retrospect, it is ironic that Furtwängler had this recording \nsuppressed legally when it first appeared in 1953 on the Urania label, \nfor it has a thrust and majesty he was unable to recapture in either of \nhis studio Eroicas. Like the 1951 Hamburg performance of the Brahms \nFirst Symphony or the wartime Coriolan Overture, this performance \nrecreates the impact of Furtwängler at his most inspired. It sings with \nexaltation, particularly in the triumphant sounds of the brass, without \nlosing the work’s architectonics. This Eroica is more focused and less \nmercurial than the headstrong “Schreiber” performance, and its nerve \nends are less exposed. But the concentration and fierceness are markedly\n similar, though the 1944 performance seems somewhat broader in attitude\n because it is more consistent in its momentum, and its fire is more \nwarming.\u003cbr\u003e\u003cbr\u003eJohn Ardoin The Furtwängler Record (Amadeus Press, 1994)\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_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_labelfb55cd020f0643f08418183279e63a5fExtra Review578a9379d1e540bd96d26f03a79628d9tab5_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab5_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eJames A. Altena reviewed this release in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e40:4,\n and thus I will be brief. He concluded by saying “emphatically \nrecommended, and a major candidate for the 2017 Want List.” It might \nwell wind up on at least two Want Lists in that case.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis “Eroica” has always been a very special \nperformance, even in Furtwängler’s discography, though it has always \nshared first place in my mind with a Berlin Philharmonic performance \n(available on Music \u0026amp; Arts and Tahra). But Pristine has opened up \nthe sound of this 1944 reading in a way that I have not heard before, \nnot even on the Orfeo set derived from Austrian Radio tapes. The result \nis a shattering performance that makes an emotional impact quite unlike \nany other. It is a reading of extremes, marked by a huge dynamic range \n(and finally that huge range is apparent), a remarkably intense \nconcentration on the part of the players, slashing rhythms, and an \nunmatched ferocity of attack. Since I am pretty much repeating what \nAltena wrote, I’ll stop here.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eBut, of course, I cannot overlook the “filler,” a performance of Beethoven’ \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCoriolan \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture that my colleague in his review called “shattering and cataclysmic.” When I put the disc on and the opening of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCoriolan \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eexploded\n out of my speakers I found myself catching my breath. This is as close \nto explosive as musical performance can get, and once again Pristine has\n surpassed all previous releases with which I am familiar.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIf symphonic music is of more than passing \ninterest to you, if you understand that Beethoven dealt with life and \ndeath issues in the music he wrote, then what is preserved on this \nrelease is something you simply must experience. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eHenry Fogel  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 40:6 (July\/Aug 2017) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab5_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":38673259725,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":38673259789,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":38673259853,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC488_e3010ad8-8f8b-43ea-bc23-00c4258129ad.jpg?v=1732006645"},{"product_id":"pacm094","title":"HEIFETZ, PRIMROSE, PIATIGORSKY Beethoven: Three String Trios, Op. 9 (1957\/60) - PACM094","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e String Trio in G major, Op. 9, No. 1\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e String Trio in D major, Op. 9, No. 2\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e String Trio in C minor, Op. 9, No. 3\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings · 1957 \u0026amp; 1960\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 63:33 \u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb data_liveedit_tagid=\"000000000D7755A0\"\u003e\u003cbr data_liveedit_tagid=\"000000000D7756D0\"\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJascha Heifetz, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eWilliam Primrose, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviola\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eGregor Piatigorsky, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cem data_liveedit_tagid=\"000000001BABB630\"\u003e\u003cbr\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThree now legendary musicians playing in harmony - they communicate a real sense of pleasure and enjoyment in their music-making578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eSurprisingly, these recordings made by three of the most illustrious \nstring players of the last century have never to my knowledge been \nissued on CD. This may be because of the unsatisfactory quality of the \noriginal recordings which, when issued as part of a 3 LP collection by \nRCA in 1976 , were criticised by “Gramophone” as “dry” and “hard”, with \nthe instruments far too close to the microphone.\u003cbr\u003e\n \u003cbr\u003e\nPristine have certainly resolved that problem: their Ambient Stereo \nre-mastering has given the sound some air and space in order to create a\n very pleasant and acceptable listening experience of recordings now \nwell over fifty years old.\u003cbr\u003e\n \u003cbr\u003e\nThese youthful string trios were the last Beethoven wrote, seemingly \npreparatory to embarking upon the extended sequence of string quartets \nwhich began with the publication of Op.18 in 1801. They bear stylistic \nsimilarities to those quartets and although they are not perhaps amongst\n his greatest works, upon their publication in 1799 the 28 year old \ncomposer declared them his best music thus far.\u003cbr\u003e\n \u003cbr\u003e\nThey certainly benefit from being played by the three distinguished \ninstrumentalists here, whose secure intonation, depth of tone and \nability to shade dynamics subtly are all so much in evidence. They \ndisplay the requisite sense of interplay and cohesion; there is equal \nbalance between them, no grandstanding or undue prominence from any one \ninstrument and they communicate a real sense of pleasure and enjoyment \nin their music-making.\u003cbr\u003e\n \u003cbr\u003e\nThe vigour and attack of the Adagio opening of the G major trio is \nstriking, signalling the sense of purpose and unanimity which \ncharacterises these readings. The following Allegro is remarkable for \nits thematic elaborations. The second movement is another Adagio but \nthere is no lingering, rather a constant sense of forward movement \nalmost suggestive of restlessness rather than repose. The Scherzo is \nlight and vivacious while the concluding Presto would be rushed were it \nnot for the dexterity of the musicians.\u003cbr\u003e\n \u003cbr\u003e\nThe fact that D major trio was recorded three years later is signalled \nby sound appreciably better than in the two earlier recordings which \nsandwich it; evidently engineer Andrew Rose had a superior master to \nbegin with so is able to do even more with it. It is the most \nconservative of the three trios, its genteel stateliness identifying it \nas pre-1800. The players accordingly adopt a more refined and restrained\n manner, demonstrating their sensitivity to the demands of the \nprevailing mode. The Andante is full of pathos, with a marvellous \npoignant melody played first by the viola underpinned by pizzicato \ncello, then mid-way Heifetz soars on another wonderfully melancholy \ntune. The Menuetto is trim and precise, then the mood changes gear for \nthe playful Rondo-Allegro.\u003cbr\u003e\n \u003cbr\u003e\nThe reversion to somewhat inferior sound for the C minor trio is \nimmediately noticeable but the ear soon adjusts. It is the most complex \nand innovative of the three pieces, demanding more of the \ninstrumentalists’ abundant virtuosity; perhaps the key is significant, \ngiving notice of Beethoven’s seriousness of intent. He seems here to be \nmoving into the Sturm und Drang style we recognise from his later, \nmature works: the passionate Scherzo and Presto finale are typically \nangular and surprising but the heart of the work lies in the serene \nAdagio, played here with the warmth and wisdom of seasoned \nBeethovenians.\u003cbr\u003e\n \u003cbr\u003e\nThese three trios were originally issued on two LPs, Nos. 1 and 3 \ntogether on one and No.2 coupled with three Bach Sinfonias and a \nSchubert Trio, so it is good to have all three on one CD.\u003cbr\u003e\n \u003cbr\u003e\nThere have been plenty of recommendable recordings of these works in \nmore modern sound and also some classic accounts such as that by the \nGrumiaux Trio, but the chief attraction here is the chance to hear three\n now legendary musicians playing in harmony and for the first time in \nmore than tolerable – indeed very acceptable – stereo sound.\u003cbr\u003e\n \u003cbr\u003e\n\u003cem\u003e\u003cstrong\u003eRalph Moore\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM094.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eHeifetz + Primrose + Piatigorsky = three of the finest instrumentalists of the 20th century\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eNew XR remastering reveals the true brilliance of these formerly \"dry and hard\" recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eI have taken the somewhat unusual step of including here excerpts \nfrom a generally negative review of these recordings (from what appears \nto have been their first official British release as part of a 3-LP RCA \nbox set in 1976 - see \u003ci\u003eHistoric Review \u003c\/i\u003etab), to illustrate the \noverwhelmingly negative effect on the listener's judgement of a series \nof performances caused by getting things wrong, technically-speaking, in\n the recording studio.\u003c\/p\u003e\u003cp\u003eThe Gramophone reviewer correctly identifies a lack of reverberation \nin the originals. This doesn't mean that dropping his LPs into some kind\n of echo chamber is going to help! Long before I found this review I \nfelt on first hearing the recordings that some modicum of sympathetic \nand authentic room acoustics would complement the players to their \noverall advantage. Happily one is now able to take the acoustics of any \nnumber of renowned concert venues around the world and bring something \nof their unique sound to a recording such as this. The effect is as \nsubtle as you would wish it to be, but suddenly the recordings spring \ninto a life you wouldn't have expected.\u003c\/p\u003e\u003cp\u003eWhat the reviewer identified as \"dry and hard\" was also a product of \nfrequency imbalances in the recordings. The correction of these using XR\n remastering also makes a huge difference to the immediate appeal of the\n sound. Without altering any of the actual notes, the subtle changes I \nhave been able to make in remastering these trio recordings have turned \nthem into recordings and performances you might really want to listen to\n - for the first time perhaps in over half a century.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eString Trio in G major, Op.9, No.1\u003c\/span\u003e\u003cbr\u003e\n\u003cp\u003eRecorded at Radio Recorders, Hollywood, USA, 27 March 1957\u003cbr\u003eOiriginally released as RCA LM-2186\u003cbr\u003ePresented in Ambient Stereo\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eString Trio in D major, Op.9, No.2\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cp\u003eRecorded at RCA Studios, Hollywood, USA, 17\/22 August, 1960\u003cbr\u003eOiriginally released as RCA LSC-2563\u003cbr\u003ePresented in Stereo\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eString Trio in C minor, Op.9, No.3 \u003cbr\u003e\u003c\/span\u003eRecorded at Radio Recorders, Hollywood, USA, 29\/30 March 1957\u003cbr\u003eOiriginally released as RCA LM-2186\u003cbr\u003ePresented in Ambient Stereo\u003c\/p\u003e\n\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eJascha Heifetz  \u003c\/b\u003e violin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWilliam Primrose\u003c\/b\u003e   viola\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eGregor Piatigorsky  \u003c\/b\u003e cello\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM094.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM094.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eI haven’t any information about the provenance of these recordings, \nwhich despite an appearance in the USA in the early sixties have not \nbeen generally available in this country before, and can only guess that\n they coincided with public performances. They bear the traces of having\n been made fairly hastily. The sound is dry and hard and so close to the\n instruments, particularly to the violin, that one has the impression of\n microphones devouring it before an acoustic can intervene. Either that \nor it has been passed through some kind of drying agent to remove all \nreverberation.\u003c\/p\u003e\u003cp\u003eIf you can get over this—and frankly I couldn’t, since the DG set by \nthe Italian String Trio was at my side as a reminder of what the \ntextures of these pieces should sound like—you can hear three of the \ncentury’s most illustrious string players striving to bring as much \nbrilliance and intensity to pre-1800 Beethoven as the music can be made \nto bear... From time to time the restless urgency seems in place: in the\n quick movements of the C minor Trio of Op. 9, for instance, of which \nthis performance could have been enjoyed a good deal, I am sure, had it \nbeen given a chance to sound well... Again one comes back to the \nsound—cohering so imperfectly that one feels the players must in some \nway be dissatisfied with the string trio as a medium...\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eS.P., Gramophone\u003c\/b\u003e, October 1976 - \u003cem\u003ereview of 3-LP UK issue on RCA, including these three recordings\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo\/Ambient Stereo 24-bit FLAC","offer_id":31975645133,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo\/Ambient Stereo 16-bit FLAC","offer_id":31975645197,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo\/Ambient Stereo MP3","offer_id":31975645261,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM094_3877c667-2832-42a6-954a-35044f20d15b.jpg?v=1487682203"},{"product_id":"pacm082","title":"HOLLYWOOD QUARTET Beethoven: The Late Quartets (1957) - PACM082","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cb data_liveedit_tagid=\"000000000D771120\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eString Quartets Nos 12-16\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb data_liveedit_tagid=\"000000000D771120\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eGrosse Fugue\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded at Capitol Studios, Hollywood,\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003e 1957 \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 3hr 15:43\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\u003cspan\u003e\u003cspan style=\"color: #000000\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eHollywood String Quartet\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fGramophone Historic Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fReviews from 1982 and 1958578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"body\"\u003eThis set became something of a legend in its day and had\n it not been for the fact that it was made in the last days of mono LP, \nit would have remained longer in circulation. Of course, many other fine\n Sets have since appeared, principally those by the Végh and Talich \nQuartets, as well as the Quartetto Italiano. The present set, like the \nBusch, must be regarded as a complement to them rather than a \nsubstitute. It is hardly necessary to remind readers that the Hollywood \nQuartet flourished briefly during the early years of the mono LP but I \ndo so in case the reissue of the Schubert C major Quintet, the Brahms F \nminor Quintet along with the Dvofák Op. 96 and Smetana E minor Quartets \nescaped your attention. The members of the quartet all belonged to \nvarious Hollywood film studio ensembles and they possessed superb \nattack, generally flawless intonation and beautifully blended tone; the \nenormous reputation they rapidly acquired once their records began \ncirculating beyond the West Coast of America is thoroughly vindicated by\n these reissues. I have found it advisable not to play these discs at \ntoo high a level: the opening of Op. 127 sounded far too 'symphonic' and\n almost overblown, for these recordings were not made in a large studio \nand though the sound is good, a slightly lower level setting removes \nsome of the glare from Felix Slatkin's tone above the stave.\u003c\/p\u003e\u003cp class=\"body\"\u003eOn the third disc, the first five movements of Op. 130 \nare accommodated on the first side and the Grosse Fuge is placed before \nthe final Allegro, so that one can complete the quartet as one wishes. \nThe first movement is superbly played without any attempt to overstate \nfeeling (the exposition repeat is not given). IJ found the Cavatina \n\"rather too quick\" and I am inclined to agree with him. The Grosse Fuge \nis stunning, The last record gives us Op. 131 and the opening fugue \ncould perhaps have had more Innigkeit though it has marvellous tone and \nfeeling.. Even if there are times when one feels certain passages are \noverdriven or larger than life, there are so many more where admiration \nis unqualified and one simply relishes the splendour and purity of this \nquartet's playing. They are human too: there is actually some \nless-than-perfect inton atton after the second statement of the theme in\n the finale of the A minor, Op. 132. These are performances of stature \nand deserve a warm welcome back to the catalogue. They come with fine \nnotes from Desmond Shawe-Taylor and the surfaces are admirably smooth.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eR.L., Gramophone\u003c\/b\u003e, December 1982\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodymidarial\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eREVIEW \u003c\/b\u003eof original issue, 1958, excerpts\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eA unique opportunity of hearing the late Beethoven \nstring quartets is afforded by the issue of three complete recordings, \nby the Hungarian, the Budapest and the Hollywood string quartets. It is \nmost interesting to hear the different points of view and to try and \ndecide which interpretation gives the greatest satisfaction. In these \nworks lies almost every mood that music can depict. One of the problems \nof recording, as of broadcasting, is how to deal justly with the rugged \nor even rough moments that occur in much of Beethoven's music. Players \nand recording engineers have to decide how much the microphone will \ntake; it is no use playing such moods as exist in the Grosse Fuge and in\n the last movements of the C sharp minor and A minor in a polished \nmanner—they are full of passion and are, in places, almost wild. A \n\"pretty\" performance of Beethoven is unthinkable; neither he nor his \nmusic was ever pretty!\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eGrosse Fuge. Opus 133, \u003cem\u003eHollywood String Quartet\u003c\/em\u003e\u003cbr\u003e\n This opens with terrific energy and finely contrasted tonal strengths \nand the part-playing is clear and well phrased. When the turmoil \nsubsides the meno mosso comes as a great contrasting relief, with \nwonderful calm. They make much of it until the Allegro 6\/8 which fins \noff with capital rhythmic grip. They then maintain a strong feeling of \ntension throughout all this turbulent section and a huge climax is \nachieved, not only in the music, but also by the players. The following \nquiet section has glow and intensity—they seize the differing moods \nwonderfully and altogether it is a marvellous performance.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eTo me it has been most interesting to hear and compare \nthese performances of the late Beethoven string quartets—having played \nthem, listened to them and even coached them for very nearly sixty \nyears—with enthusiasm and gratitude keener than ever. Actually to \ninterpret them is the problem which demands a far greater penetration \nand understanding than is needed to surmount the technical difficulties,\n great as these are. But if one makes friends with these works, they \nnever cease to reveal fresh marvels, unsuspected humour, even \" \nleg-pulls \" (the last movement of the Opus 135 for example), the shocks \nand surprises of the first movement of the same work.\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003eFrom the untold marvels and depth of eloquence of \nthe variations of the C sharp minor abruptly into the simple fun of the \nScherzo, with its four undeveloped themes in the Trio of that scherzo, \nand so on ; every work has its treasures that will last longer than any \nhuman lifetime and will continue gradually to reveal themselves. And so \none could continue pointing out the many rare treasures that are \nenshrined in the whole series of the string quartets. Beethoven was \nalways the master, the prophet, the seer—the bringer of visions of \nbeauty that are at least as great as those existing in any other art, \nand allow us to \"look beyond \".\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eI.J., The Gramophone\u003c\/b\u003e, May 1958, excerpts from lengthy review contrasting three issues of the Late Quartets\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM082.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eLegendary recordings of Beethoven's Late Quartets by the Hollywood Quartet\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eWith major improvements in sound quality from Pristine's new XR remasters\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eOne can only express regret at the belief of the Capitol\n executives in 1957 that stereo would never take off, and therefore it \nwas not worth recording on two channels - it can only be assumed that \nthey rarely if ever ventured into their own studios to listen to the \ndifference. Thus this legendary set remains firmly a mono issue - though\n in this Pristine remastering our optional Ambient Stereo processing \ndoes as least create a sense of air and space around the players.\u003c\/p\u003e\u003cp class=\"body\"\u003eOf greater influence on the sound quality is the \nre-equalisation of XR remastering which has made huge improvements to \nthe tone of the entire set - no longer does this need to be listened to \nquietly!\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cul\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Quartet No. 12 in E flat, Op.127\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 22-23\/2, 2\/3, 9\/3, 1957\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Quartet No. 13 in B flat, Op.130\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 22\/4, 11\/5, 12\/6, 1957\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Grosse Fuge in B flat, Op. 133\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded Recorded 18\/5, 18\/5, 1957\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Quartet No. 14 in C sharp minor, Op.131\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 23\/3, 31\/3, 6\/2, 20\/4, 1957\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Quartet No. 15 in A minor, Op.132\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded Spring 1957\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Quartet No. 16 in F major, Op.135 \u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 22\/4, 11\/5, 12\/6, 1957\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"body\"\u003eHollywood String Quartet:\u003cb\u003e\u003cbr\u003e Felix Slatkin, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003e Paul Shure, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003e Alvin Dinkin, \u003c\/b\u003eviola\u003cb\u003e\u003cbr\u003e Eleanor Aller, \u003c\/b\u003ecello \u003c\/span\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM082.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM082.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":31975648397,"sku":null,"price":48.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975648461,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975648525,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975648589,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM082_27dcf2aa-e2f5-4500-bc49-af9f16cfe3ff.jpg?v=1487682209"},{"product_id":"pasc421","title":"HUBERMAN Beethoven \u0026 Brahms: Violin Concertos (1934\/44) - PASC421","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e  Violin Concerto in D major, Op. 61\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e  Violin Concerto in D major, Op. 77\u003c\/span\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\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio and live recordings · 1934 \u0026amp; 1944\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 76:23 \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;\"\u003eBronislaw Huberman, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eVienna Philharmonic Orchestra \u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eGeorge Szell, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ePhilharmonic-Symphony Orchestra of New York \u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eArtur Rodziński, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\n\n\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is essential listening for anyone interested in performance style history, the violin, or these great concertos578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThese classic performances have been reviewed before in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n with those reviews ranging from positive to enthusiastic. The Beethoven\n is a 1934 British Columbia studio recording, and the Brahms is a New \nYork Philharmonic live broadcast from January 23, 1944. One particularly\n unusual feature of the Brahms is a cadenza I have never encountered \nbefore, credited to one Hugo Heerman. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThat, however, is not the most unusual \naspect of these performances. It is the playing itself that is unusual. \nHuberman was never a universally accepted violinist, but to those of us \nwho loved his playing the flaws were insignificant. What were those \nflaws? A tone that can at times turn thin or coarse, occasional \nroughness in fingerwork, and occasional intonation trouble. \nInterestingly, though, when one listens to his mid-1920s acoustical \nrecordings such as the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCarmen Fantasy\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e one marvels at the technical ability and accuracy at blazing speeds. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBut what Huberman had was an \nextraordinary musical imagination, and he applied it to every phrase. \nThere is a well-known story of his performance of the Brahms when the \nviolinist was 14, that reduced Brahms to tears. The legend is that \nafterwards, when Brahms wrote a touching inscription in Huberman’s \nmusic, the young violinist complained that the audience applauded after \nthe cadenza, to which Brahms replied, “Then you should not have played \nit so beautifully.” (One presumes Huberman performed the Joachim cadenza\n in 1895). \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis is clearly violin playing from \nanother age, an age when performers were willing to risk a level of \nindividuality that would be frowned upon today. It would take any \nlistener with even middling experience and knowledge only a few minutes \nto distinguish between performances by Heifetz, Kreisler, Szigeti, \nHuberman, and Milstein. That would be far less likely in today’s music \nworld. Huberman’s performances are deeply personal, with turns of phrase\n and touches of dynamic shadings that no one else might think of. He \nuses a liberal amount of portamento (sliding from one note to the next),\n a performance tool that was more common in his time than it is in ours,\n and he uses less vibrato than did his colleagues. His phrasing is \nhighly individualistic, and the playing is so alive and in-the-moment \nthat it is impossible for you not to be fully engaged by the \nperformances. Not one phrase is tossed off without a clear sense of \nwhere it fits in the overall scheme of the piece. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIt must also be noted that both \nperformances gain from remarkable conducting. Szell and Rodziński were \nnot conductors who saw their roles as simple accompanists, but rather as\n full-fledged musical partners, attentive to both detail and overall \nsweep. If I were ordered to use a single word as a descriptor of these \nperformances, that word would be “urgency.” They have about them an \nurgency that communicates a sense that “we must play these pieces right \nnow, and in this way, because we believe so passionately in what the \nmusic has to say and we simply \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003emust \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003esay it.” \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIf you want more detail descriptions, you can go to the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eArchive\n and read reviews of the Beethoven by John Bauman (16:5), John W. N. \nFrancis (7:5), and Mortimer Frank (13:5), and of the Brahms by Mortimer \nFrank (7:2) and Lynn René Bayley (37:2). \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThis new Pristine remastering \nsurpasses all prior versions of both recordings, in fullness of \norchestral sound particularly. The EMI LP transfers of the Beethoven \nhave always sounded remarkably good for a 1934 recording, and there is a\n good Naxos edition as well, but Andrew Rose has somehow managed to find\n a new level of richness of color for both Huberman and the Vienna \nPhilharmonic. The Brahms has undergone an even more major improvement \nover its Music \u0026amp; Arts incarnation. The original source is probably \nan off-the-air recording, rather than a master, and a number of labels \nhave issued it, but never with as little distortion and as wide a \nfrequency range as it has here. The XR ambient stereo version simply \ngives the recording a sense of space that the pure mono version lacks. \nThis is essential listening for anyone interested in performance style \nhistory, the violin, or these great concertos. (That should cover just \nabout everyone)! \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:3 (Jan\/Feb 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC421.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBronislaw Huberman's legendary Beethoven and Brahms concerto recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"As\n soon as Brahms heard the sound of the violin, he pricked up his ears, \nduring the Andante he wiped his eyes...\" Max Kalbeck, 1896\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eIt was Mark Obert-Thorn who introduced me to the violinist Bronislaw \nHuberman with his transfers for Pristine of the complete Mozart and Bach\n recordings (PASC397) that we issued in 2013. So when I was browsing \nthrough a large collection of LPs donated to Pristine and discovered a \ncouple of discs dedicated to Huberman I resolved to see what I might be \nable to do with them.  \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eNot for the first time I've found that working from EMI's excellent \nanalogue LP transfers has produced excellent results I would struggle to\n match from their shellac discs, and here the Beethoven has come up \nmagnificently - bar the occasional intrusion of slight peak distortion \nat the very top end you might easily think this a recording from the \n1950s rather than the first half of the 1930s. Huberman's playing and \ntone truly shines, and the Vienna Philharmonic's playing is fully \nrounded and truly magnificent. This is one of the great recordings of \nthe Beethoven Concerto, and in this XR remastered version has surely \nnever sounded this fabulous before.\u003c\/p\u003e\u003cp\u003eThe Brahms hails from a live recording made in 1944, some 48 years \nafter Huberman's playing of the work had won praise and tears from its \ncomposer. Once again I've been able to make major and significant \nimprovements to the sound quality - again battling against high end peak\n distortion whilst trying to preserve and highlight as much of \nHuberman's tone as possible. This is a masterful performance indeed - \nand here once again it is available in unprecedented sound quality that \ndoes full justice to the playing.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eViolin Concerto in D major, Op. 61 \u003c\/span\u003e\u003cbr\u003e\u003cb\u003eVienna Philharmonic Orchestra  -  George Szell\u003c\/b\u003e\u003cbr\u003e\n\u003cp\u003eRecorded 18-20 June, 1934\u003cbr\u003eColumbia 78s LX.509-512\u003cbr\u003eMatrix Nos. WHAX.30-38\u003c\/p\u003e\n\u003cbr\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS  \u003c\/b\u003eViolin Concerto in D major, Op. 77\u003c\/span\u003e\u003cb\u003e \u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York  -  Artur Rodziński\u003c\/b\u003e\u003cbr\u003e\n\u003cp\u003eRecorded 23 January 1944\u003cbr\u003eLive at Carnegie Hall, New York\u003cbr\u003eBroadcast recording\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003eBronislaw Huberman\u003c\/b\u003e - violin\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC421.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC421.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e1896 - playing for Brahms\u003c\/b\u003e: Max Kalbeck tells of Brahms’s response to the young Huberman's performance of the Violin Concerto: ‘\u003cem\u003eAs\n soon as Brahms heard the sound of the violin, he pricked up his ears, \nduring the Andante he wiped his eyes, and after the finale he went into \nthe green room, embraced the young fellow, and stroked his cheeks.\u003c\/em\u003e’\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eAs a 14-year-old he played Brahms’s Violin Concerto to the composer, \nwho was stunned and allegedly wanted to write a rhapsody especially for \nhim. For his Viennese concerts at around the same time (1896), the \naudience included the likes of Dvorák, Mahler, Bruckner and Johann \nStrauss. Two years earlier the legendary diva Adelina Patti had invited \nhim to take part in her farewell gala in London, which he did, to great \nacclaim. When Europe was in turmoil in the 1930s and with Hitler’s \nGermany out of bounds he would regularly, and passionately, promote the \nideal of a ‘Pan-Europa’ movement. Even Furtwängler’s heartfelt pleas for\n him to return fell on deaf ears. With Europe’s Jews being thrown into \nexile, or worse, he founded what was eventually to become the Israel \nPhilharmonic, Arturo Toscanini conducting the first concerts (without \nfee). Polish-born Bronisław Huberman (1882-1947) constituted a model \ncombination of nobility, impulse and intellect. He was a musical \nmaverick who brooked no compromise and whose few recordings prove the \npoint with a vengeance... \u003c\/p\u003e\u003cp\u003eIn 1937, just before the Anschluss, Huberman left Vienna and took \nrefuge in Switzerland. A year later his career nearly ended when the \naircraft he was travelling in crashed in Sumatra: his wrist and two \nfingers of his left hand were broken. Miraculously, after intensive and \npainful retraining he was able to resume performing. His surviving \noff-air recordings date from this later period, including \nthe Tchaikovsky Concerto under Eugene Ormandy – identical in all but \nsmall details to the 1929 version under William Steinberg – and, most \nvaluably, the Brahms Concerto with Artur Rodziński on the rostrum (Music\n \u0026amp; Arts, A\/03). To hear Huberman quietly glide back into the main \nbody of the first movement after the cadenza is to understand why Brahms\n reacted the way he did. How sad that he died before writing that \nrhapsody. And what a scoop it would have been, a Brahms rhapsody played \nand recorded by its dedicatee....\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eRob Cowan\u003c\/b\u003e, Gramophone, March 2014 - \u003cem\u003eIcons: Bronislaw Huberman (excerpts)\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":37144485197,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37144485261,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37144485325,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37144485389,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC421_5c4a7720-a2f0-40dd-a037-701b1b4ccc4c.jpg?v=1494338021"},{"product_id":"pacm102","title":"HUBERMAN Beethoven: 'Kreutzer' Sonata; Encores (1929-35) - PACM102","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eViolin Sonata No. 9 'Kreutzer'\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eEncores by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBACH, BRAHMS, BRUCH, CHOPIN, ELGAR, SCHUBERT\u003c\/span\u003e\u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr data_liveedit_tagid=\"000000000D7722F0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1929-1935\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\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;\"\u003eTotal duration: 78:06\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBronislaw Huberman, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eIgnaz Friedman, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSiegfried Schultze, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano \u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fBelongs in the collection of everybody who can even identify the picture of a violin. It’s one of the great recordings of all time. 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIsaac Stern once identified Bronisław Huberman as \none of the 10 greatest violinists of all time; for those unfamiliar with\n this titanic violinistic presence, who stopped making commercial \nrecordings in 1935, performances like those that Pristine has released \nin the last few years (the Beethoven concerto, Tchaikovsky concerto, \nBach concertos, Mozart concertos, and Lalo’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSymphonie espagnole\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e)\n should cement his place among younger listeners. And, as Mark \nObert-Thorn’s brief note points out, Huberman found a well-matched \npartner in pianist Ignaz Friedman for his second recording of \nBeethoven’s “Kreutzer” Sonata from September 11 and 12, 1930. From the \nvery first measure of the violin’s introductory solo, three things \nshould be clear: first, that Huberman’s reading will incorporate \nportamentos that nobody would attempt today; second, that he won’t \nproduce a polished sound with a silken bow stroke and a perfectly \ncalibrated vibrato; and third, that with these notes, he’s embarking on a\n stormy journey that will keep his listeners enthralled from departure \nto arrival. All that’s clear at once, but the details along the way \nstill produce a great deal of pleasure: the Janissary-like closing theme\n of the first movement’s thematic section, the percolating triplets in \nthe second movement’s first variation, the white-hot passagework in the \nsecond, and the demonic transition back into the main theme of the rondo\n finale. And, in the midst of all this, it turns out that those \nportamentos, just a few of the regular devices in his now antiquated \nexpressive armamentarium, begin to disappear into the message’s \nbackground, so powerfully does Huberman project his musical ideas. But \nin this case, he also enjoys as a foil a musician of his own stature, \nwho helps to propel the lift further into the stratosphere. A few \nrecordings changed my life when I first heard them: Fritz Kreisler’s of \nGrieg’s Third Violin Sonata, Jascha Heifetz’s of Saint-Saëns’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIntroduction and Rondo capriccioso\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n Nathan Milstein’s of Goldmark’s Violin Concerto, Joseph Szigeti’s of \nRavel’s Violin Sonata, and Michael Rabin’s of Wieniawski’s First Violin \nConcerto—and this one by Huberman. It’s a great satisfaction to have it \navailable in a remastering by Pristine—in particular, by Mark \nObert-Thorn.   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe rest of the program consists of short pieces. The strong accents in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n from Bach’s Solo Violin Sonata No. 2, recorded, like the other \nunaccompanied pieces by Bach in this program, on June 26, 1934, may \nsound less than subtle, as may also the rather heavy-handed approach the\n Sarabande and Double from the Solo Violin Partita No. 1; but, although \nObert-Thorn’s lament that Columbia didn’t bring out a complete set of \nthe sonatas and partitas may seem routinely rhetorical, every measure of\n these movements communicates something of interest. The rest of the \nprogram comes from sessions in London from 1929 to 1935, with Siegfried \nSchultze serving as pianist. Bach’s chorale prelude \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNun komm der Heiden Heiland\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n arranged by Huberman, and the Air from the composer’s Third Orchestral \nSuite, in the popular arrangement for the G-string by August Wilhelmj, \nappear in much cleaner recorded sound and make a more vibrant tonal \nimpression (with chorale prelude the clearer of the two, although both \nraise goose bumps—compare the relatively pedestrian recording by Mischa \nElman). Huberman doesn’t sound at first so far to the fore in Schubert’s\n \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAve Maria\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e; but \nhe gives easily as moving an account of it as did Jascha Heifetz did in \neither of his two recordings, the first of which I listened to \nobsessively from babyhood (actually, not almost) on my father’s 78-rpm \nrecording. The sound improves once again in Schubert’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMoment Musical\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n No. 3, transcribed by Leopold Auer, and Huberman sounds razor-sharp. \nHuberman’s own transcriptions of Chopin’s waltzes in C♯ Minor (with \ntrippingly fleet passagework in its center) and in G♭ Major (with \nswinging double-stops and again in superior recorded sound) lead to \nPablo Sarasate’s popular arrangement of Chopin’s Nocturne in E♭ Major. \nDavid Hochstein’s arrangement of Brahms’s Waltz in A♭ Major sounds \ndownright mesmerizing at its relaxed tempo. A soulful reading of Max \nBruch’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eKol Nidrei\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (the portamentos in this work seeming perfectly appropriate to its \ncantillation) leads to the program’s conclusion, Elgar’s miniature \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa capricieuse\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n which seems to have fallen somehow outside Huberman’s interpretive \npurview, at least in its staccato outer sections, although the central \nsinging section’s absolutely compelling.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis particular package by Pristine of a dynamic \nsonata performance with compelling ones of some of the repertoire’s most\n effective miniatures belongs in the collection of everybody who can \neven identify the picture of a violin. It’s one of the great recordings \nof all time. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eRobert Maxham  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 40:5 (May\/June 2017) of Fanfare Magazine.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI obtained this from Pristine Audio and \nimmediately set about writing a review, as the “Kreutzer” has long been \none of my desert island discs. I then noticed that Robert Maxham \nreviewed it in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e40:5,\n and concluded his review with the following sentence: “It’s one of the \ngreat recordings of all time.” Well, that does about sum it up. I \nwouldn’t even take up additional \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003espace\n except that I so firmly believe that this is a recording that all music\n lovers should own and I felt it was worth calling it once again to your\n attention. It is currently sitting on my short list for the year-end \nWant List.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe “Kreutzer” is a one-of-a-kind performance by \ntwo artists who were extremely individualistic in their music-making, \nbut who also knew how to listen to each other and to integrate their \nindividuality into a unified concept. “Old-fashioned” techniques like \nportamento and rubato are applied to a far greater degree that one would\n here in today’s more “puristic” (or, if you prefer, “sterilized”) \nworld. This is seat-of-the-pants playing, but not once do you feel that \nit is vulgar, or purely theatrical for the sake of showmanship. It is a \nperformance that approaches the music as if it were a brand new piece \nbeing discovered as it is being played.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe miniatures show the charming, witty, and \nvirtuosic aspects of Huberman’s art. It is an art the likes of which we \nare unlikely to encounter again, and we are the poorer for it. If you \nlove the violin, this disc is not optional. It is essential, especially \nin Mark Obert-Thorn’s remarkably clear and full-sounding transfer, which\n is leagues beyond all prior versions. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eHenry Fogel   \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\n\n      \n    \n  \n  \u003cbr\u003e\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003e\n\u003cspan style=\"font-size: 13px;\"\u003eThis article originally appeared in Issue 40:6 (July\/Aug 2017) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 13px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 13px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM102.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eHuberman's classic 1930 Kreutzer Sonata - and much more!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"This latest Kreutzer Sonata is by far the best we have\"\u003cbr\u003e- The Gramophone, 1931\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\nBronislaw Huberman’s recording career can be divided into three \nperiods.  After setting down four sides for Berliner in 1899, he made a \nseries of acoustic recordings for Brunswick in America (1921 – 1925), \nfollowed by electrical discs for Columbia in Berlin and London (1929 – \n1935).  Some of the Columbia discs were issued concurrently on Odeon, \nParlophon and American Decca with different matrix numbers.  The present\n collection completes the reissue of Huberman’s electrical recordings on\n Pristine, following prior releases devoted to the Beethoven Concerto \n(PASC 421), Bach and Mozart Concertos (PASC 397) and the Tchaikovsky \nConcerto, along with Lalo’s Symphonie espagnole and several encores \n(PASC 439).\u003cbr\u003e\u003cbr\u003eThe major work here is Huberman’s classic account of \nthe Beethoven “Kreutzer” Sonata with Ignaz Friedman.  The violinist had \nrecorded it earlier for Brunswick with his regular accompanist, \nSiegfried Schultze; but the six sides allotted for it then necessitated \nthe omission of repeats in the last two movements.  Here, it is \npresented complete, and with a partner as accomplished as the violinist \nhimself.  Like Huberman, Friedman was born in Poland in 1882; and as an \ninterpreter, he shared a similar craggy, individualistic approach.  This\n “Kreutzer” is truly a meeting of two like minds, as unforgettable a \nperformance as the later one by two Hungarians, Szigeti and Bartók (PACM\n 084).\u003cbr\u003e\u003cbr\u003eThe unaccompanied Bach excerpts were recorded at the tail \nend of his 1934 sessions in Vienna, and were issued as odd-side fillers \nto the Beethoven and Bach E major concertos.  The intensity and \nindividuality on display makes one wish that Columbia had seen fit to \nrecord him in the complete Bach Sonatas and Partitas, as HMV was \nconcurrently doing with Menuhin.  The remaining piano-accompanied solo \nsides spotlight Huberman in a variety of different short works, mainly \ntranscriptions.  His Bruch “Kol Nidrei” was originally coupled with the \nSchubert “Ave Maria” in a subtle plea for peaceful coexistence that fell\n on increasingly deaf ears in the years following its release.  In his \npenultimate session, he repeated two works he had originally recorded \nfor Berliner 36 years earlier, the Schubert Moment Musicale and the \nChopin Nocturne.  Although he would continue to concertize almost up to \nhis death twelve years later, he would make no more commercial \nrecordings after 1935.\u003cbr\u003e\u003cbr\u003eThe transfers on the present release came \nfrom a number of sources with varying amounts of surface noise.  The \n“Kreutzer” was taken from a relatively quiet mid-1930s American Columbia\n set.  The two unaccompanied Bach works could only be found on rather \nnoisy post-EMI merger English Columbia pressings, while the remaining \npiano-accompanied sides came from American, English and Australian \nColumbias as well as German Odeons.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eViolin Sonata No. 9 in A, Op. 47 “Kreutzer”\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 11 \u0026amp; 12 September 1930 in the Columbia Petty France Studios, London\u003cbr\u003eMatrix nos.: WAX 5730-2, 5731-3, 5732-3, 5733-3, 5736-2, 5737-1, 5738-3 \u0026amp; 5739-3\u003cbr\u003eFirst issued on Columbia LX 72 through 75\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eIgnaz Friedman,\u003c\/b\u003e piano \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH \u003c\/b\u003e Andante from Unaccompanied Violin Sonata No. 2 in A minor, BWV 1003\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 26 June 1934 in the Mittlerer Konzerthaussaal, Vienna\u003cbr\u003eMatrix no.: WHAX 46-2 ∙ First issued on Columbia LX 410\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH  \u003c\/b\u003eSarabande and Double from Unaccompanied Violin Partita No. 1 in B minor, BWV 1002\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 26 June 1934 in the Mittlerer Konzerthaussaal, Vienna\u003cbr\u003eMatrix no.: WHAX 45-2 ∙ First issued on Columbia LX 513\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH (arr. Huberman)\u003c\/b\u003e  Chorale Prelude, “Nun komm der Heiden Heiland”, BWV 62\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 14 May 1935 in EMI Abbey Road Studio No. 3, London\u003cbr\u003eMatrix no.: CAX 7428-3 ∙ First issued on Columbia LX 531\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH (arr. Wilhelmj)\u003c\/b\u003e  Air from Orchestral Suite No. 3 in D, BWV 1068\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 16 September 1930 in the Columbia Petty France Studios, London\u003cbr\u003eMatrix no.: WAX 5007-7 ∙ First issued on Columbia LX 107\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSCHUBERT (arr. Wilhelmj)  \u003c\/b\u003eAve Maria, D839\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 27 January 1931 in the Columbia Petty France Studios, London\u003cbr\u003eMatrix no.: WAX 5950-1 ∙ First issued on Columbia LX 155\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSCHUBERT (arr. Auer) \u003c\/b\u003e Moment Musical No. 3 in F minor, D780\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 5 February 1935 in EMI Abbey Road Studio No. 3, London\u003cbr\u003eMatrix no.: CA 14914-1 ∙ First issued on Columbia LB 25\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eCHOPIN (arr. Huberman)\u003c\/b\u003e  Waltz in C-sharp minor, Op. 64, No. 2\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 27 January 1931 in the Columbia Petty France Studios, London\u003cbr\u003eMatrix no:  CA 11131-2 ∙ First issued on Columbia LB 8\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eCHOPIN (arr. Huberman)\u003c\/b\u003e  Waltz in G-flat, Op. 70, No. 1\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 5 February 1935 in EMI Abbey Road Studio No. 3, London\u003cbr\u003eMatrix no.: CA 14912-1 ∙ First issued on Columbia LB 25\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eCHOPIN (arr. Sarasate)\u003c\/b\u003e  Nocturne in E-flat, Op. 9, No. 2\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 5 February 1935 in EMI Abbey Road Studio No. 3, London\u003cbr\u003eMatrix no.: CAX 7427-1 ∙ First issued on Columbia LX 531\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS (arr. Hochstein)\u003c\/b\u003e  Waltz in A-flat, Op. 39, No. 15\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 11 June 1929 in the Columbia Petty France Studios, London\u003cbr\u003eMatrix no.: WAX 5012-5 ∙ First issued on Columbia LX 107\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRUCH \u003c\/b\u003e Kol Nidrei, Op. 47\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 27 January 1931 in the Columbia Petty France Studios, London\u003cbr\u003eMatrix no.: WAX 5949-3 ∙ First issued on Columbia LX 155\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eELGAR  \u003c\/b\u003eLa capricieuse, Op. 17\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 29 January 1931 in the Columbia Petty France Studios, London\u003cbr\u003eMatrix no.: WAX 5951-2 ∙ First issued on Columbia LX 137\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eSiegfried Schulzte,\u003c\/b\u003e piano \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003eBronislaw Huberman,\u003c\/b\u003e violin\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM102.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM102.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eBeethoven Violin Sonata No. 9\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eThere are occasions when a work \nwhich has been recorded over and over again can by a new interpretation \nfill one with that first-time careless rapture. Such an experience was \nmine the other day with the new Kreutzer Sonata played by Huberman and \nFriedman on four light-blue Columbia discs. When I heard the Stokowski \nUnfinished Symphony I thought that it was a very good performance, but I\n did not feel tempted to dig out all my other Unfinished Symphonies and \nplay them over to establish a comparison. When I heard this new Kreutzer\n Sonata I took out every Kreutzer Sonata I had and played them all \nthrough twice over, reaching at the end a definite conclusion that this \nlatest Kreutzer Sonata is by far the best we have, and incidentally that\n the second best is the performance of Cortot and Thibaud in an H.M.V. \nalbum of red discs. Yet, suave and delightful as the Cortot and Thibaud \nversion is, it is not what Beethoven meant. “This is the Jew that \nShakespeare drew,” Pope is credited with having said of Macklin’s \nShylock, when for the first time Shylock was not played as a low-comedy \npart. The Kreutzer Sonata has come perilously near to declining into a \ndrawing-room piece, and it is a relief to find a couple of artists like \nHuberman and Friedman who are not afraid to let themselves go. At the \nsame time, there is never a moment when we suspect that either of them \nis trying to make us think how difficult it all is. Their fire and their\n fervour convey a sense of ease, and I for one do not mind in the least \nwhen some of Huberman’s top notes scrape. I feel that he had been \nsufficiently carried away by what he is playing to sacrifice his tone \nfor a moment, and it is difficult to persuade a great violinist to \nsacrifice his tone. I should not be surprised to he told that Friedman \nhad played one or two wrong notes, and I should not feel greatly shocked\n if he had.\u003cbr\u003e\u003cbr\u003eCompton Mackenzie, Editorial (excerpt), The Gramophone, January 1931\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":38674306061,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":38674306253,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM102_acb0e503-c5f3-4a20-acdd-49bba0f86c1d.jpg?v=1496233964"},{"product_id":"pakm033","title":"KANN Beethoven: Appassionata and Moonlight Sonatas (1952) - PAKM033","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\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eMoonlight, Appassionata Sonatas\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\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\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 c.1952\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal Duration: 37:25\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eHans Kann, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM033.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eTwo sublime performances well captured\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eContinuing our series of rare European early vinyl releases\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\" align=\"left\"\u003eOnce again, we're grateful to \nBrussels-based collector Jean-François Lambert for digging through his \n30,000+ collection of classical LPs to find some of the finest and \nrarest European releases never since reissued.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eThese two recordings would have been \namongst the first vinyl issues of these two well-known and much-loved \nsonatas - they would soon be joined by many more, but there is a magic \nto be found here which makes these long-lost recordings particularly \nworthwhile. At the time of recording, Kann was regarded as one of the \nfinest of as new generation of post-war pianists, a reputation that can \nonly have been enhanced by this disc.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eFrom a technical perspective, Kann was \nparticularly well-recorded for his era; the main shortcoming of the disc\n itself was a pressing which left a considerable degree of distortion to\n deal with during louder sections. This was more pronounced at the end \nof the first side - fortunately it has been possible to make \nconsiderable inroads in the reduction of this, and I've been able to \nachieve a sound which is both crisp and clean (far more so than I \nthought possible), and maintains a surprisingly wide dynamic range for \nany recording of this age. A highly recommended find!\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cul\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003eBEETHOVEN \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003ePiano Sonata No. 23\u003c\/b\u003e in F minor, Op. 57, \"Appassionata\"\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003eBEETHOVEN \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003ePiano Sonata No. 14\u003c\/b\u003e in C sharp minor, Op. 27, No.2, \"Moonlight\"\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eRecorded c.1952, issued as Musical Masterpiece Society 10\" LP MMS-44\u003cbr\u003eMatrix nos. E3KL-6883-1C, E3KL-6884-1B\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eDisc from the collection of Jean-François Lambert, Brussels\u003cbr\u003eTransfer and XR remastering by Andrew Rose at Pristine Audio, April 2009\u003cbr\u003eTotal Duration: 37:25\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHans Kann, \u003c\/b\u003epiano\u003c\/span\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\/PAKM033.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM033.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":34043983117,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34043983245,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34043983373,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34043983501,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM033.jpg?v=1489486709"},{"product_id":"pakm034","title":"KENTNER Beethoven: Hammerklavier Sonata, Liszt: 2 Pieces (1939\/41) - PAKM034","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\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eHammerklavier Sonata\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\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\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eLISZT \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eLiebesträume No. 3\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e, \u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eGnomenreigen \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1939 \u0026amp; 1941\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 50:51\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eL\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eouis Kentner, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM034.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eAn astonishing transfer of a sublime performance\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eSetting new standards for 1930s piano remastering\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThe sound quality of the remastered Beethoven \u003cem\u003eHammerklavier\u003c\/em\u003e\n recording here came as something of a surprise to me. My initial \nresponse to the discs, upon replay, was that they were not only in \nexcellent physical condition, but also that the recording appeared to be\n quite good for its era, if a little on the thin side. There was also a \nproblem throughout most of the sides with swish, something which appears\n to afflict 78rpm discs at the recording stage, rather than being a \nproduct of a particular pressing; otherwise they were fine.\u003c\/p\u003e\u003cp class=\"body\"\u003eI set about the XR remastering using a later Wilhelm \nKempff recording as a sonic reference and, upon completion of \nrestoration, had a nice-sounding 'finished' product, though one which \nsounded a little muted and was perhaps still somewhat unconvincing in \nthe bass. At this point in the restoration process I had just received \ncopies of the Ashkenazy Beethoven Sonata recordings and, noting that for\n his recording of this piece, Ashkenazy's piano was perfectly in tune \n(and therefore ready for me to use), decided our of curiosity to quickly\n re-equalise the Kentner to the tonal \"map\" of Ashkenazy's piano.\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003eThe result was nothing short of astonishing. \nSuddenly the recording came to life in a way it simply hadn't previously\n - the piano tone was entirely convincing and immediately showed \nKentner's interpretation in an entirely new light. Although there \ninevitably remain some artefacts of shellac surface noise and other \nhints as to the vintage of the recording, it's easy to forget whilst \nlistening to this performance that it pre-dates the Second World War. \nQuite simply, this is the best sound quality I've heard from any piano \nrecording of its era. For me this remastering truly represents a \npersonal milestone.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Sonata No. 29 ‘Hammerklavier' in B flat, Op. 106\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003e\u003cb\u003eRecorded in 1939\u003c\/b\u003e\u003cbr\u003e Issued as five UK Columbia 78: DX.912-916\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003eMatrix numbers CAX.8492 - 8501\u003cbr\u003e Takes 2, 1, 1, 2, 1, 1, 1, 2, 1, 1\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eLISZT\u003c\/b\u003e: Liebesträume No. 3\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eLISZT\u003c\/b\u003e: Gnomenreigen \u003c\/span\u003e\u003cspan class=\"body\"\u003e(from \u003cem\u003e2 Konzertetüden\u003c\/em\u003e)\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003e\u003cb\u003eRecorded on 3rd September, 1941, at Abbey Road Studio 3, London\u003c\/b\u003e\u003cbr\u003e Issued as UK Columbia 78: DX.1038\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003eMatrix numbers CAX.8928-1 - CAX.8927-1\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eAll transfers from original UK Columbia 78rpm discs from the Pristine Audio collection.\u003cbr\u003e All transfers and XR remastering by Andrew Rose at Pristine Audio, October 2009\u003cbr\u003e Cover artwork based on a photograph of Louis Kentner\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eTotal duration: 50:51\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eLouis Kentner, \u003c\/b\u003epiano\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAKM034.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM034.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":34044149325,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34044149389,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34044149453,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34044149517,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM034_94ee6f64-edda-4ce5-b22c-b36362ea52e1.jpg?v=1489487010"},{"product_id":"pasc475","title":"KLEMPERER in Geneva: Bach, Beethoven, Hindemith (1957) - PASC475","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\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\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHINDEMITH \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eNobilissima Visione\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBACH \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eOrchestral Suite No. 3\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 7\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast recording, 1957\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:41\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eOtto Klemperer, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrchestre de la Suisse Romande\u003c\/span\u003e\u003c\/b\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px\"\u003e\n\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: MusicWeb International \u0026amp; Fanfare578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIn every movement, the OSR responds magnificently, playing with great concentration and faithfully producing the conductor’s trademark granitic Beethoven textures578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eAfter his enforced exile from Nazi Germany, Otto Klemperer endured \ntwenty or more years of wandering before finally making his home in \nSwitzerland. This CD presents a ‘live’ concert with the Orchestre de la \nSuisse Romande (OSR) and is a product of his residency in that country. \nThe performances are impressive for their ‘heroic scale’, as Peter \nHeyworth characterised Klemperer’s conducting in general. His attention \nto detail is accommodated within an unfailing sense of structure. The \nsource of this CD issue is a high-quality French FM re-broadcast of a \nlive recording.\u003cbr\u003e \u003cbr\u003e Paul Hindemith was one of two composers – the \nother was Igor Stravinsky – whose music helped to establish Klemperer’s \nreputation as a modernist during his tenure at the Kroll Opera in Berlin\n between 1927 and 1931. \u003cem\u003eNobilissima Visione\u003c\/em\u003e was a \n‘choreographic legend’ in one act and five scenes for which Hindemith \ncomposed the music. Massine devised the choreography and danced it. The \nSuite which was taken from the music is in three movements. It is \nblazing and powerful – ‘visionary’ indeed – and the OSR under Klemperer \nresponds with whole-hearted commitment to its demands, as it does to all\n the music played here.\u003cbr\u003e \u003cbr\u003e Each of the works performed in this \nconcert had been recorded in the studio by Klemperer with the \nPhilharmonia Orchestra two or three years previously. A performance of \u003cem\u003eNobilissima Visione\u003c\/em\u003e was probably his first recording for EMI. It was issued back-to-back with the Brahms\/Haydn \u003cem\u003eVariations\u003c\/em\u003e\n on a ten-inch medium play disc and was most recently reissued in a CD \nboxed set of Klemperer conducting twentieth century music – \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2013\/Aug13\/Klemperer_20century_4044012.htm\"\u003ereview\u003c\/a\u003e.\n In comparing this performance of the Hindemith with the OSR’s, due \nallowance must be made for the compromises of the ‘live’ recording \nprocess. Perhaps understandably, the Walter Legge\/Philharmonia regime at\n its zenith surpasses the ‘live’ production from Geneva’s Victoria Hall –\n but not by as much as you might expect.\u003cbr\u003e \u003cbr\u003e Klemperer’s direction \nvaried only a little: the OSR performance is just under a minute faster.\n What is noticeable is the superior balance achieved by Klemperer and \nLegge in the studio. In the EMI recording, the drum which accompanies \nthe solo flute (probably Gareth Morris) in the second movement’s March \nhas a very tangible, but not exaggerated, presence – a dramatic effect \nwhich the composer surely wanted. In the OSR production the drum is \nthere but is less present. In the fierce contrapuntal uproar which \nprevails at the conclusion of the third movement’s \u003cem\u003ePassacaglia\u003c\/em\u003e,\n the Philharmonia’s woodwinds are clearly discernible shrieking \nimpressively amid the din, the OSR’s less so. EMI’s clear yet \nfull-bodied, wide-ranging recording is, in short, a stunning example of \nhigh-fidelity mono sound, better than many a modern effort.\u003cbr\u003e \u003cbr\u003e For\n the OSR’s performance of Bach’s Orchestral Suite No. 3, Klemperer uses \nan orchestra of large if indeterminate size and there are few \nconcessions to ‘scholarship’. Yet what is clear from this performance \nand the Philharmonia recording he made in 1954 is that Klemperer was a \nBach interpreter of formidable power, intellect and concentration. The \nstudio performance has somewhat more clarity and may have used a smaller\n body of players and thus sounds a touch more ‘authentic’. The two \nreadings are very similar in outline and their total timings differ by \njust one second. Listeners without ‘HIP’ prejudices, or able to suspend \nthem for half an hour, will be impressed by these performances.\u003cbr\u003e \u003cbr\u003e\n The best is last – Beethoven’s Seventh Symphony. In assessing this \nrecording, my benchmark was Klemperer’s superbly recorded 1955 EMI \u003cem\u003emono\u003c\/em\u003e\n performance, not the one recorded in rather indifferent experimental \nstereo at the same time. Unfortunately, it is the latter version which \nhas been included in the conductor’s EMI\/Warner boxed set of Beethoven’s\n orchestral music. The mono performance was last available on a Naxos \nHistorical release, coupled with the 1955 mono recording of the Fifth \nSymphony. The mono Seventh received Legge’s full attention, resulting in\n superb balance. Just listen to the way the timpani reinforce the climax\n of the last movement and elsewhere.\u003cbr\u003e \u003cbr\u003e The 1955 performance is \nthe fastest of Klemperer’s studio renditions, but this OSR example \nshaves almost two minutes off it. In both readings, he maintains what \nhas been called his “inexorable forward momentum” without the need for \nrushing. In both recordings, the conductor, as is usual for him, \nexaggerates the great double hammer-blows in the first movement’s \u003cem\u003eAllegro\u003c\/em\u003e.\n Rather than impeding the momentum, this reminds us that a real \nconductor is in charge, not a mere time-beater. In every movement, the \nOSR responds magnificently, playing with great concentration and \nfaithfully producing the conductor’s trademark granitic Beethoven \ntextures. If this is not virtuoso orchestral playing, it is something \nvery close to it.\u003cbr\u003e \u003cbr\u003e In the OSR’s third movement \u003cem\u003eTrio\u003c\/em\u003e, \nsomething occurs which I have not noticed in any other Klemperer \nperformance of this music: there is a delightful ‘swing’ and lilt in the\n playing, achieved without the pronounced slowing down Furtwängler used \nin his 1950 EMI studio recording.\u003cbr\u003e \u003cbr\u003e I am almost certainly in a \nminority in disliking ‘express train’ speeds in the final movement. My \nobjection is two-fold. Firstly, if the repeat is omitted - as it usually\n is - a very fast tempo makes the movement sound too short in relation \nto the rest of the work. Secondly, the faster the speed, the harder it \nis to maintain full intensity. Furtwängler managed to bring it off in \nhis swift reading timed at 6:54; two seconds faster than Toscanini and \nthe BBC Symphony Orchestra. Walter took it even faster in his Sony \nstereo recording at 6:43 and didn’t quite bring it off. It was a \nslightly anti-climactic end to an otherwise great performance. Klemperer\n and the OSR allow themselves 7:41. It’s true that when they start this \nmovement, one senses a trudge may be coming – but only for a moment. \nVery soon, there is a feeling of being irresistibly drawn into a vortex \nby what has been called the conductor’s “terrifying intensity”. One \nsurrenders to it and is swept to an overwhelming conclusion. This is \nquite the finest Beethoven Seventh I have heard from Klemperer.\u003cbr\u003e \u003cbr\u003e\n Pristine offers an admirable high fidelity mono recording. It \nfaithfully conveys the warm, full, forward sound familiar to collectors \nof Ernest Ansermet’s recordings from the Victoria Hall. There is a \nslight tendency for the bass to ‘boom’ on occasion, which is easily \nignored. The audience is quiet. Its applause was apparently not \npreserved in the source of the recording and so is not heard here.\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cem\u003eRob W McKenzie\u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003eMusicWeb International\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eFor those who enjoy pigeonholing conductors (e.g. \nSzell and Toscanini are always fast and taut, with a bright, lean \nsonority; Furtwängler is always weighty, massive, and darker in color, \netc.) Otto Klemperer presents the ultimate challenge. Whether for purely\n musical reasons, his well-documented manic-depressive condition, or a \ncombination of both, Klemperer can sound like different conductors at \ndifferent times and places. I own recordings of Bruckner’s Fourth \nSymphony led by Klemperer ranging from 55:00 to 60:58, and Mahler’s \nSecond from 73:30 to 79:43. The general perception of those who know his\n work mainly from his EMI Philharmonia Orchestra recordings is to think \nof his conducting as always on the slow and weighty side, but that is \nsimply not true.   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003ePristine has made a major contribution to the \nKlemperer discography with this release of a complete broadcast concert \nby the Suisse Romande Orchestra from 1957 (with neither applause nor \nannouncements). This same concert was released on the Archiphon label \nearlier; I have not heard it, but that label’s track record would not \nencourage me to think the quality is even close to this. The source of \nPristine’s issue is a French FM radio rebroadcast, to which Pristine has\n added its XR processing, creating a bit more space around the \norchestral sound. The result is a superb mid-1950s sound quality equal \nto that of professional studio recordings.   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Hindemith is perhaps the biggest surprise here\n to those unfamiliar with the conductor’s EMI recording of the work, to \nwhich this is similar in interpretive outline. Klemperer’s tempos in \nthis piece are among the fastest on records. Here are a few comparisons \nfrom my own collection:  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eKondrashin 19:35  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eKlemperer 19:40 (this performance)  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMonteux 20:43  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eTortelier 23:31  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMuti 23:52  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHindemith 24:51  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eNot only is this performance quick, but it is \nlight-footed, even witty at times. The orchestra plays very well \nthroughout, save for a slightly askew entrance at the onset of the \npassacaglia finale. This is a performance of sweep and drama, with a \nrhythmic lift and a degree of intensity not quite present in the EMI \nrecording.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Bach is guaranteed to upset the HIP \nspecialists, with its big sonority, string playing with a fairly strong \nvibrato, and the huge ritard prior to the work’s conclusion. Klemperer \nwas from a generation that performed Bach regularly in a style more \ngrand than is the norm today. He recorded the four Orchestral Suites \ntwice for EMI, in 1954 and 1960. The performance here of the Third is \nfreer, more spontaneously inflected, and a bit more joyous than the \nstudio recordings, with the famous “Air” lovingly and affectionately \nmolded.   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eKlemperer recorded Beethoven’s Seventh Symphony \nfor EMI three times: in 1955, 1960, and 1968—the last being quite slow \nand weighty. A word often applied to this conductor, “granitic,” would \nfit all three recordings to varying degrees. That word is less \napplicable here. This performance is graceful, warmly lyrical and supple\n in the second movement, and the opening movement is moderately quick \nand very energetic. While the third and fourth movements are on the slow\n side, the well-sprung rhythms and an orchestral sonority somewhat \nlighter in texture than the studio efforts make this a more propulsive \nreading, and in my view an extremely successful one.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis will self-recommend to Klemperer collectors, \nbut the more general collector may well want to seek it out as an \nexample of one of the 20th century’s greatest conductors operating at \nhis peak. \u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eHenry Fogel  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\n      \n    \n  \n  \u003cbr\u003e\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003eThis article originally appeared in Issue 40:4 (Mar\/Apr 2017) of \u003ci\u003eFanfare\u003c\/i\u003e Magazine.\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC475.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eKlemperer's incredible 1957 Geneva Beethoven 7th\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"This\n is quite the finest Beethoven Seventh I have heard from Klemperer ... \nOne surrenders to it and is swept to an overwhelming conclusion\" - \nMusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eThis live radio recording, sourced here from a later, high-quality \nFrench FM rebroadcast, offers us nearly eighty minutes of Otto Klemperer\n at the height of his musical powers, some three years after he began \nhis run of extraordinary recordings with the Philharmonia Orchestra for \nEMI, thanks to the efforts of legendary producer Walter Legge.\u003cbr\u003e\u003cli\u003e\n\u003cbr\u003eDespite\n becoming the first principal conductor of the Philharmonia in 1959, it \nwas in Switzerland that Klemperer settled at this stage in his life, and\n this live 1957 radio broadcast is a rare example of him conducting the \nprimary orchestra of his adopted home. Recorded at Victoria Hall, \nGeneva, the venue for the orchestra's many Decca recordings (and thus, \none might expect, well-equipped and well-known to local sound \nengineers), the sound quality is excellent throughout following XR \nremastering, which has dealt effectively with a slightly over-forward \ntonal balance in the original.\u003cbr\u003e\u003cbr\u003eAlas our source material included \nno applause or other material from the original broadcasts, though \ntimings would have been very tight to include any additional content for\n this release.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHINDEMITH\u003c\/b\u003e Nobilissima Visione - Konzert-Suite (1938) \u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eJ. S. BACH\u003c\/b\u003e Orchestral Suite in D major, BWV1068\u003c\/span\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 7 in A major, Op. 97\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eOrchestre de la Suisse Romande\u003cbr\u003eOtto Klemperer\u003c\/b\u003e, conductor \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eBroadcast concert \u003cbr\u003eVictoria Hall, Geneva, Switzerland 6 March 1957\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC475.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC475.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":32417439885,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32417440077,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32417440269,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC475.jpg?v=1487682297"},{"product_id":"pasc465","title":"KLEMPERER in Philadelphia, Vol. 1: Bach, Beethoven, Brahms (1962) - PASC465","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBACH\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Brandenburg Concerto No. 1\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 3\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Egmont Overture\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 3 'Eroica'\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\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;\"\u003eLive stereo recordings, 1962\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 6:46\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eOtto Klemperer, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Philadelphia Orchestra\u003c\/span\u003e\u003c\/b\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis “Eroica” is one of Klemperer’s great statements of the work578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eLittle did I think when I wrote of \nKlemperer’s Beethoven Cycle with his own (well—Walter Legge’s own) \nPhilharmonia at the Vienna Festival in late May\/early June 1960 (see \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n 39:5) that I would have another chance to discuss the conductor’s \n“Eroica” during this calendar year. Andrew Rose offers here performances\n many of us long devoted to the conductor have always wished to own. \nAfter Klemperer renewed his career and his fame under the aegis of EMI \n(and Legge) during the 1950s, he was seldom able to return to the U.S. \nAn engagement to conduct at the Metropolitan Opera came to naught after \nthe conductor fell asleep smoking his pipe and set his bed afire. The \nstalwart maestro recovered, but his concerts with the Philadelphia \nOrchestra represent his only time of which I am aware in this country in\n the 1960s, and gradually he conducted less and less outside of London. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Pristine issue at hand is Volume 1 of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eKlemperer in Philadelphia\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Two more CDs comprise a second volume: Mozart, Schumann, and more \nBeethoven. The concerts were obviously programmed to present the veteran\n conductor in his core repertory. I mean no discredit to Klemperer when I\n say that these performances are as much notable for the great orchestra\n as for the great conductor. I doubt he would disagree with me had he \nthe opportunity. We have, on commercial discs and also on “pirates,” \ndocumentation of Klemperer leading many orchestras across Europe, as \nwell as a few from his Los Angeles days in the 1930s. It is no discredit\n to the orchestras of Vienna, Amsterdam, and Copenhagen as well as to \nthe Philharmonia, when I say that I hear in these collaborations with \nthe Philadelphia Orchestra a synergy and dynamic response that define \nwhat great orchestral playing is all about. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eTruth to tell, he could not have come \nto Philadelphia at a better post-war time. Although the great first \nchair players of the pre-war era had largely been replaced, those \nreplacements positively defined the orchestra, as much as Ormandy’s \nfamed string sonority: Gil Johnson, leading the trumpets; Mason Jones, \nan exceptional French horn in any era; Henry Charles Smith, heading the \ntrombones, and generally conceded to be the greatest player on his \ninstrument in America. I believe Ansel (also spelled Anshel) Brusilow \nhad succeeded Jacob Krachmalnik as concertmaster by this time (to be \nsucceeded in turn by Norman Carol). \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn general, the orchestra plays for \nKlemperer like musicians possessed, and the conductor seems to be \nthoroughly engaged. The Bach is not as gripping as the rest. It sounds \nlike a fairly good sized ensemble, and the sonics—otherwise quite \namazing throughout these selections—are a bit recessed. Perhaps the \nmicrophone set-up suitable for full orchestra was less so for the \nsmaller group. However, I have nothing but praise for what Rose has \naccomplished with these stereo broadcast tapes. We hear the Beethoven \nand Brahms, in particular, in the best possible representation of 1960s,\n stereo broadcast sound, and in Pristine’s XR technology, it is cleaner \nand has more presence, I suspect, than would have been the case at the \ntime. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs to the performances, I am \nparticularly fond of Klemperer’s EMI recording of the Brahms Third with \nthe Philharmonia (also his studio recording of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEgmont\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n with them). I still think, marginally, I prefer the last two movements \nof the studio recording, but the Philadelphia audience heard a \nmagnificent Third, and the brass playing throughout is superlative. \nKlemperer observed the first movement exposition repeat (unlike Walter \nand Koussevitsky, my two favorite interpreters of this work) and that \nadds to the impact of this performance (as well as his recording). I \nsuspect, had I been in the audience for this Brahms, I would have been \nswept away. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eNo question the Beethoven would have \nleft me greatly moved. Not only the Overture, which he always did well, \nbut this “Eroica” is one of Klemperer’s great statements of the work. \nHis 1955 and 1959 EMI recordings are cornerstones of my record library, \nthe 1955 disc ranks with Toscanini’s 1953 Carnegie performance and \npossibly Mengelberg’s 1930 recording, as my favorite(s). The 1960 Vienna\n performance by the Philharmonia is superb, and also his 1957 concert \nperformance with the Royal Danish Orchestra. But he demands everything \nthe Philadelphia has to give, and they respond to those demands in full \nmeasure. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMarcia Funebre\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n as always with Klemperer, is staggering. This is an amazing \nperformance, and part of what makes it so amazing is the orchestral \nexecution. Such playing cannot be gainsaid, nor taken for granted. Not \nnow, not ever. The horn section, led by Jones, has to be heard to be \nbelieved. Pristine’s sonics fully reveal their magnificence. No one \nshould be without this two-CD set. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eCritics in other publications have \nsaid the Schumann Fourth in Volume 2 is the greatest performance of the \nwork for all time. Hyperbole and panegyrics no doubt, but the quality of\n the playing on these two discs causes me to be eager to hear that \nperformance, and, also the Mozart “Jupiter” contained on those discs. \nWhere do I send my credit card information, Mr. Rose? Oh, and thanks to \nyou and the editor for what I already have! \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"Br\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames Forrest\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 40:2 (Nov\/Dec 2016) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cli\u003eReview of Volumes 1 \u0026amp; 2:\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn October and November 1962, Otto \nKlemperer visited the United States for the first time in eight years, \nto conduct the Philadelphia Orchestra in a series of concerts in New \nYork, Washington, and Baltimore as well as Philadelphia. The 77-year-old\n conductor’s physical and mental health was precarious, and during this \nperiod he suffered from severe depression. Although Klemperer had long \npromoted the works of Bruckner and Mahler, which still enjoyed only \nlimited acceptance in the U.S., and had conducted much 20th-century \nmusic, he stuck close to what was then the mainstream in selecting works\n for this tour. The programs were heavily weighted toward Beethoven, \nincluding three of that composer’s symphonies (Nos. 3, 6, and 7) as well\n as the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEgmont Overture\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, along with one work each of J. S. Bach, Mozart, Schumann, and Brahms. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAccording to the account in Peter \nHeyworth’s biography of the conductor, critical response to these \nperformances was lukewarm, but audiences were more enthusiastic. \nKlemperer later criticized the orchestra in an interview, claiming that \nit was not as good as it had been when he conducted it decades earlier, \nnear the end of Stokowski’s tenure. I find it difficult to understand \nhis dissatisfaction, as the playing on these discs is for the most part \nexcellent, barring a few minor mishaps that are to be expected in a live\n performance, and the resulting performances are characteristic \nKlemperer. They display in abundance his typical concern for structure, \nphrasing, rhythmic precision, and balances; his ability to generate \ntremendous momentum at a comparatively deliberate pace; his probing for \ninner voices; and his striving to reveal each strand of the musical \nfabric distinctly, rather than in a homogenized blend. Not everyone, it \nmust be acknowledged, responds to the Klemperer style. Not too long ago,\n I was taken aback when an esteemed \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n colleague informed me that he “hated” several of Klemperer’s widely \npraised studio recordings. In reviews of these concerts, critics often \nobjected to the slow tempos, and although it is a myth that Klemperer \nwas always a slow conductor, the tempos in these performances are often \nquite deliberate even by comparison with a good many other Klemperer \nrecordings of the same works. There is, however, nothing here that is \noutlandishly slow, as is the case with some of the performances he \nrecorded for EMI at the very end of his career, such as the Bruckner \nEighth and Mahler Seventh symphonies. A critic reviewing one of the \nPhiladelphia Orchestra concerts complained that every note “was \ninspected, mulled over….Every phrase was … viewed through an aural \ntelescope.” This comment is a pejorative description of a phenomenon I \nview as positive. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAlthough there was a trend toward \nslower tempos in Klemperer’s performances as he aged, the progression \nwas not linear. For instance, the tempo in the first movement of this \nPhiladelphia performance of Mozart’s “Jupiter” Symphony is more \ndeliberate than in Klemperer’s 1968 live recording with the Vienna \nPhilharmonic (Testament) as well as his 1954 and 1962 EMI studio \nrecordings. As the movement begins, I am thinking, “This is too slow.” \nBut as the momentum builds, driven by forceful accents, incisive rhythm,\n and precise chording, I am soon captivated by the monumental grandeur \nof this conception. Grandeur is surely an essential element of the \n“Jupiter,” and it doesn’t get any grander than this. After a while, the \ntempo no longer seems slow at all. (Klemperer observes the exposition \nrepeat in both concert performances but not in the EMI recordings.) The \ntempo in the second movement differs little from that of the 1962 EMI \nrecording or the Vienna performance, although it is certainly deliberate\n by conventional standards. The playing evinces thoughtful, sensitive \nshaping by Klemperer and reminds us that his tempo control, although \ngenerally firm and unified, is by no means rigid. The pace in the \nMenuetto is similar to that in the later EMI recording, expansive and \ngrand but also kinetic, with more emphatic downbeats in the Philadelphia\n rendition. The finale is bracing, comparable in tempo to the 1954 EMI \nrecording. The vertical stresses are again stronger in the Philadelphia \nperformance, rendering the movement all the more majestic and heroic. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe movement timings in the \nPhiladelphia performance of Beethoven’s “Eroica” are similar to those of\n the 1959 EMI stereo recording. Those, along with a 1958 live \nperformance with the Stockholm Philharmonic (Medici Masters), are the \nmost expansive among the eight Klemperer performances I compared. The \n1960 live performance with the Philharmonia Orchestra in Vienna (Music \nand Arts) and the 1963 performance with the Vienna Symphony (Orfeo) are \nfaster, once again illustrating the non-linearity in the evolution of \nKlemperer’s tempo choices. The fastest of all, however, is a 1957 \nperformance with the Royal Danish Orchestra (Testament). Of the three \nmost expansive performances, I find the Philadelphia one the most \npersuasive. The Swedish orchestra plays well, but without the refinement\n or tonal weight and allure of the Philadelphians, who also surpass \nKlemperer’s own Philharmonia Orchestra, performing under studio \nconditions, in commitment and intensity. In the Philadelphia \nperformance, stresses are more forceful, climaxes more towering, and \ntension and momentum better sustained. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMarcia funebre\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is especially grim and cataclysmic. With its spaciousness, clarity, and\n bass definition, the Philadelphia recording is superior in capturing \nthe polyphony of the Klemperer sound. This is not an impetuous \nperformance, but it is a majestic and surely heroic one. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe “Pastoral” is from the same October\n 19 concert as the “Eroica,” the first concert of the Philadelphia \nseries. It is the slowest of the seven Klemperer recordings of this \nsymphony in my possession in all movements, and significantly so in the \nfirst three. The Philadelphia timing in the first movement (corrected to\n eliminate the pause between movements) is 14:06, as opposed to \n13:00–13:17 for the three Klemperer recordings chronologically closest \nto this one, the 1957 EMI recording, the 1960 Vienna Festival \nperformance with the Philharmonia Orchestra (Music and Arts), and the \n1964 live performance with the Berlin Philharmonic (Testament). (In all \nof his recorded performances of the “Pastoral,” Klemperer observes the \nexposition repeat.) As with the “Jupiter,” my initial reaction was that \nthe tempo is too slow, but with time I find more to appreciate in this \ngrand, monumental treatment, which builds a massive forward impetus \ndespite the deliberate pace. Other positive attributes include soaring \nclimaxes, insistent stresses, rich string sound, open texture, and \nsculpted detail. The second movement possesses many of those same \nvirtues, although with a timing a half-minute longer than in the EMI \nrecording, it is comparatively serene and quiescent, without the lyrical\n flow of that account or the more fervent expressivity of the 1960 \nVienna performance. The third movement relies on forceful accents and \ntonal weight rather than urgent forward movement for its energy, and its\n momentum once again builds gradually. But Klemperer then conjures quite\n a raging storm, proving once again that he could in fact conduct at a \nfast tempo when he so desired. With a timing only marginally longer than\n that of the EMI recording, the finale is urgent and fervent, once again\n with especially insistent stresses. The deliberate tempos in this \nperformance will no doubt try the patience of some listeners, and for \nthem the EMI recording or the Vienna Festival performance, with its more\n urgent pacing, joyful exuberance, and very good mono sound, would be \nbetter choices, but I value the Philadelphia account, especially for its\n rich, realistic orchestral sound and abundant instrumental detail. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Seventh Symphony receives a titanic\n performance, with towering climaxes. It is similar in outline to the \nsecond of Klemperer’s three EMI studio recordings, but a bit quicker in \nall movements and with the added charge of a live concert event. The \nfirst movement advances at a deliberate pace by conventional standards \nbut with inexorable force, enhanced by emphatic rhythm and powerful bass\n presence and definition. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegretto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e proceeds with the measured tread of a majestic funeral march. The scherzo is kinetic but unhurried, and the finale, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epace\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Wagner, is more triumphal and exultant than dance-like. This is not the\n swifter, lighter-weight Beethoven favored by many of today’s \nconductors, under the influence of “historically informed” practices, \nbut it is in my view superb Beethoven. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAt 9:50, the timing of the Philadelphia performance of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEgmont Overture\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is the longest of five recorded performances by Klemperer. Most \nperformances by other conductors take between eight and nine minutes, as\n Klemperer himself did in the earliest of his recordings, from 1927, \nwith the Berlin State Opera Orchestra (Archiphon). But this Philadelphia\n performance is of extraordinary force and power, exemplifying \nKlemperer’s aforementioned ability to generate tremendous momentum at a \nrelatively deliberate tempo. If anything, this performance has even \ngreater thrust than the somewhat faster EMI studio recording of 1957, by\n virtue of its still more emphatic stresses, greater tonal weight, and \nstronger bass presence. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eJudging by the number of recordings \nthat have surfaced, Klemperer apparently performed the symphonies of \nSchumann and Brahms much less often than those of Beethoven. There are \nonly two recordings of the Schumann Fourth, this Philadelphia \nperformance and the EMI studio recording of 1960. Both are excellent, \ndisplaying the characteristic Klemperer virtues. Tempos in both are \nmainstream, not slow. The Philadelphia performance is actually a bit \nquicker in the first movement, if a trace slower in the inner ones. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn addition to the 1957 EMI studio \nrecording, there are two other live recordings of the Brahms Third by \nKlemperer. He programed the work for his final concert of September 26, \n1971, with the New Philharmonia Orchestra, issued by Testament. Although\n retaining vestiges of the characteristic Klemperer style, this \nperformance, by far the slowest of the lot, bears sad witness to the \ndecline of his powers and the wisdom of his decision to give up \nconducting at that point, at age 86, two years before his death. The \nbrisk 1956 performance with the Vienna Symphony (Orfeo) will come as a \nsurprise to those who think Klemperer was always a slow conductor. The \nEMI and Philadelphia recordings fall in between those extremes in terms \nof tempo, but both have the continuity and consistency of pulse that I \nassociate with Klemperer. The Philadelphia performance is a bit more \nexpansive but amply kinetic in the first movement, with a more yielding \ntreatment of the second subject. As usual, the Philadelphia recording \noffers a richer string sound and more prominent bass. Klemperer’s \ninsistence on an open and transparent sound is especially beneficial to \nthe dense Brahmsian textures. As in all his recorded performances of \nthis work, Klemperer observes the exposition repeat. In the second \nmovement, the timings of the EMI and Philadelphia recordings are \nidentical, but the former is steady and serene, while the latter is a \nbit more flexible and yielding. There is also little difference in tempo\n between the two performances in the third movement, but the \nPhiladelphia performance again feels a bit looser and more flexible. \nLike the first movement, the finale is more expansive in the \nPhiladelphia performance, but stronger stresses and explosive climaxes \ngive it added power. The slow coda, however, is better controlled in the\n EMI recording. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe one truly questionable performance in these sets is that of the Bach \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBrandenburg Concerto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Klemperer was one of the few conductors of his generation who could \nturn out a convincing performance of Baroque music, but this one is not a\n success. The slow tempos don’t work here. The rhythm is lumbering, the \nbalance bass-heavy, and the textures uncharacteristically congested. \nThere is also some shaky ensemble and surprisingly ungainly playing by \nmembers of the orchestra. Despite poor sound and some scrappy playing, \nKlemperer did much better in his crisp and brisk 1946 Vienna recording \nfor Vox. A later Vienna performance, this time with the Philharmonic, \nfrom the 1968 Vienna Festival (Testament), is much more deliberate than \nthe Vox recording, but not so heavy-handed as the Philadelphia one and \nbetter played than both. The 1960 EMI studio recording with the \nPhilharmonia Orchestra is one of the few Klemperer recordings I don’t \nhave. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis is not the first appearance of \nKlemperer’s Philadelphia concerts on CD, as they were issued several \nyears ago on the Memories label, although that release gives different \ndates for some of the performances, and it is not certain that the exact\n same performances are involved. There were earlier CD issues of some of\n the performances as well, and prior to that airchecks of them \ncirculated in the tape underground. But the Pristine versions far \nsurpass those on Memories, as well as the tapes I have, in sound \nquality. They reproduce the sound of the orchestra with startling \nrealism, far more than one would expect from a 1962 radio broadcast, \nexcelling in spaciousness, detail, and bass presence and definition. I \ndo hear touches of congestion in some peaks, however. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThese sets are treasurable documents \nof a great conductor in concert with one of the greatest American \norchestras. They are essential for admirers of this extraordinary \nmusician and should appeal to anyone with an interest in the art of \norchestral interpretation. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"Br\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDaniel Morrison\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 40:2 (Nov\/Dec 2016) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC465.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eKlemperer returns after 27 years to conduct the classics in Philadelphia in 1962\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"\u003cspan class=\"TIMES\"\u003eOne of Klemperer’s great statements\u003c\/span\u003e ... the Marcia Funebre, as always with Klemperer, is staggering. This is an amazing performance\" - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp\u003eI'm delighted to have been able to access superb transcriptions of \nstereo radio master tapes in the preparation of this first of two \nvolumes dedicated to Klemperer's autumn 1962 concerts with The \nPhiladelphia Orchestra, a rapturously-received return to the city where \nhe'd last conducted the orchestra in 1935 but failed in his bid to take \nthe helm from Leopold Stokowski, that role instead going of course to \nEugene Ormandy.\u003c\/p\u003e\n\u003cp\u003eIndeed it would be another two decades before Klemperer's \ninternational reputation was cemented, after falling under the wing of \nWalter Legge and taking charge of the Philharmonia Orchestra, and then \nundertaking a large number of highly successful recordings for EMI. Thus\n did the conquering hero return to Philadelphia at the age of 77, with a\n short series of concerts heavy on Beethoven, with strong support from \nBach, Mozart, Schumann and Brahms - sufficient to full four CDs, of \nwhich this volume offers the first two.\u003c\/p\u003e\n\u003cp\u003eSound quality is excellent throughout. I've tamed a slightly \nover-wide stereo image and used a light convolution reverberation \nderived from one of the world's foremost concert halls to bring a little\n extra realism to a slightly dry acoustic, whilst XR remastering has \nhelped bring out the full warmth of the Philadlephia Orchestra's sound.\u003c\/p\u003e\n\u003cp\u003e\u003cem style=\"font-weight: bold;\"\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH\u003c\/b\u003e Brandenburg Concerto No. 1 in F major, BWV 1046 \u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eConcert of 27 October 1962\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Symphony No. 3 in F major, Op. 90\u003c\/span\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eConcert of 3 November 1962\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Egmont, Op. 84 - Overture\u003c\/span\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eConcert of 27 October 1962\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 3 in E-flat major, Op. 55 'Eroica'\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eConcert of 19 October 1962\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eThe Philadelphia Orchestra\u003cbr\u003eOtto Klemperer\u003c\/b\u003e, conductor \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded live at the Academy of Music, Philadelphia\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC465.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC465.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":31975726797,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":31975726861,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":31975726925,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC465_0b8c983e-ef78-42d4-b6d1-f88c8184c2e7.jpg?v=1487682300"},{"product_id":"pasc467","title":"KLEMPERER in Philadelphia, Vol. 2: Mozart, Beethoven, Schumann (1962) - PASC467","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 41 'Jupiter'\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 7\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 6 'Pastoral'\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUMANN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 4  \u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive stereo recordings, 1962\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 34:51\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eOtto Klemperer, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Philadelphia Orchestra\u003c\/span\u003e\u003c\/b\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: MusicWeb International \u0026amp; Fanfare578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fEssential for admirers of this extraordinary musician and should appeal to anyone with an interest in the art of orchestral interpretation578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cli\u003e\u003cb\u003eReview of Volumes 1 \u0026amp; 2:\u003c\/b\u003e\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\nIn late 1934, Leopold Stokowski announced his resignation as the \nlong-time principal conductor of the Philadelphia Orchestra. Otto \nKlemperer, a refugee from Nazi Germany, was engaged to conduct a season \nof concerts with the orchestra in January and February of the following \nyear. The Bruckner and Mahler performances which he included in his \nPhiladelphia concerts were moderately successful, but received greater \naudience and critical acclaim when he and the orchestra performed them \nin New York. Based on this success, Klemperer hoped he would be \nappointed Stokowski's successor. However, the latter conductor \nreconciled with the orchestra's board and the vacancy lapsed. When \nStokowski resigned a second time in late 1935, the board appointed \nEugene Ormandy to the position and Klemperer's hopes were permanently \ndashed.\u003cbr\u003e \u003cbr\u003e In late autumn 1962, the conductor was reunited with \nthe orchestra when he gave a series of concerts with them in \nPhiladelphia, New York, Washington and Baltimore. The Philadelphia \nconcerts were recorded in stereo and have now been restored by Pristine \nClassics and reissued in these two double-albums. The audiences were, at\n the very least, respectful and sometimes responded with an ovation. The\n critics, however, were reserved, complaining of slow tempos and a \ntendency to scrutinise every phrase. Winthrop Sargeant in the \u003cem\u003eNew Yorker\u003c\/em\u003e\n put the critics' concerns into perspective. Audiences, he believed, \nwere unaccustomed to Klemperer's style because of Toscanini's long \ndominance of the American orchestral scene. Klemperer's performances had\n 'unmistakeable grandeur' and were 'remarkable for their clarity of \ndetail'.\u003cbr\u003e \u003cbr\u003e (Sourced and adapted from Peter Heyworth’s \u003cem\u003eOtto Klemperer – His Life and Times\u003c\/em\u003e, CUP, 1996.)\u003cbr\u003e \u003cbr\u003e\n Although more than half a century old, these performances are not \nperiod pieces. Klemperer was a modernist who championed the music of the\n twentieth century. Unlike many of his near-contemporaries, he did not \nuse expressive devices like fluctuating tempos and significant \ninstrumental ‘re-touchings’. He preferred steady tempos. The orchestral \nsound was big but detailed. Mannerisms were few. Liberties were very \noccasionally taken, mainly in the form of cuts. Surface beauty and \nsuperficial excitement alike were shunned. He was an intellectual - his \ncommand of structure was unsurpassed - but he was not interested in \n‘scholarship’. His performances had honesty, integrity and power.\u003cbr\u003e \u003cbr\u003e\n Pristine's sound is warm, rich and deep and, in general, well balanced.\n Pristine states that it used the acoustic of a fine venue to add warmth\n to the somewhat dry sound on the tapes. The result reproduces the \nfamous sheen of the orchestra very well, although I would not call it a \ntypical Klemperer sound. That was drier, grittier and more detailed — \nsee my comments below on the recording of Beethoven's Seventh Symphony. \nStill, these magisterial performances can be enjoyed in this sumptuous \nsound.\u003cbr\u003e \u003cbr\u003e There is little in these sets which will startle those \nwho know their Klemperer. The performances are basically iterations of \nthe conductor's well known way with this music — all of which he had \nrecorded for EMI a few years earlier.\u003cbr\u003e \u003cbr\u003e In the case of the \u003cb\u003eBrandenburg Concerto No. 1\u003c\/b\u003e\n I was initially nonplussed by the disparities in the movement timings \nbetween this performance and the conductor's EMI studio version of two \nyears earlier. EMI's track 2 (containing the second movement \u003cem\u003eAdagio\u003c\/em\u003e) runs for 4:35 whereas Pristine's track 2 (also supposedly the \u003cem\u003eAdagio\u003c\/em\u003e) lasts\n 15:21. Yet the timings of the two performances of the whole \nconcerto are within a minute or so of each other. What has happened is \nthis: Pristine's track 2 contains not only the \u003cem\u003eAdagio\u003c\/em\u003e, but the third movement \u003cem\u003eAllegro\u003c\/em\u003e and \u003cem\u003epart\u003c\/em\u003e of the fourth movement \u003cem\u003eMenuetto\u003c\/em\u003e. The next bit of the \u003cem\u003eMenuetto\u003c\/em\u003e is found in track 3, and wrongly labelled \u003cem\u003eAllegro\u003c\/em\u003e, leaving only the last three minutes of the \u003cem\u003eMenuetto\u003c\/em\u003e to sit where it belongs - in track 4. Presumably, Pristine will correct these matters when the chance arises.\u003cbr\u003e \u003cbr\u003e Bach's scoring for this work includes a \u003cem\u003eviolino piccolo \u003c\/em\u003e(a\n small violin) and a harpsichord. I doubt whether Klemperer used the \nformer in either of these recordings. He certainly used a harpsichordist\n (George Malcolm) in London, but I'm not at all certain he had one in \nPhiladelphia. The balance in Philadelphia strongly favours the horns and\n the largish string section; the woodwinds tend to struggle. So perhaps \nthe harpsichord \u003cem\u003ewas\u003c\/em\u003e there. The horns, incidentally, are \nwonderfully vital and poised. The EMI recording seems to use a smaller \nstring section and has a clearer, studio-based sound, so it feels a \nlittle more 'authentic'. The Philadelphia performance is warm with tempi\n expansive but steady and never metronomic. This is the one truly \ncontroversial performance in the two sets. 'Authenticists' will reject \nit but, even today, there are those who can revel in this more \n'romantic' Bach than the one we have become used to.\u003cbr\u003e \u003cbr\u003e \u003cb\u003eBrahms\u003c\/b\u003e,\n it has been said, is ‘the patron saint of those who have grown old \nwithout achieving heart's desire’ and that is plain in this \u003cb\u003eSymphony No. 3\u003c\/b\u003e.\n One or two of Klemperer's eminent colleagues couldn't come to terms \nwith this symphony, but he did, and so did Bruno Walter, perhaps because\n of their life experiences. I compared this performance with readings by\n Klemperer on \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2004\/Mar04\/Brahms_Klemperer.htm\"\u003eEMI stereo\u003c\/a\u003e\n and Walter on Sony stereo. All three capture the ‘Autumnal’ yet \nchanging moods of the symphony. Walter omits the first movement repeat \nwithout doing too much damage to the structure — he was averse to \nrepeats — and Klemperer includes it in both performances. Walter’s more \nmoulded approach uses basic tempos in the first three movements which \nare similar to Klemperer’s steadier ones on EMI, except in the Finale \nwhere Walter is brisker. Klemperer is a shade more expansive in \nPhiladelphia than London … by about a minute and a half. Walter’s is one\n of the finest of his stereo recordings in terms of both performance and\n sound. Both the Klemperer recordings are likewise authoritative.\u003cbr\u003e \u003cbr\u003e No conductor ever surpassed Klemperer's performances of the \u003cb\u003e\u003cem\u003eEgmont Overture\u003c\/em\u003e\u003c\/b\u003e. His approach was to use a steady tempo and build slowly to a great climax at the end. Walter, who recorded \u003cem\u003eLeonore No. 3\u003c\/em\u003e masterfully in Vienna, sadly misjudged \u003cem\u003eEgmont\u003c\/em\u003e\n in his Sony recording, slowing down mid-way, then having to speed up \nunconvincingly later on. A special mention for Klemperer's piccolo \nplayer in Philadelphia who rightly dominates the orchestra at the end.\u003cbr\u003e \u003cbr\u003e Some years ago on television, a conductor was seen rehearsing the \u003cb\u003eBeethoven\u003c\/b\u003e \u003cb\u003e\u003cem\u003eEroica\u003c\/em\u003e\u003c\/b\u003e\n with his period instrument orchestra. He advised the players that the \nfirst movement was \"like galloping horses\". Those viewers who recalled \nthat the French revolution inspired this symphony might have found that \nhis description - and performance – did not evoke the heroic spirit of \nthat event. They might prefer an alternative description - \"massive \nforces in motion\" – which is what Klemperer’s performances gave us. I’ve\n heard four of them: the Philharmonia Orchestra EMI studio productions \nof 1955 (\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2009\/Feb09\/Beethoven3_8111303.htm\"\u003emono\u003c\/a\u003e)\n and 1959 (stereo), the Royal Danish Orchestra live recording of 1957 on\n Testament (mono) and this one with the Philadelphia Orchestra.\u003cbr\u003e \u003cbr\u003e\n The Danish performance is the first choice of some listeners. It has \ngreat intensity, emphasised by the close and dryish recording, but lacks\n Klemperer’s characteristic spaciousness. The \u003cem\u003eFuneral March\u003c\/em\u003e is \nquicker than in four other famous performances I compared it with and to\n an extent misses its full stature. I’d guess the whole performance was a\n product of a manic phase of the conductor’s well-known bi-polar \ncondition. The nearest to it in timing is the admired 1955 performance \nwhich has better sound and is better played. The superb horns are led by\n Dennis Brain in the third movement trio and the coda of the last \nmovement. Its \u003cem\u003eFuneral March\u003c\/em\u003e is finer, but does not have the \nstature of the 1959 remake or this Philadelphia performance. Both of \nthese offer a notably deeper and grander \u003cem\u003eFuneral March\u003c\/em\u003e.\u003cbr\u003e \u003cbr\u003e\n The Philadelphia performance resembles the 1959 recording and has \nalmost identical timings in all movements. The first movement is on the \nlargest scale and the important thing is that it \u003cem\u003ecoheres,\u003c\/em\u003e the \nfinal note envisaged, as it were, from the first. Everything leads to a \ngreat climax at the end of the movement where the trumpets, while \npresent, do not dominate to the exclusion of other instruments. The slow\n movement \u003cem\u003eFuneral March\u003c\/em\u003e is immensely moving, although every \nperformance of this piece has to yield to Toscanini's live 1939 version \nwith the NBC Symphony Orchestra — which has almost the same timing – \n16:25. This has unsurpassed tragic grandeur, accompanied by remarkable \ninternal clarity which could only have been achieved by absolute \nprecision; helped by the typically dry acoustic. The Philadelphia third \nmovement is a touch stately, but of a piece with the overall conception.\n In the Finale, Klemperer scores — as Walter does on Sony — by getting \nthe movement off to an arresting start without using Toscanini's \nwhiplash attack. As this movement progresses, do I detect a little more \nrelaxation in the quieter passages than Klemperer permits in his studio \nrecordings? A gesture, perhaps, to a great romantic orchestra? A touch \nof flexibility from the podium helps the horns articulate their \nimportant part in an exciting coda whereas Toscanini’s horns sound a \nlittle rushed.\u003cbr\u003e \u003cbr\u003e I compared this \u003cb\u003eMozart Symphony No. 41,\u003c\/b\u003e \u003cb\u003e\u003cem\u003eJupiter\u003c\/em\u003e\u003c\/b\u003e recording with Klemperer's two studio recordings (EMI, \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2015\/Feb\/Mozart_Symphonies_1PD98.htm\"\u003e1954\u003c\/a\u003e and \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2009\/Feb09\/Mozart_Symphonies_Klemperer_3458102.htm\"\u003e1962\u003c\/a\u003e), Böhm (DG \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/\/2000\/Oct00\/mozartpanorama.htm\"\u003e1962\u003c\/a\u003e) and Walter (US Columbia 1945, available in \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2016\/Mar\/Walter_rarities_PASC452.htm\"\u003ePristine's 'Bruno Walter Rarities'\u003c\/a\u003e 2015).\u003cbr\u003e \u003cbr\u003e\n Klemperer's Philadelphia performance gives the work the stature of a \nromantic symphony, an approach which I think it can withstand. At first \nglance, its physical proportions seem daunting: it runs for 36:39 \nwhereas all the other performances mentioned — including the \nconductor's studio recordings — run for less than half an hour. The \ndifference is mostly explained by the fact that the Philadelphia \nperformance is the only one that includes the repeats in \u003cem\u003eboth\u003c\/em\u003e \nthe outer movements. This adds about six minutes overall. The \nconductor's dramatic 1954 studio performance finds room for a repeat in \nthe last movement, but not in the first. His 1962 studio version, and \nBöhm's and Walter's, omit the repeats in both movements.\u003cbr\u003e \u003cbr\u003e It is \nin the first two movements that the Philadelphia reading differs \nsignificantly from most of the others. In Philadelphia, these \nmovements are broadly paced but lack nothing in intensity. Böhm is \nclosest to the classical ideal, dispatching both these movements swiftly\n in his straightforward, unmannered style. Walter is not far behind him,\n although his performance is more moulded, as you would expect. \nKlemperer in 1954 is close to Walter in overall timing, but steady in \npulse and more intense, giving a heroic feel to his performance. \nKlemperer in his 1962 studio performance slows down by about a minute \nin both the movements, giving a feeling of - as the 'Gramophone' put it \nat the time - 'classical grace'.\u003cbr\u003e \u003cbr\u003e If the Philadelphia audience \nin 1962 thought that Klemperer would drag his feet in the last two \nmovements, they were about to be surprised. His third movement is well \nup to speed and actually faster than Böhm's. His speed for the Finale is\n broadly comparable with the other performances, allowing for his \ninclusion of the repeat, and, with the advantage of his unsurpassed \nintensity, the effect is something of a whirlwind. A satisfying \nconclusion.\u003cbr\u003e \u003cu\u003e \u003c\/u\u003e\u003cbr\u003e Klemperer made \u003cem\u003efour\u003c\/em\u003e EMI studio recordings of \u003cb\u003eBeethoven's Seventh Symphony\u003c\/b\u003e, if you count his \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2002\/Nov02\/Beethoven57_Klemperer.htm\"\u003e1955 mono\u003c\/a\u003e and \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2013\/Sept13\/Beethoven_sys789_PASC371.htm\"\u003estereo\u003c\/a\u003e\n recordings as separate productions - which they were. I've chosen the \nthird of these - his 1960 stereo recording - as a basis for comparison. \nFor my other comparison, I wanted a complete contrast with Klemperer’s \napproach - in good sound. To be slightly venturesome, I selected Carlos \nKleiber’s live recording with the Bavarian State Orchestra on Orfeo, \nreleased in 1982, rather than his more famous \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2014\/Jan14\/Beethoven_Kleiber_4791106.htm\"\u003eDG studio recording\u003c\/a\u003e from the 1970s.\u003cbr\u003e \u003cbr\u003e\n Kleiber's performance is conceived in the classical, Toscanini style, \nwith swift tempos and incisive rhythms but, with fewer repeats and even \nfaster speeds than his DG recording, it understates a significant aspect\n of the score: its rustic, lyrical qualities. Bruno Walter's stereo \nperformance on Sony captured this aspect to perfection in the first \nthree movements, but his Finale was less satisfying in several ways. \nKleiber gives unusual prominence to the cello theme heard early in the \u003cem\u003eAllegretto\u003c\/em\u003e, a device which is not entirely convincing. He omits all repeats, except in the \u003cem\u003eScherzo\u003c\/em\u003e, and his speeds in all movements are faster than Toscanini’s in his pre-war BBC Symphony Orchestra performance (EMI also \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2013\/Apr13\/Toscanini_London_1935_WHRA6046.htm\"\u003eWest Hill Radio Archives\u003c\/a\u003e).\n In the Finale, Kleiber is half a minute faster than Toscanini. This is a\n significant acceleration in a seven-minute movement and frankly places \nphysical excitement before any other qualities. The Bavarian orchestra \nsounds the equal of any in Europe and the sound is outstanding.\u003cbr\u003e \u003cbr\u003e In his DG performance only, Kleiber included the repeats in both the outer movements, whereas Klemperer omitted them in \u003cem\u003eboth\u003c\/em\u003e\n his, perhaps in recognition of the expansiveness afforded by his much \nslower tempos. Predictably, he obtains a much weightier and darker tone \nthan Kleiber did.\u003cbr\u003e \u003cbr\u003e The timings of Klemperer’s two recordings can\n be directly compared — due to their identical treatment of repeats — \nand it is interesting to note that in Philadelphia he was a minute \u003cem\u003efaster\u003c\/em\u003e\n than in London. Neither performance is 'the apotheosis of the dance' \nbut the EMI performance has been called 'titanic' and that \ndescription applies even more to the one in Philadelphia. With this \nconductor, the excitement comes not from speed but from the intensity of\n the playing he obtains. Be prepared for a famous Klemperer \n'ear-tickler' in the first movement's \u003cem\u003eAllegro\u003c\/em\u003e: his exaggeration\n of the great double hammer-blows. Some may find this a mannerism; \nothers may guiltily look forward to it each time they hear him in this \nwork.\u003cbr\u003e \u003cbr\u003e There is a marked difference in the sound produced by \nKlemperer’s two orchestras. In London, he obtained his usual \nrather grainy Beethoven sound from the Philharmonia players. In \nPhiladelphia, the orchestra - as presented by Pristine - retained \nits trademark tonal sheen.\u003cbr\u003e \u003cbr\u003e To judge by the number of memorable recordings which have appeared over the last ninety years, \u003cb\u003eBeethoven's Symphony No. 6,\u003c\/b\u003e \u003cb\u003e\u003cem\u003ePastoral\u003c\/em\u003e\u003c\/b\u003e\n may be the favourite symphony of the great conductors; I can think of \nonly one significant conductor who recorded it unsatisfyingly. It was \nalso the symphony by which many of us first experienced Beethoven's \norchestral music and so has a special place in our hearts.\u003cbr\u003e \u003cbr\u003e My own favourite versions could hardly be more different: Toscanini's pre-war recording on HMV (reissued in 2013 on EMI; also \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2004\/Apr04\/beethoven6_toscanini.htm\"\u003eNaxos\u003c\/a\u003e), Walter's \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2015\/Dec\/Beethoven_Walter_88875123912.htm\"\u003eSony\u003c\/a\u003e stereo and Klemperer's \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2003\/May03\/Beethoven6_klemperer.htm\"\u003eEMI stereo\u003c\/a\u003e.\n There is a well known story that when Klemperer was rehearsing the \nthird movement 'Peasants' Merrymaking', EMI producer Walter Legge phoned\n him from the control room to question his slow tempo. ‘You will get \nused to it’ was the laconic reply. In Philadelphia, the conductor added \nan extra half-minute to this movement, so these peasants are \nindeed heavy-footed - as some of us might expect peasants to be.\u003cbr\u003e \u003cbr\u003e The first two movements are also slow, although the timing of 14 minutes for the \u003cem\u003eAllegro\u003c\/em\u003e\n is partly accounted for by Klemperer's inclusion of the repeat, \nwhich adds at least three minutes to this movement. The other two \nconductors omit it. Klemperer's speeds allow him to exploit to the full \nthe orchestra's seemingly limitless tonal reserves, grounded in an \nimmensely powerful bass. Reject his tempos if you must, but you will \nnever hear this work more beautifully or more powerfully played. The \nstorm is utterly overwhelming and takes only a few seconds longer than \nToscanini's and Walter's. The last movement \n'Thanksgiving' is unexceptionally paced and flows steadily and gently to\n its end.\u003cbr\u003e \u003cbr\u003e Gentleness is a characteristic of Walter's \nentire recording - but it is gentleness with backbone. It's a warmly \nexpansive, Viennese romantic interpretation with the lighter tone \nquality and more flexible tempos that such an approach would imply. \nAfter Walter and Klemperer, Toscanini’s account sounds almost like an \n'historically informed' performance without the bugbear — as some would \nsee it — of period instruments. Tone quality is lighter and focused on \nthe treble end of the orchestra. Speeds are swifter. There is great \ninternal clarity, bringing prominent woodwind detail. The most important\n thing is that the BBC Symphony Orchestra and Toscanini prove to be \nideal foils to one another: the conductor imparts precision and rhythmic\n drive and the orchestra tempers these with its special warmth and \nflexibility. The result is a performance with a rare combination of \nvitality and lyricism.\u003cbr\u003e \u003cbr\u003e My choice between the two Klemperer \nversions rests with the EMI studio account because of its marginally \nmore conventional pacing; it's three minutes faster. Still, if you have \nany sympathy at all for the conductor's way with this symphony, \nyou'll want to hear the incomparable sonic glories of the Philadelphia \nperformance.\u003cbr\u003e \u003cbr\u003e Pristine’s liner-notes quote from a recent review in the \u003cem\u003ePhiladelphia Inquirer\u003c\/em\u003e in which David Patrick Stearns calls this performance of \u003cb\u003eSchumann's Symphony No. 4\u003c\/b\u003e\n the 'best' among those the conductor gave in Philadelphia in 1962. \nGiven the stature of the performance, I'd call it not merely the best, \nbut the greatest.\u003cbr\u003e \u003cbr\u003e Perhaps we should forget about the supposed \nweaknesses of this work — actually Schumann's second in order of \ncomposition — and listen to what some great German conductors make of \nit. I've compared this performance with the same conductor's 1960 EMI \nstudio recording and those by Furtwängler (DG 1953 also \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2006\/Feb06\/Tchaikovsky_Furtwangler_FURT10991100.htm\"\u003eTahra\u003c\/a\u003e) and Walter (HMV\/Dutton 1938\/94 also \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2011\/Jan11\/schumann_sys_GHCD2362.htm\"\u003eGuild\u003c\/a\u003e).\u003cbr\u003e \u003cbr\u003e\n Walter's performance, lasting just under 24 minutes, is far shorter \nthan the next contender, Klemperer's studio performance, which runs for \n28:25. Walter's timing reflects his omission of the first movement \nexposition repeat — all the other recordings retain it — but also his \nswift tempos. As recorded and restored, the performance has a \nsurprising lack of impact and majesty. This may be partly or wholly due \nto the sound, which is rather remote and cloudy. Regardless of the \nreason, Walter's recording is disappointing. Perhaps a modern \nrestoration would improve matters.\u003cbr\u003e \u003cbr\u003e Furtwängler's recording has \nlong been regarded as the gold standard for this work. It gives us the \nrare chance to hear the Berlin Philharmonic Orchestra of his time in \nhigh fidelity sound. It's the most expansive of the four performances, \nlasting about a minute and a half longer than either of Klemperer’s \nperformances, which run within a few seconds of each other. Furtwängler \npays his tribute to Schumann by his subtle variations in tempo, his \nmajestic treatment of the outer movements, his relative gentleness in \nthe inner movements and his not unexpected speeding up at the conclusion\n of the final movement.\u003cbr\u003e \u003cbr\u003e The two Klemperer performances are \nsimilar to each other in concept and, as mentioned above, in pacing. \nTempos are not slow, and in contrast with Furtwängler, steadily \nmaintained. Where the Philadelphia performance exceeds the studio \nversion is in, to quote Stearns again, its 'terrifying’ intensity. The \nlistener is confronted with a massive sound which is not static \nbut moving inexorably forward. The final movement builds up to a \nconclusion of overwhelming force, eliciting shouts of acclamation from \nthe audience. No thoughts of 'weak writing' here. This performance is a \nsupreme exposition of high German romanticism without the \ninterpretive distortions which sometimes accompany it. Alone worth the \nprice of the set.\u003cbr\u003e \u003cbr\u003e In conclusion, These two double albums will \nappeal strongly, not just to the conductor’s enthusiasts, but to all \nlovers of great conducting, effortless and sumptuous orchestral playing \nand ripe stereo sound. They will sustain repeated hearings. Audiences \nare well behaved throughout.\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cem\u003eRob W McKenzie\u003c\/em\u003e\u003c\/b\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2016\/Jul\/Klemperer_Philadelphia_v12_PASC465.htm\" target=\"_blank\"\u003eMusicWeb International\u003c\/a\u003e\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cb\u003eReview of Volumes 1 \u0026amp; 2:\u003c\/b\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn October and November 1962, Otto \nKlemperer visited the United States for the first time in eight years, \nto conduct the Philadelphia Orchestra in a series of concerts in New \nYork, Washington, and Baltimore as well as Philadelphia. The 77-year-old\n conductor’s physical and mental health was precarious, and during this \nperiod he suffered from severe depression. Although Klemperer had long \npromoted the works of Bruckner and Mahler, which still enjoyed only \nlimited acceptance in the U.S., and had conducted much 20th-century \nmusic, he stuck close to what was then the mainstream in selecting works\n for this tour. The programs were heavily weighted toward Beethoven, \nincluding three of that composer’s symphonies (Nos. 3, 6, and 7) as well\n as the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEgmont Overture\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, along with one work each of J. S. Bach, Mozart, Schumann, and Brahms. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAccording to the account in Peter \nHeyworth’s biography of the conductor, critical response to these \nperformances was lukewarm, but audiences were more enthusiastic. \nKlemperer later criticized the orchestra in an interview, claiming that \nit was not as good as it had been when he conducted it decades earlier, \nnear the end of Stokowski’s tenure. I find it difficult to understand \nhis dissatisfaction, as the playing on these discs is for the most part \nexcellent, barring a few minor mishaps that are to be expected in a live\n performance, and the resulting performances are characteristic \nKlemperer. They display in abundance his typical concern for structure, \nphrasing, rhythmic precision, and balances; his ability to generate \ntremendous momentum at a comparatively deliberate pace; his probing for \ninner voices; and his striving to reveal each strand of the musical \nfabric distinctly, rather than in a homogenized blend. Not everyone, it \nmust be acknowledged, responds to the Klemperer style. Not too long ago,\n I was taken aback when an esteemed \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n colleague informed me that he “hated” several of Klemperer’s widely \npraised studio recordings. In reviews of these concerts, critics often \nobjected to the slow tempos, and although it is a myth that Klemperer \nwas always a slow conductor, the tempos in these performances are often \nquite deliberate even by comparison with a good many other Klemperer \nrecordings of the same works. There is, however, nothing here that is \noutlandishly slow, as is the case with some of the performances he \nrecorded for EMI at the very end of his career, such as the Bruckner \nEighth and Mahler Seventh symphonies. A critic reviewing one of the \nPhiladelphia Orchestra concerts complained that every note “was \ninspected, mulled over….Every phrase was … viewed through an aural \ntelescope.” This comment is a pejorative description of a phenomenon I \nview as positive. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAlthough there was a trend toward \nslower tempos in Klemperer’s performances as he aged, the progression \nwas not linear. For instance, the tempo in the first movement of this \nPhiladelphia performance of Mozart’s “Jupiter” Symphony is more \ndeliberate than in Klemperer’s 1968 live recording with the Vienna \nPhilharmonic (Testament) as well as his 1954 and 1962 EMI studio \nrecordings. As the movement begins, I am thinking, “This is too slow.” \nBut as the momentum builds, driven by forceful accents, incisive rhythm,\n and precise chording, I am soon captivated by the monumental grandeur \nof this conception. Grandeur is surely an essential element of the \n“Jupiter,” and it doesn’t get any grander than this. After a while, the \ntempo no longer seems slow at all. (Klemperer observes the exposition \nrepeat in both concert performances but not in the EMI recordings.) The \ntempo in the second movement differs little from that of the 1962 EMI \nrecording or the Vienna performance, although it is certainly deliberate\n by conventional standards. The playing evinces thoughtful, sensitive \nshaping by Klemperer and reminds us that his tempo control, although \ngenerally firm and unified, is by no means rigid. The pace in the \nMenuetto is similar to that in the later EMI recording, expansive and \ngrand but also kinetic, with more emphatic downbeats in the Philadelphia\n rendition. The finale is bracing, comparable in tempo to the 1954 EMI \nrecording. The vertical stresses are again stronger in the Philadelphia \nperformance, rendering the movement all the more majestic and heroic. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe movement timings in the \nPhiladelphia performance of Beethoven’s “Eroica” are similar to those of\n the 1959 EMI stereo recording. Those, along with a 1958 live \nperformance with the Stockholm Philharmonic (Medici Masters), are the \nmost expansive among the eight Klemperer performances I compared. The \n1960 live performance with the Philharmonia Orchestra in Vienna (Music \nand Arts) and the 1963 performance with the Vienna Symphony (Orfeo) are \nfaster, once again illustrating the non-linearity in the evolution of \nKlemperer’s tempo choices. The fastest of all, however, is a 1957 \nperformance with the Royal Danish Orchestra (Testament). Of the three \nmost expansive performances, I find the Philadelphia one the most \npersuasive. The Swedish orchestra plays well, but without the refinement\n or tonal weight and allure of the Philadelphians, who also surpass \nKlemperer’s own Philharmonia Orchestra, performing under studio \nconditions, in commitment and intensity. In the Philadelphia \nperformance, stresses are more forceful, climaxes more towering, and \ntension and momentum better sustained. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMarcia funebre\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is especially grim and cataclysmic. With its spaciousness, clarity, and\n bass definition, the Philadelphia recording is superior in capturing \nthe polyphony of the Klemperer sound. This is not an impetuous \nperformance, but it is a majestic and surely heroic one. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe “Pastoral” is from the same October\n 19 concert as the “Eroica,” the first concert of the Philadelphia \nseries. It is the slowest of the seven Klemperer recordings of this \nsymphony in my possession in all movements, and significantly so in the \nfirst three. The Philadelphia timing in the first movement (corrected to\n eliminate the pause between movements) is 14:06, as opposed to \n13:00–13:17 for the three Klemperer recordings chronologically closest \nto this one, the 1957 EMI recording, the 1960 Vienna Festival \nperformance with the Philharmonia Orchestra (Music and Arts), and the \n1964 live performance with the Berlin Philharmonic (Testament). (In all \nof his recorded performances of the “Pastoral,” Klemperer observes the \nexposition repeat.) As with the “Jupiter,” my initial reaction was that \nthe tempo is too slow, but with time I find more to appreciate in this \ngrand, monumental treatment, which builds a massive forward impetus \ndespite the deliberate pace. Other positive attributes include soaring \nclimaxes, insistent stresses, rich string sound, open texture, and \nsculpted detail. The second movement possesses many of those same \nvirtues, although with a timing a half-minute longer than in the EMI \nrecording, it is comparatively serene and quiescent, without the lyrical\n flow of that account or the more fervent expressivity of the 1960 \nVienna performance. The third movement relies on forceful accents and \ntonal weight rather than urgent forward movement for its energy, and its\n momentum once again builds gradually. But Klemperer then conjures quite\n a raging storm, proving once again that he could in fact conduct at a \nfast tempo when he so desired. With a timing only marginally longer than\n that of the EMI recording, the finale is urgent and fervent, once again\n with especially insistent stresses. The deliberate tempos in this \nperformance will no doubt try the patience of some listeners, and for \nthem the EMI recording or the Vienna Festival performance, with its more\n urgent pacing, joyful exuberance, and very good mono sound, would be \nb\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":31975729741,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":31975729805,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":31975729869,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC467_d85d984f-71b4-4f7a-a639-aee361240d88.jpg?v=1487682303"},{"product_id":"pasc300","title":"KOUSSEVITZKY Beethoven: Symphony No. 9 (1947) - PASC300","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 9 \"Choral\"\u003c\/span\u003e\u003cb\u003e \u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recording, 1947\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 68:40\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;\"\u003eFrances Yeend \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003esoprano\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eEunice Alberts \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003econtralto\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eDavid Lloyd \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003etenor\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eJames Pease \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003ebass\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBerkshire Music Festival Chorus\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSerge Koussevitzky, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBoston Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe orchestral sound is remarkable in its wide dynamic range and accuracy of timbre ... this sounds like an especially fine LP from the early ’50s578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThis performance was recorded in \nthree sessions held during August 1947 in the Tanglewood Music Shed. It \nis not easily characterized in that, more than anything else, it \nprojects a prevailing neutrality lacking the intensity suggested by \nWeingartner (1935), the thrust and lyric delicacy of Walter (1949), and \ncontrol and dramatic tension projected by Toscanini (1952). Yet as a \nhistorical document it is fascinating. For one thing, having 78-rpm \ndiscs as its source, the orchestral sound is remarkable in its wide \ndynamic range and accuracy of timbre. This in part is the result of \nPristine’s having had access to a clean set of 78s pressed on vinyl, one\n of several “deluxe” sets that RCA issued in the late ’40s. With its \nseamless side joins, this sounds like an especially fine LP from the \nearly ’50s, at least through the first three movements, the finale \nlacking some of the impact and color of what preceded. Although there is\n much about Furtwängler’s extremes of tempo (Bayreuth, 1951) that I find\n excessive, at least they suggest a point of view projected with \nconviction. By contrast, Koussevitsky seems to have no conviction, going\n through most of the music with mere correctness and emotional \ntightness. Never, for example, have I encountered the timpani thwacks of\n the second movement executed with such inappropriate gentleness. Nor is\n the coda of the first movement as spooky and terrifying as it should \nbe. And if the very close of the finale is free of the hysteria that \nFurtwängler generated, it also is without the sense of finality that \nToscanini conveyed by favoring what was the slowest pace ever accorded \nthe passage in a major recording. The four soloists do well, but they \nare not the issue here. Only the first of two repeats is observed in the\n second movement. Certainly, as a document of Koussevitsky and of the \nfine efforts of RCA’s and Pristine’s engineering, this release is \nvaluable. But it falls short of getting to the core of the music. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eMortimer H. Frank\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 35:3 (Jan\/Feb 2012) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC300.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eKoussevitzky's only commercial recording of the 9th\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eIncredible sound quality extracted from previously unplayed vinyl 78rpm pressings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cbr\u003eThis transfer is unusual in that it came from a largely \nunplayed set of clear red vinyl-like 78s issued by RCA Victor under the \n\"Red Seal De Luxe\" label in the second half of the 1940s. Although \npressed from the same masters as their shellac equivalents, they cost \ntwice as much and were advertised as much for their unbreakability as \ntheir much quieter and cleaner surfaces. It was a format which was soon \nsuperseded by microgroove LPs and 45s, pressed onto very similar \nplastic.\u003c\/p\u003e\u003cp class=\"body\"\u003eIn transfer the discs suffered similar shortcomings to \nboth early LPs and many 78s. There was a noticeable treble drop-off \ntowards the end of each side, and many sides suffered from the swish \nwhich plagued many discs at all speeds until well into the 1950s. They \nalso presented a considerably raised degree of rumble over other \nformats. That said, overall (two sides excepted - see editorial, below) \nthe fidelity and clarity of these discs was indeed excellent for their \nday, and for the overall impression is excellent. It has been suggested \nto me that these discs could produce the finest transfers possible of \nthis recording - to the extent that a reassessment of Koussevitzky's \nperformance here might be long overdue. I certainly believe this XR \nremastering has addressed many of the technical criticisms previously \nlevelled against it, and thus allows the recording to be heard in a \ncompletely new light.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 9 in D minor, Op. 125 \"Choral\"\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eTransfers from RCA Victor Red Seal De Luxe DV12 (18-0098\/105)\u003cbr\u003eRecorded 6, 12 \u0026amp; 13 August, 1947 \u003cbr\u003eLocation: The Music Shed, Tanglewood, Lenox, Massachusetts, USA \u003cbr\u003eMatrix Nos. D7-RC-7719 - 7734 \u003cbr\u003eTakes 1, 1, 1, 1, 1, 2, 1, 2, 2, 2, 3, 2, 1, 2, 2, 3\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003eFrances Yeend \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003esoprano\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003eEunice Alberts \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003econtralto\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003eDavid Lloyd \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003etenor\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003eJames Pease \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003ebass\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003eBerkshire Music Festival Chorus\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e dir. Robert Shaw\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cbr\u003eBoston Symphony Orchestra\u003cbr\u003eSerge Koussevitzky \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003econductor\u003c\/span\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\/PASC300.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC300.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eFurther notes\u003c\/b\u003e on the RCA red vinyl 78rpm discs and their pros and cons\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e(from the\u003cb\u003e Pristine Classical Newsletter\u003c\/b\u003e - \u003cem\u003eEditorial\u003c\/em\u003e, 29 July 2011)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAs I began writing this column last week I'd just \nstarted transferring the sixteen sides which make up Serge \nKoussevitzky's 1947 recording of Beethoven's Symphony No. 9. Recorded in\n Tanglewood in August of that year with the Boston Symphony Orchestra, \nfour soloists and the Music Festival Chorus, the recording was one of a \nrelative handful to be issued on the RCA Victor Red Seal De Luxe label.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eIt seems my mention of this label's clear red vinyl 78s \nbrought back a lot of memories for readers of this column - and judging \nby what you wrote it sounds like they were something of a mixed \nblessing. Some people loved them, others were far less enthusiastic.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eWhat I had, in this recording, was the rare opportunity \nto play sides which had never been played before. Even of those three or\n four sides which had, they had only received a single play using a \nmodern, lightweight stylus, and would therefore have been just about as \ngood as new.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe format was hailed by the RCA Victor marketing \ndepartment in 1945 as the future of music reproduction and the biggest \nadvance in 45 years in playback technology. It's an interesting claim, \nand one which I'd dispute: the almost overnight switch from acoustic to \nelectric recording across the world in mid-1925 surely remains the \nbiggest single leap forward in recording technology - everything else \nhas (I would argue) been more about evolution than revolution.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThus the new plastic discs of 1945 also coincided with \nthe commercial development of much greater frequency range recordings \nthan had previously been offered, something Decca in the UK made a big \ndeal about with their \u003cem\u003effrr\u003c\/em\u003e recordings. Others chose not to \nrepeat the experience of 1925 and say anything to suggest their back \ncatalogue had been rendered obsolete overnight. So the RCA red vinyl \ndiscs were also able to offer a  greater frequency range than earlier \nofferings - but they weren't telling anyone this, and to be clear, the \nsame was also true of their shellac discs.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eHowever, shellac's days were numbered. Wartime use of \nvinyl-like discs for radio transmissions had probably done much to point\n the way forward, with the LP and 45rpm microgroove discs of 1948 \nonwards being the logical conclusion.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eIn 1945 the technology wasn't quite there yet, and the \nKoussevitzky 78s tell us as much about what was right about the new \nplastic records as was still yet to be mastered. The first few turns of \nall of the sides displayed something which LPs never really fully \nconquered: a heavy low-frequency rumble which gradually diminished as \nthe side went on. But on these discs it was far more pronounced than \nanything you'd hear on an LP - or on a regular shellac 78 - and got \nworse as I compensated for the poor bass response of the recording in \nquestion.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eNot to worry - it's not too difficult to filter out. I'm\n guessing the greater energy of the disc rotating at 78rpm only \nemphasises a problem common to other vinyl discs. On a number of sides \nit was accompanied by a regular thump, indicating the disc wasn't as \nflat as one would like - to the extent that the final side jumped ever \nso slightly out of the groove on each turn, something easily edited out,\n but which would probably not have happened at the more sedate speed of \nan LP!\u003c\/p\u003e\n\u003cp class=\"body\"\u003eSo that's the bottom end, what about the top? Well, at \nits best it was clear, crisp and clean. In theory a record turning at \nthis kind of speed should be much better able to handle higher \nfrequencies than one running at 33rpm, and I would expect a modern 78rpm\n pressing from a high resolution source to deliver good sound at the top\n end. But here we're dealing with a 1947 recording and technology \noptimised for shellac. We get end of side distortion, a really \nnoticeable treble roll-off (common to most 78s), and a lot of swish.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eSwish is created at the time of cutting grooves in a \nrecord, and in a direct-to-disc system such as was used prior to \nmagnetic tape, there's no chance to re-cut the disc in order to fix it. \nI'll be clear and say right now that I don't know precisely what causes \nit, but it bedevils 78s and early LPs and is exaggerated by digital \nnoise reduction which normally misidentifies it as content and leaves it\n alone, only putting into greater sonic relief.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eSo it's no great surprise to find it here on a number of\n sides, leaving the slow, tedious job of manually selecting each swish \nand trying to bring it under control or eliminate it. with 68 minutes of\n music and a swish potentially 78 times per minute - well you do the \nmaths.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eFinally we come to sides 4 and 13. I'll quote now from \nnotes in a Koussevitzky Discography published in the Spring 1990 issue \nof the ARSC (Association for Recorded Sound Collections) Journal:\u003c\/p\u003e\n\n\u003cp class=\"body\"\u003e\u003ci\u003e\"Due mainly to the extremely noisy surfaces typical of \nso many late postwar Victor pressings, the shellac 78s (DM-1190) make \nfor hard listening. However, the red vinyl 78s (V.DV-12) came out fairly\n well. Sides 4 and 13 have a particularly distorted sound on both \nshellac and vinyl editions similar to other sides that are known to have\n been recut. Victor was capable of making fairly decent sounding recuts.\n Some of the bad ones, including the two sides at hand, sound as though \nthe disc being copied was played with a stylus fouled with dirt.\"\u003c\/i\u003e\u003c\/p\u003e\n\n\u003cp class=\"body\"\u003eWhat this suggests is that these two side, for some \nreason, had to be dubbed - a \"recut\" - from another disc master (or \ncopy) before pressing masters could be made, usually as a result of some\n kind of problem in the mastering or manufacturing process. Both sides 4\n and 13 were especially noisy and had a fuzzy distortion to them, well \ndescribed here.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eI was able to cut through the worst of this with various\n restoration tools, and the difference in sound quality is far less \nglaring in the finished transfer than it had been to begin with. What is\n confusing to me is that this problem seemed to have been avoided in the\n later microgroove issues of this recording, which makes one wonder how \nthey got through quality control for the 78s.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eOne final thing to report on these discs, and one which \nwould have been equally the case on the shellac editions. The Boston \nSymphony Orchestra, at least when replayed at the correct speed, appears\n to have been tuned to A=450Hz rather than the more common A=440. Were \nthe Victor disc cutters really rotating at 78rpm, as this would indicate\n a speed of 76.25rpm for cutting if the orchestra was playing at concert\n pitch. Or did the BSO play sharp?\u003c\/p\u003e\n\u003cp class=\"body\"\u003eIf the latter is the case then I'll have to apologise to\n pitch purists - I've made the roughly 2% correction required to repitch\n the recording to A=440Hz.(Wikipedia tells me that these days the BSO \ntunes to A=442...)\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAt this stage I feel like I've successfully trashed the \nrecording to the extent that nobody will be interested in hearing it, so\n let me now redress the balance. Despite all the faults outlined above -\n most of which are common to 78s and LPs to one degree or another - the \nred vinyl discs did indeed deliver probably the best available sound \nquality at the time. It was a technology still in its infancy, and one \nwhich would be improved upon in the years to come, but they were very \nmuch on the right track - and the sound quality I've been able to \nextract from the records is remarkably refined and clear. Just about all\n the shortcomings have been within the capacity of modern remastering \nsoftware to remedy, and XR remastering has dug deep into the recorded \nsound to bring out the previously recessed bass and make the whole sound\n more direct and immediate.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe ARSC notes comment:\u003c\/p\u003e\n\n\u003cp class=\"body\"\u003e\u003ci\u003e\"Victor obviously had a great deal of trouble recording \nanything sonically acceptable in the Music Shed. The sound has a distant\n quality, but it is possibly the result of putting the mikes back aways \nfrom the orchestra to capture ambience, of which a reasonable amount \nexists on this recording. A \u0026amp; R man R. Gilbert, would have probably \nachieved better results by putting his mikes closer to the orchestra, \nand forgetting about trying to make this recording sound as though it \nhad been made in a fine concert hall.\"\u003c\/i\u003e\u003c\/p\u003e\n\n\u003cp class=\"body\"\u003eI would suggest that the XR rebalancing of the tonal \nresponse of the recording actually achieves what the sound recording \nengineers were attempting to achieve - but have a listen to the first \nmovement and judge for yourself. It doesn't sound \"distant\" to me - in \nfact I like it a lot!\u003c\/p\u003e\n\u003cp class=\"body\"\u003eI always like to find something special to mark \nnumerical milestones in our catalogue if I can - and this record more \nthan fits the bill for our 300th orchestral release. It's provided me \nwith a fascinating technological diversion and with a rather nice \nrecording to boot. Once again, a big thanks to Al Schlachtmeyer for the \ndiscs - another major contingent of which arrived here a couple of days \nago and await careful unpacking over next few days. In the meantime I \nhope you'll enjoy the first fruit of this remarkable collection!\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":57538314266,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":57538347034,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":57538379802,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":57538445338,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC300.jpg?v=1501146588"},{"product_id":"pacm050","title":"LÉNER QUARTET Beethoven: String Quartet No. 10 (1932) - PACM050","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cb data_liveedit_tagid=\"000000000D771120\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eString Quartet No.10 in E flat major, Op.74, \"Harp\"\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\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-family: Arial,Helvetica,sans-serif\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 14 March 1932\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003cspan\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e Duration 33:11\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Léner Quartet\u003c\/span\u003e\u003c\/span\u003e\u003cem data_liveedit_tagid=\"000000001BABB630\"\u003e\u003c\/em\u003e\u003cbr\u003e\u003cp data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 30px\"\u003e\u003cem data_liveedit_tagid=\"000000001BABB630\"\u003e\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM050.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe Léner Quartet's groundbreaking Beethoven\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eRemastered for finest sound quality\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eThe Léner Quartet has become something of a legend amongst string \nquartets. Founded in Budapest in 1918, though based for most of their \ncareer in London, they made the first of some 450 recorded 78rpm sides \nin 1923. They began the first ever recorded cycle of Beethoven Quartets \nfor Columbia in 1927, the centenary of Beethoven's death, setting the \nestablished standard for these works.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAmazingly, very few of their recordings have been \nrestored to the catalogue; their Beethoven cycle was issued in Japan \nonly in the late 1990's but quickly slipped back out of the catalogue. \nPerhaps one reason for this is hinted at in an article from the All \nMusic Guide, which states: \"By 1950, the Léner Quartet recordings, \nmostly made in the 1920s, must have seemed ancient by comparison as the \ngroup favored a broad, fat string tone more readily associated with \narch-Romantic performance practice. Nonetheless, this is precisely why \nsome of the Léner Quartet recordings are being revived on CD more than \n50 years after they were largely regarded as obsolete artifacts \nbelonging to a bygone era. While the Léner Quartet's approach to \nClassical-era literature may seem a bit too precious, the recordings of \nthe late Beethoven quartets and works by Brahms, Dvorák, and similar \nrepertoire directly comes from the heart of the late-Romantic idiom. \nThis group of recordings within the extensive body of work left by the \nLéner Quartet represent an authoritative interpretive viewpoint on \nlate-Romantic quartet literature and warrant revival.\"\u003c\/p\u003e\n\u003cp class=\"body\"\u003eI hope that this Pristine Audio Natural Sound restoration will help to put the quartet firmly back on the map of the great string quartets of the twentieth century.\u003c\/p\u003e\nAndrew Rose\u003cbr\u003e\u003cbr\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\u003eBEETHOVEN \u003c\/b\u003eString Quartet No. 10 in E flat major, 'Harp', Op. 74 \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLéner Quartet:\u003cbr\u003eJanos Léner, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eJozsef Smilovits, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eSándor Roth, \u003c\/b\u003eviola\u003cb\u003e\u003cbr\u003eImre Hartmann, \u003c\/b\u003ecello\u003cbr\u003e\u003cbr\u003eRecorded in 1932, released as UK Columbia LX 319-322\u003cbr\u003eMatrix Nos CAX 6331-8, takes: 2, 1, 1, 2, 2, 1, 1, 1\u003cbr\u003eA Pristine Audio Natural Sound restoration by Andrew Rose\u003cbr\u003eDuration 33'11\"\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\/PACM050.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM050.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":31975771021,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":31975771213,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM050_c966c171-54e5-44e8-beb3-c8b136fe6e3e.jpg?v=1487682350"},{"product_id":"pacm049","title":"LÉNER QUARTET Beethoven: String Quartet No. 5 (1936) - PACM049","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eString Quartet No. 5 in A major, Op. 18 No. 5\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLéner Quartet:\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eJanos Léner, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eJozsef Smilovits, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSándor Roth, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviola\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eImre Hartmann, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1936\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eDuration 25'08\"\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM049.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe Léner Quartet's groundbreaking Beethoven\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eRemastered for finest sound quality\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe Léner Quartet has become something of a legend amongst string \nquartets. Founded in Budapest in 1918, though based for most of their \ncareer in London, they made the first of some 450 recorded 78rpm sides \nin 1923. They began the first ever recorded cycle of Beethoven Quartets \nfor Columbia in 1927, the centenary of Beethoven's death, setting the \nestablished standard for these works.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAmazingly, very few of their recordings have been \nrestored to the catalogue; their Beethoven cycle was issued in Japan \nonly in the late 1990's but quickly slipped back out of the catalogue. \nPerhaps one reason for this is hinted at in an article from the All \nMusic Guide, which states: \"\u003cem\u003eBy 1950, the Léner Quartet recordings, \nmostly made in the 1920s, must have seemed ancient by comparison as the \ngroup favored a broad, fat string tone more readily associated with \narch-Romantic performance practice. Nonetheless, this is precisely why \nsome of the Léner Quartet recordings are being revived on CD more than \n50 years after they were largely regarded as obsolete artifacts \nbelonging to a bygone era. While the Léner Quartet's approach to \nClassical-era literature may seem a bit too precious, the recordings of \nthe late Beethoven quartets and works by Brahms, Dvorák, and similar \nrepertoire directly comes from the heart of the late-Romantic idiom. \nThis group of recordings within the extensive body of work left by the \nLéner Quartet represent an authoritative interpretive viewpoint on \nlate-Romantic quartet literature and warrant revival.\u003c\/em\u003e\"\u003c\/p\u003e\n\u003cp class=\"body\"\u003eI hope that this \u003cem\u003ePristine Audio Natural Sound\u003c\/em\u003e restoration will help to put the quartet firmly back on the map of the great string quartets of the twentieth century.\u003c\/p\u003e\nAndrew Rose578a9379d1e540bd96d26f03a79628d9tab1_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\u003eBEETHOVEN \u003c\/b\u003eString Quartet No. 5 in A major, Op. 18 No. 5\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLéner Quartet:\u003cbr\u003eJanos Léner, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eJozsef Smilovits, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eSándor Roth, \u003c\/b\u003eviola\u003cb\u003e\u003cbr\u003eImre Hartmann, \u003c\/b\u003ecello\u003cbr\u003e\u003cbr\u003eRecorded in 1936, released as UK Columbia LX 611-3\u003cbr\u003eMatrix Nos CAX 7821-6, all first takes\u003cbr\u003eA Pristine Audio Natural Sound restoration by Andrew Rose\u003cbr\u003e\u003cbr\u003eDuration 25'08\"\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\/PACM049.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM049.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":31463471501,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":31463471565,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM049_c98d75f8-f92f-4dd3-af6b-3cc3d698ae7f.jpg?v=1487682353"},{"product_id":"pasc412","title":"MENGELBERG Beethoven: Symphonies Nos 1 \u0026 3 (New York, 1930) - PASC412","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\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBeethoven \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 1 \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBeethoven\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 3 \"Eroica\"\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;\"\u003eStudio Recordings · 1930\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 77:50\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWillem Mengelberg, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/span\u003e\u003c\/b\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f This has become an “Eroica” to reckon with, rather than just an historical artifact578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThese two performances were recorded in\n New York’s Liederkranz Hall during the first and second weeks of 1930. \nThey were the final recordings Willem Mengelberg would make with the \nPhilharmonic. He departed for Amsterdam after a January 19 performance \nof \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLes Preludes\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, \nnever to return, leaving the orchestra not to Toscanini, as is often \nassumed, but to its third regular conductor, Bernardino Molinari. Both \nrecordings were notable for including exposition repeats, rare on any \n78s. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eCompared to Mengelberg’s exciting but \nerratic 1940 Telefunken “Eroica” with the Concertgebouw, this \nperformance is correct and restrained, with a smaller modicum of \nMengelbergian tempo adjustments. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro con brio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, taken at a rapid clip for its era, sings and roars, in a wonderfully vital performance. In a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n 17:6 review, I found some portamento in the Funeral March \n“disconcerting,” but now I find it quite acceptable. That the \nPhilharmonic has always been a great Beethoven orchestra is as apparent \nhere as it is in Toscanini’s 1936 Seventh Symphony, but the horns do \nhave a rough time in the scherzo’s trio. The finale is far more \nconsistent than in the Telefunken recording, with the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePoco Andante\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e played at a reasonable pace. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe First Symphony is less \nconsistent—as are both Concertgebouw performances. Innumerable tempo \nadjustments interfere with this clean, straightforward music. The \nPhilharmonic’s playing, too, is inconsistent; there are some wonderfully\n alive passages and some sloppy ones. On the whole, this performance is \npreferable to the Concertgebouw ones, but Beethoven’s First and \nMengelberg are clearly incompatible. And yet, and yet....The Minuet and \nTrio are wonderful: high-spirited, light, and graceful. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eTwenty years ago (\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n 17:6), Biddulph issued these two recordings in transfers by Mark \nObert-Thorn. The transfers were clean and clear, but we were still \nhearing early-electrical 78s, with their typical distortion and grit. \nObert-Thorn is again at work here; his ever-growing reputation now \nearning him the title Producer and Audio Restoration Engineer; he also \nwrites the program notes. Restoration software (and hardware: Remember \nreel-to-reel tape and razor blades?) has come a long way in the \nintervening decades, and Obert-Thorn’s vast experience must also \ncontribute to the improvements. The sound is quite different now: Harsh,\n steely strings have become violins, violas, cellos, and basses; grit \nhas been minimized almost to the vanishing point, distortion is far less\n intrusive, and some subtly added reverberation has mollified the rather\n thin, dry recorded sound. Trumpets are still piercing, but they no \nlonger sting. The original dynamic range has been expanded, but not so \nmuch that expanded distortion becomes noticeable (see the review of a \nlive Mengelberg set in our previous issue). To my ears, this CD now \nsounds more like Bruno Walter’s 1949 Columbia LP “Eroica” with the same \norchestra than Victor’s 1930 78s. This has become an “Eroica” to reckon \nwith, rather than just an historical artifact. Imagine what Obert-Thorn \nwill be able to do in 2034! \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames H. North\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:2 (Nov\/Dec 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC412.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eMengelberg's New York recordings of Beethoven's First and Third Symphonies\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"For some of the best of the heroic qualities this set will take a lot of beating\" \u003cbr\u003e- The Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eAlthough Willem Mengelberg had first come to New York to open the \nPhilharmonic’s season in 1905, it was not until sixteen years later that\n he appeared regularly before the city’s concert-going public. At that \ntime, the board of the fledgling National Symphony Orchestra (unrelated \nto the later orchestras of the same name headed by Walter Damrosch and \nHans Kindler) brought Mengelberg in to rebuild the ensemble and share \nthe leadership with Artur Bodanzky. The next year, following \nMengelberg’s recommendation, the orchestra was merged into the New York \nPhilharmonic, with the Dutchman ultimately becoming principal conductor.\n It was at this time that Mengelberg made his first recordings with the \nensemble.\u003c\/p\u003e\u003cp\u003eAs the decade progressed, both Furtwänger and Toscanini were engaged \nfor extended guest conducting appearances with the Philharmonic. While \nthe former left after two seasons, Toscanini stayed on as the orchestra \nmerged with yet another ensemble, Damrosch’s New York Symphony, to form \nthe Philharmonic-Symphony Orchestra of New York in the fall of 1928. \nToscanini was appointed principal conductor, with Mengelberg accepting \nthe lesser role of associate. Ultimately, politics from within and \nwithout the orchestra took their toll, and Mengelberg left New York in \nearly 1930, never to return.\u003c\/p\u003e\u003cp\u003eBefore he did, however, he completed one final series of sessions for\n Victor which featured the two Beethoven symphonies included here. \nUnlike his previous recordings with the orchestra, these sessions were \nheld in Liederkranz Hall, a presumably cheaper-to-rent venue than \nCarnegie Hall, a choice which was most likely driven by the then-recent \nstock market crash that brought on the Great Depression. While the \nensemble was at its full strength, close miking and an unreverberant \nhall made it sound much smaller. In addition to the two symphonies, \nMengelberg also recorded the overtures to \u003cem\u003eDie Zauberflöte\u003c\/em\u003e, \u003cem\u003eEgmont\u003c\/em\u003e and \u003cem\u003eHansel und Gretel\u003c\/em\u003e during these sessions (all reissued on Pristine \u003ca href=\"https:\/\/web.archive.org\/web\/20150912220113\/https:\/\/www.pristineclassical.com\/pasc378.html\"\u003ePASC 378\u003c\/a\u003e).\u003c\/p\u003e\u003cp\u003eOne noteworthy aspect of the present Eroica is the inclusion of all \nrepeats. While the one in the third movement was only sporadically \nobserved during the 78 rpm era (it is, for example, absent in \nMengelberg’s Telefunken recording with the Concertgebouw), this would be\n the only appearance of the first movement repeat on any commercial \nrecording until Erich Kleiber’s 1955 Vienna Philharmonic LP. \nMengelberg’s only complete live broadcast of the work with the \nConcertgebouw omits it. In the First Symphony, he observes the repeats \nin the first and fourth movements, as he did in his Concertgebouw \nbroadcasts but not in his Telefunken recording. He does not take the \nsecond movement repeat in any extant performance.\u003c\/p\u003e\u003cp\u003eThe transfers were made using the best sides of two Victor “Z” \nshellac pressings for each set. Although this is the quietest material \nin which they were available, the original recordings have a \nhigher-than-usual amount of noise inherent in the original matrices. A \nsmall amount of reverberation has been added to bring warmth to the \ndry-sounding originals.\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color: black; font-family: arial; font-size: small;\"\u003eThese\n performances are examples of the best of Mengelberg's style, and I \nbelieve they would probably rank higher in critical esteem had they been\n as well recorded as his \u003cem\u003eHeldenleben\u003c\/em\u003e with the same ensemble.  \nThe use of a smaller recording venue, close miking and noisy original \nmaster processing has led them to be largely passed over in favor of his\n Concertgebouw versions.  I hope that the present transfers will allow \nfor a better appreciation of Mengelberg's achievements with this \norchestra over his decade in New York.\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN Symphony No. 1 in C, Op. 21\u003c\/b\u003e\u003cbr\u003eRecorded 9 January 1930 in Liederkranz Hall, New York\u003cbr\u003eMatrix nos.: CVE 58175-2, 58176-1, 58177-3, 58180-2, 58181-2, 58182-1, 58178-1 and 58179-2\u003cbr\u003eFirst issued on Victor 7211\/4 in album M-73\u003c\/p\u003e\n\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eBEETHOVEN Symphony No. 3 in E-flat, Op. 55, “Eroica”\u003c\/b\u003e\u003cbr\u003eRecorded 4 and 9 January 1930 in Liederkranz Hall, New York\u003cbr\u003eMatrix\n nos: CVE 58152-3, 58153-3, 58154-3, 58155-3, 58156-3, 58157-1, 58158-2,\n 58159-1, 58160-2, 58161-1, 58162-1, 58172-2, 58173-2 and 58174-2\u003cbr\u003eFirst issued on Victor 7439\/45 in album M-115\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eWillem Mengelberg\u003c\/b\u003e, conductor  \u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC412.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC412.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":31975811917,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31975811981,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC412_2eb9a090-0c11-4f61-bf4c-55178068e7aa.jpg?v=1487682382"},{"product_id":"pacm053","title":"MENUHIN, MENUHIN, EISENBERG Beethoven: \"Ghost\" Trio (1936) - PACM053","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cb data_liveedit_tagid=\"000000000D771120\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Trio No. 5 in D major, Op. 70, No. 1, \"Ghost\"\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-family: Arial,Helvetica,sans-serif\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 5 March 1936, Abbey Road Studio 3, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eReleased as three HMV 78s, DB.2879-2881\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix numbers 2LA 973 - 978. All first takes except side 6, take 2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eDuration 24:21\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eYehudi Menuhin, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHephzibah Menuhin\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, piano\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMaurice Eisenberg\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, cello\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eMenuhin is luckily partnered by his pianist-sister, Hepzibah, of \nwhose playing I have always been quite fond. Cellist Eisenberg was an \nexcellent musician and a fine chamber player. In the famed second \nmovement of the “Ghost” Trio, the three of them almost share the same \nmind regarding the music. I no longer hear them as three musicians \ncoming together, but as one mind playing three instruments \nsimultaneously.\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003e- Fanfare, March\/April 2008\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM053.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe young Menuhin in Beethoven's \"Ghost\" Trio\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eXR-remastered for finest sound quality\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eAt the time this recording was made, \ncellist Maurice Eisenberg must have felt like an old man, though aged \njust 36. Alongside him were the brother and sister prodigies Yehudi and \nHephzibah Menuhin, then just 19 and 15 respectively - their combined \nages less than his.\u003cp class=\"body\" align=\"left\"\u003eMaurice Eisenberg was born on 24th February 1900 in Königsberg (\u003cem\u003enow Kaliningrad, Russia, then capital of East Prussia\u003c\/em\u003e),\n of Polish parents, moving to the USA at the age of two. Clearly a \ntalented child, he was, by the age of eighteen, principal cellist of the\n New York Symphony Orchestra, having already played with the \nPhiladelphia Orchestra. In 1921 he met and played for legendary cellist \nPablo Casals, then on tour in the United States. The meeting was a \nturning point for Eisenberg - it prompted a return to Europe in 1922 for\n further advanced training under Klengel, Becker, Boulanger, Alexanian \nand Casals, his most important mentor and ultimately, lifelong friend.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eBetween 1926 and 1939, Eisenberg played and\n taught in Europe, gaining a reputation both for his interpretation of \nBach and also much music of the twentieth century. He played with the \nMenuhin Trio, also recording the Tchaikovsky Piano Trio in A minor, Op. \n50, over the two days immediately before this present recording was \nmade. He founded and was director of the London International \nVioloncello Centre, and taught at the Ecole Normale de Musique in Paris,\n the Longy School of Music in Cambridge, Mass., towards the end of his \nlife, the International Summer Courses in Casals, Portugal. By the time \nof his death in 1972 he was Professor of Cello at Juilliard School of \nMusic, New York.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Trio No. 5 in D major, Op. 70, No. 1, \"Ghost\"\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded 5 March 1936, Abbey Road Studio 3, London\u003cbr\u003eReleased as three HMV 78s, DB.2879-2881\u003cbr\u003eMatrix numbers 2LA 973 - 978. All first takes except side 6, take 2\u003cbr\u003eDuration 24:21\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cb\u003eYehudi Menuhin, \u003c\/b\u003eviolin\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eHephzibah Menuhin\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eMaurice Eisenberg\u003c\/b\u003e, cello\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\/PACM053.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM053.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":31463486797,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31463486861,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31463486925,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM053_7f4882ea-130f-436b-a0d0-95d262502828.jpg?v=1487682391"},{"product_id":"pasc464","title":"MONTEUX at Tanglewood, Volume 1 (1958) - PASC464","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Violin Concerto\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Creatures of Prometheus - Excerpts\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLeonore Overture No. 3\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDEBUSSY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Nocturnes\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eRAVEL\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e La Valse\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eMILHAUD\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Prelude from Eumenides\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHINDEMITH\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Nobilissima Visione\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive stereo recordings, 1958\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 15:06 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePierre Monteux, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBerl Senofsky\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, violin\u003c\/span\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBoston Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe real gems here are the Beethoven and Hindemith...578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003ePierre Monteux, one of the more \nversatile maestros of the 20th century, was never able to shake off his \nunjust typecasting as a specialist in French music and ballet music, \nespecially that of the early part of his century. This pair of CDs, in a\n way, serves as a case in point, for the real gems here are the \nBeethoven and Hindemith performances. CD number one contains unnecessary\n recordings of Debussy’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNocturnes\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and Ravel’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa valse\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n pieces that he made superior studio recordings of and, with outstanding\n and better-sounding recordings by Abbado, Ansermet, and Boulez \navailable, one doesn’t have to go very far into the alphabet to do at \nleast as well. On the other hand, the Beethoven performances strike me \nas outstanding as well as frustrating. In an explanatory note, the \nproducer of this pair of CDs points out the difficulties, including peak\n distortion that he encountered when attempting to bring the original \ntapes up to standard. Unfortunately, he was unable to neutralize it \nenough in loud passages and, for this listener at least, peak distortion\n spoils Monteux’s supercharged \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLeonore \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eNo. 3, his well-judged \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePrometheus\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e excerpts (Would anyone ever perform the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n if it were not the only example of Beethoven’s use of the harp?), and \none of the loveliest, beautifully calculated renditions of Beethoven’s \nViolin Concerto that I have ever experienced … and I learned the piece \ndecades ago on the Heifetz\/Toscanini 78s. Beryl Senofsky’s playing is \nalmost rhapsodic but definitely not episodic. He turns the Kreisler \ncadenzas into miniature dramas, so beautifully shaped are they. The \nwhole performance is more like a dialectic, not a reading, and \nMonteux—not an easy accompanist to “lose”—is with him all the way. But \nthose \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eforte\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es—they turn fuzzy, and this doesn’t help Monteux’s appropriately stately, refined performance of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNobilissima Visione\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n either. I can only hope that there’s a better source tape out there \nsomewhere and that a better source exists for the 1959 and 1961 \nconcerts. If I remember correctly, I attended a dynamic Monteux Brahms \nFirst during the summer of 1961, so I’ll keep my fingers crossed.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames Miller\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 40:1 (Sept\/Oct 2016) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC464.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eMonteux's stereo Tanglewood broadcasts part 1: 1958\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"One of the loveliest, beautifully calculated renditions of Beethoven’s Violin Concerto that I have ever experienced\" - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eA good number of Pierre Monteux's concerts with the Boston Symphony \nOrchestra at Tanglewood in the summers of 1958, 1959 and 1961 were \nbroadcast in early stereo FM broadcasts and preserved on tapes that have\n circulated privately over the years and, occasionally, seen the light \nof day on commercial releases. This first volume concentrates on 1958 \nperformances of Beethoven and more modern music by French composers \nDebussy, Ravel, Milhaud and the German Paul Hindemith, together \nproviding a contrasting repertoire of music, the highlight of which will\n be, for many, the fine performance of Beethoven's Violin Concerto of \n9th August with American violinist Berl Senofsky.\u003c\/p\u003e\u003cp\u003eThe original tapes were rather hissy and closely recorded, resulting \nin a lack of perspective and space. They also suffered from peak \ndistortion and, in places, intermittent treble dropout on one channel. \nI've done a lot to alleviate all of these problems, as well as seeking \nto improve the overall tonal balance of the recordings. The sound is now\n much cleaner and clearer, with a real sense of space, and if some peak \ndistortion has been impossible to entirely eliminate in the very loudest\n sections, these are relatively few and far between and have been \nsignficantly improved.\u003c\/p\u003e\u003cp\u003eThe stereo imagery is good for a live recording so early in the \nstereo era, assisted by digital phase correction technology. I elected \nto remove the rather lengthy introductions and links from the original \nradio broadcasts to allow for as much music as possible.\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"text-align: left;\" align=\"center\"\u003e\u003cspan class=\"bodymid\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMILHAUD\u003c\/b\u003e Les Eumenides, Op. 41 - Act 3: Prelude\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eDEBUSSY\u003c\/b\u003e Nocturnes\u003c\/span\u003e \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eRAVEL\u003c\/b\u003e La Valse\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eConcert of 25 July, 1958\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHINDEMITH\u003c\/b\u003e Nobilissima Visione\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Leonore Overture No. 3, Op. 72b\u003c\/span\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eThe Creatures of Prometheus, Op. 43 (excerpts)\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eViolin Concerto in D major, Op. 61\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eConcert of 9 August, 1958\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBerl Senofsky\u003c\/b\u003e, violin\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBoston Symphony Orchestra\u003cbr\u003ePierre Monteux\u003c\/b\u003e, conductor \u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded at the Koussevitzky Music Shed, Tanglewood \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC464.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC464.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":2601026715674,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":2601026748442,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":2601026781210,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC464_78956ed9-a729-457d-a972-3d480acffa89.jpg?v=1508834827"},{"product_id":"pasc481","title":"MONTEUX at Tanglewood, Volume 4 (1962) - PASC481","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 2\u003c\/span\u003e\u003cbr\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\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive stereo recordings, 1962\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 72:30\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePierre Monteux, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBoston Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: Fanfare \u0026amp; Audiophile Audition578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe level of musical execution has been exalted, lyrical, manic, and entirely resilient in all parts, and the BSO audience knows it578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003ePierre Monteux was 87 when he led this concert at \nTanglewood in July of 1962. The year before, he made headlines by \nbecoming the oldest-ever chief conductor of the London Symphony, on \ncondition that he be given a 25-year contract. As in the many concerts \nthat Leopold Stokowski, Adrian Boult, and Pablo Casals led in their 90s,\n it’s always a delight listening to a man who refuses to act his age.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eFrom the glowing opening chord of Beethoven’s \nSecond Symphony, it’s obvious that this is prime Monteux: unforced, \nrelaxed, beautifully played, supremely musical. And although Monteux’s \nSecond is a familiar commodity thanks to his commercial recordings with \nthe San Francisco and London Symphonies—and a bracing live performance \nwith the French National Orchestra available from Music and Arts \n(1182)—this Boston Symphony version is unmistakably in a class by \nitself. As the introduction gives way to the first movement proper—and \nhow unerringly the conductor paces all the important transitions—it’s \nclear you’re listening to a vigorous young conductor who only happens to\n be in his ninth decade of life. The playing crackles with excitement, \neach perfectly placed accent the musical equivalent of a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003emot juste\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. Similarly, the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLarghetto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e couldn’t be more warmly human, the scherzo more witty, the finale more full of character and bustling life.   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWhile the basic contours of the Monteux \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHeldenleben\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n are not that far removed from the conductor’s 1947 San Francisco \nrecording, both the playing and sense of occasion are in an entirely \ndifferent league. As always, the Boston Symphony plays with the reflexes\n and sensitivity of a fine chamber ensemble, but they also make some \nspectacular massed sounds, as in “The Hero’s Battlefield,” which erupts \nin a splendidly controlled chaos. Although a few things (inner voicing, \nmostly) get covered in the live recorded sound—the open-air Koussevitzky\n Music Shed has never been an acoustical match for Symphony Hall—the \nremastered sound is dazzlingly full and transparent for its period: a \nremarkably faithful approximation of what it’s like in a seat in the \ncentral section, some twenty or thirty rows back.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIf it would be difficult to over-praise the \norchestra’s playing, then there are still some minor drawbacks. \nConcertmaster Richard Burgin—also in his final season as the orchestra’s\n associate conductor—sounds uncharacteristically bleached-out and \ntentative, undoubtedly the result of the less-than-flattering microphone\n placement. All the other solo voices come off superbly, except for the \ntypically thin and wobbly English horn. (That would be corrected two \nyears later, when the BSO raided the Chicago Symphony for Laurence \nThorstenberg, the great American English hornist of his time.) \nUltimately, though, it’s the conductor who makes this \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHeldenleben\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n the unique experience it is: one of the most flawlessly judged, \nthoroughly adult of all recorded Strauss performances, with nothing done\n for personal glory or cheap effect. In short, it’s an example of the \nkind of selfless yet intensely individual conducting that has all but \nvanished today. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJim Svejda  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003ch4\u003eThis article originally appeared in Issue 40:4 (Mar\/Apr 2017) of \u003ci\u003eFanfare\u003c\/i\u003e Magazine.\u003c\/h4\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eProducer Andrew Rose extends his rewarding survey of the Pierre \nMonteux legacy at Tanglewood, here in 1962, a year in which the famed \nFrench maestro appeared six times before his old colleagues of the \nBoston Symphony. The music of this concert comes to us on 29 July 1962. \nThe reading of the Beethoven \u003ci\u003eSymphony No. 2\u003c\/i\u003e (1802) revels in its \nboundless mirth, despite the fact that at the time of its composition \nBeethoven felt the first real strains of his oncoming deafness.  The \nfirst movement has Monteux’s urging his horns to exploit the ceaseless \nenergy of its sudden injections of buoyant vitality. The strings whirl \nat dizzy pace, the tympani’s marking the cadences with gusto. Berlioz \nhad claimed that the \u003ci\u003eD Major Symphony\u003c\/i\u003e smiles in every bar. The \nperoration that Monteux achieves at the coda becomes breathtaking, \nsymmetrical in its ecstasies to the point that the audience barely \ncontains its applause.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe enchanting \u003ci\u003eLarghetto\u003c\/i\u003e, a song that Berlioz envied, flows \nwith lyrical exaltation. The ensuing ornaments and arioso flourishes \ndevelop a marvelous canvas, as virile as it is delicate.  The color of \nthe BSO’s lower strings, the violas and cellos, proves affecting at all \npoints. The woodwind choirs impart the feeling that whatever martial \nelements invade the progress of the music, Beethoven still means to \ndeliver an outdoor serenade.  Beethoven’s first truly so-marked \u003ci\u003eScherzo\u003c\/i\u003e moves with a pompous ease, breezy and witty. The \u003ci\u003eTrio \u003c\/i\u003eenjoys a pomp and humor – especially in the bassoons – that Haydn would savor. The \u003ci\u003eda capo\u003c\/i\u003e enjoys a mad dash straight to the Finale’s rollicking \u003ci\u003eAllegro molto\u003c\/i\u003e that convinces us that Beethoven has penned a second \u003ci\u003escherzo\u003c\/i\u003e\n – here in supple meter – as his concluding movement. Once more, the BSO\n horns and strings achieve a buoyant enthusiasm that verges on menace \nbut retains a jovial acceptance of life’s trials as well as triumphs.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe Richard Strauss \u003ci\u003eEin Heldenleben\u003c\/i\u003e (1898) celebrates “the \nHeroic Life,” and its autobiographical conceits depict Strauss and his \nformer-pupil wife, soprano Pauline de Ahna. Given Monteux’s long \nassociation with the Concertgebouw Orchestra of Amsterdam and its \neminent conductor Willem Mengelberg – to whom the score is dedicated – \nMonteux’s sympathy with the music seems entirely natural.  Rather \nintricately co-ordinated into six flowing sections, the huge symphonic \npoem traces the composer’s quest for greatness and the various \noppositions and supports he meets along the way. The solo violin \n(possibly Joseph Silverstein) intones the many moods – splendid and \npetty – of Pauline’s support in times of adversity, mostly in the form \nof carping critics and their bleats, which sound unsurprisingly like the\n sheep in \u003ci\u003eDon Quixote. \u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThere are various miracles of orchestration in the course of the \nStrauss self-promoting legend, such as weaving an amazing tapestry from \nhis own scores, including the failed 1893 opera \u003ci\u003eGuntram, Macbeth, Death and Transfiguration, the song “Dreaming at Twilight,” \u003c\/i\u003e \u003ci\u003eDon Quixote\u003c\/i\u003e, and the jubilant \u003ci\u003eDon Juan\u003c\/i\u003e,\n for his “The Hero’s Works of Peace” movement. Prior to this \nself-celebration, Strauss had engaged in epic battle, with startling \neffects from the BSO battery and brass at Monteux’s ready disposal. At \nlast, the Hero withdraws – presumably to Switzerland, if the English \nhorn provides any clue – finding a consolation, a “consummation,” in no \nless than in archetypal, heroic strains in Beethoven’s \u003ci\u003eEroica\u003c\/i\u003e. \nThe level of musical execution has been exalted, lyrical, manic, and \nentirely resilient in all parts, and the BSO audience knows it.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e—Gary Lemco\u003cbr\u003e\u003ca href=\"https:\/\/www.audaud.com\/monteux-at-tanglewood-vo-4-beethoven-sym-no-2-r-strauss-a-heros-life-pristine-audio\/\" target=\"_blank\"\u003eAudiophile Audition\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC481.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eMonteux's stereo Tanglewood broadcasts part 4: Beethoven \u0026amp; Strauss, 1962\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Monteux\n really does everything right in both works: despite the flexibility of \nhis tempi, the tension throughout the whole half hour of the symphony is\n gripping\" - MusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eThe summer of 1962 saw Monteux back once more at Tanglewood for six \nguest appearances with the Boston Symphony Orchestra. The following \nyear, at the age of 88, he made two final appearances with the BSO at \nTanglewood, just a few months before his final concert with the \norchestra at Boston's Symphony Hall on 21 December 1963.\u003cbr\u003e\u003cp\u003e\u003cbr\u003eThe 1962\n concerts started with two identical programmes, of which these \nrecordings were taken from the second concert. The programme began with \nan orchestrated organ work by Bach, followed by the Beethoven, an \ninterval, and the Strauss presented here. The programme suggests that a \nlast minute change due to illness meant the Bach replaced vocal music \nfrom Purcell and Weber - the Beethoven and Strauss were always planned \nhere. \u003cbr\u003e\u003cbr\u003eOf these, the Beethoven is a lovely performance, but it is\n perhaps Ein Heldenleben which stands out as particularly inspired and \nrighly brings the house down after some brilliant playing and \nwell-judged pacing. Naturally the Boston Symphony is excellent \nthroughout. Sound quality on these XR remasters of excellent if \noriginally slightly hard-sounding stereo source recordings is truly \nsuperb - an ongoing improvement from the previous years' recordings can \nbe clearly heard and enjoyed.\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodymid\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/span\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\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 2 in D major, Op. 36\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Ein Heldenleben, Op. 40\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: x-small;\"\u003eConcert of 29 July, 1962\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003eBoston Symphony Orchestra\u003cbr\u003ePierre Monteux\u003c\/b\u003e, conductor \u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded at the Koussevitzky Music Shed, Tanglewood \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC481.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC481.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":32417554701,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":32417554829,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":32417554957,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC481_55e8ffb8-471e-4bcb-89e0-983ad955c821.jpg?v=1487682410"},{"product_id":"pasc417","title":"MUNCH Boston Rarities Volume 2 (1949-58) - PASC417","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\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eGratulations-Menuet\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUBERT \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 2 in B-Flat\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePrelude to the Afternoon of a Faun\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBLOCH \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSchelomo\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eHAIEFF \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 2\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;\"\u003eStudio Recordings · 1949-58\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:45\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eCharles Munch\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBoston Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eGregor Piatigorsky, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eRarities, indeed … I have never heard three of the recordings on this CD and didn’t even \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eknow\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n one of them existed. That would be Beethoven’s odd little minuet, which\n served as the final side on the 78- and 45-rpm issues of Munch’s early \nBeethoven Seventh. (I had only heard the LP, so this charming little \ntrifle came as a pleasant surprise.) Munch may have been fond of the \nSchubert Symphony, for he recorded it twice, the second time in stereo. \nThis is the earlier one, recorded in 1949, shortly after he took charge \nof the orchestra. Schubert seems to have been fond of the designation \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro vivace\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n for it appears regularly in his scores and does so here, in the \nodd-numbered movements, and Munch’s performance is about as lively as \none could ask—the playing is crisp and clear, but, for all his light \ntouch and vigor, the performance demonstrates, at least to me, why \nSchubert’s symphonies, at least the first six, seem to work better with a\n smaller ensemble. The second movement, a charming theme and five \nvariations, is so Haydnesque it could almost pass for the real thing. \nEach variation is in two parts, with each part repeated. Munch, whose \naversion to repeats was inconsistent, does the first repeats but not the\n second ones; he also omits the repeats in the first and last movements.\n None of these cuts particularly bothers me, but I know there are those \nwho “keep score.” \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Beethoven and Schubert pieces, \nrecorded early in Munch’s tenure, are single-channel affairs—the rest of\n the selections are stereophonic. Perhaps RCA’s producer got carried \naway by this two-channel business when the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAfternoon of the Faun\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n was recorded, for the two harps were placed on opposite sides of the \nstage and the harp part bounces back and forth as the piece goes on. The\n producer, Mark Obert-Thorn, speculates that this is probably the reason\n why the recording was never issued on CD, with RCA consistently \nfavoring his 1962 remake. It’s the kind of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFaun\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n I usually prefer, fairly fast, coming in at 9:05 and, for all the odd \nharp placement, nicely played and recorded, though I think I also prefer\n the later one. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI don’t think I’ve ever heard a recording of Bloch’s “Hebrew Rhapsody,” \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSchelomo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n that I didn’t like, and for context I preceded my several hearings of \nthe Piatigorsky\/Munch with auditions of Feuermann\/Stokowski, \nNeikrug\/Stokowski, Nelsova\/Ansermet, Ma\/Zinman, Miquelle\/Hanson, \nThedéen\/Markiz, and Rostropovich\/Bernstein, the last of which became my \nreluctant favorite (“reluctant” because it’s the only one of those that I\n don’t own!), largely because of Lenny’s impassioned conducting. The \nPiatigorsky\/Munch’s LP coupling was the first recording of the Walton \nCello Concerto, but that was coupled with the Dvořák when it was issued \non CD (by both RCA and Pristine), making this 1957 release a “Boston \nRarity.” Somehow, in his long career, Piatigorsky never otherwise \nrecorded \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSchelomo \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eand\n I don’t know how often he performed it, but his command of the solo \npart and Munch’s fiery support make for an imposing, beautiful \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSchelomo \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eif not a particularly “rhapsodic” one. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eWhen I was in high school, I somehow \nbecame involved with an outfit called “The American Recording Society,” \nwhich issued what were, at that time, unusual recordings of music by \nAmerican composers with a Viennese ensemble. They would send you an \nannouncement of their latest release. The trouble was that, unless you \nnotified them that you \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003edidn’t\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n want it, they would mail it to you. Thanks to my laziness about \nrejecting the LPs, I became acquainted with music by composers who were \nmerely names to me. Unfortunately, one of the LPs I managed to reject \nwas one of Alexei Haieff’s Piano Concerto No. 1 (Leo Smit, piano) Robert\n Ward's Symphony No. 1. The conductors were Dean Dixon (the symphony) \nand Walter Hendl (the concerto). At least I could have heard something \nother than the Symphony No. 2 and might have a better grasp of what \nHaieff was up to, but all I have are two recordings of the piece, both \nby Munch, one live and the other this studio recording. Some have \nclaimed that Haieff was influenced by Stravinsky’s Neoclassical period. \nThat may well be, but (based on one piece!) his music strikes me as more\n robust and dissonant, with much of the tricky rhythms and unpredictable\n turns we may associate with Stravinsky. Although Haieff, who lived from\n 1914 to 1994, was pretty much ignored by the big record companies, he \nhas something that few composers have had going for them: a label \ndevoted to his music—Alexei Records. If this symphony arouses your \ncuriosity, there \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e is\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e a way of satisfying it.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames Miller\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:3 (Jan\/Feb 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC417.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eMore rare and long out-of-print recordings by Charles Munch and the Boston Symphony Orchestra\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"These\n Munch performances from RCA archives make an immediate, entirely \ngratifying impact, poetic and powerful\" - Audiophile Audition\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"western\"\u003eThis second volume is a follow-up to an earlier \nPristine release (PASC 403), and similarly features Munch\/Boston \nrecordings which, with the exceptions noted below, have never seen an \n“official” CD reissue, not even in the 40-CD (plus one bonus CD) \nJapanese RCA series, “The Art of Charles Munch”.\u003c\/p\u003e\u003cp class=\"western\"\u003eThe Beethoven minuet (Munch’s only recording of the \nwork) was issued as the filler side to the composer’s Seventh Symphony \nwhen it was first released on 78- and 45-rpm discs. Like many such \nfillers, it was omitted from the LP edition, and disappeared from view \nafter the early 1950s until it was resurrected on a Tahra CD set. It has\n been transferred here from an original “45”. Unlike the Beethoven, the \nSchubert symphony, recorded at the same session, was remade in stereo in\n 1960, at which time the present version went out of print. It is \ntransferred here from a “Shaded Dog” pressing of its12-inch LP reissue \n(LM-9032), which was coupled with Koussevitzky’s Schubert \u003cem\u003eUnfinished\u003c\/em\u003e.\u003c\/p\u003e\u003cp class=\"western\"\u003eAlthough Munch’s 1956 recording of Debussy’s \u003cem\u003eFaun\u003c\/em\u003e\n remained available on budget reissue labels until the end of the LP \nera, his 1962 remake has been the one consistently chosen for reissue in\n the CD era. Part of the reason may be the earlier version’s gimmicky \n“ping-pong stereo” miking, placing the harpists on two different sides \nof the stage. (Listen to their first appearances early into the piece \nfor a sort of call-and-response effect.) It finally saw CD publication \nin the Japanese RCA series; but for those like me who missed that \nvolume, it has been transferred here from a tape source.\u003c\/p\u003e\u003cp class=\"western\"\u003eMunch’s recording of Bloch’s \u003cem\u003eSchelomo\u003c\/em\u003e has been the odd man out of his three stereo concerto collaborations with Piatigorsky on CD (there was an earlier, mono \u003cem\u003eDon Quixote\u003c\/em\u003e,\n as well), as its original coupling, the Walton concerto, has been \nchosen as the discmate for the Dvořák concerto on RCA and, more \nrecently, Pristine (PASC 398). It did see an officially-sanctioned CD \nreissue on Testament; however, even though it was readily available in \nstereo during the LP era, the Testament disc inexplicably presents it in\n mono. It appears here from a stereo British RCA LP edition.\u003c\/p\u003e\u003cp class=\"western\"\u003eFinally, Russian-American composer Alexei Haieff’s \nSymphony No. 2, a transcription of an earlier piano sonata, comes from \nwhat is perhaps the rarest Munch\/Boston disc. It was originally coupled \nwith Easley Blackwood’s Symphony No. 1 as part of a project to guarantee\n recordings of works by contemporary composers which had been auditioned\n and recommended by a panel of judges, which in this case was comprised \nof Nadia Boulanger, Carlos Chavez and Alfred Frankenstein. While the \nBlackwood work saw an approved CD release on the Cedille label, the \nHaieff remained in limbo, leading to the original “Living Stereo” LP’s \nbecoming a sought-after collector’s item. It is now restored to \navailability from its first and only “1S\/1S” pressing.\u003c\/p\u003e\u003cp class=\"western\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003e Gratulations-Menuet in E-Flat Major, WoO 3\u003c\/span\u003e \u003cbr\u003eRecorded 20 December 1949 in Symphony Hall, Boston\u003cbr\u003eFirst issued on RCA Victor DM\/WDM-1360 (78 rpm\/45 rpm)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eSCHUBERT\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: medium;\"\u003e  Symphony No. 2 in B-Flat Major, D.125\u003c\/span\u003e\u003cb\u003e \u003c\/b\u003e\u003cbr\u003eRecorded 20 December 1949 in Symphony Hall, Boston\u003cbr\u003eFirst issued on RCA Victor LM-41\u003cb\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eDEBUSSY\u003c\/b\u003e  Prelude to the Afternoon of a Faun\u003c\/span\u003e\u003cbr\u003eRecorded 23 January and 27 February 1956 in Symphony Hall, Boston\u003cbr\u003eFirst issued on RCA Victor LSC-1984\u003cb\u003e - STEREO\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBLOCH\u003c\/b\u003e Schelomo\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eGregor Piatigorsky, cello\u003cbr\u003e\u003c\/b\u003eRecorded 30 January 1957 in Symphony Hall, Boston\u003cbr\u003eFirst issued on RCA Victor LSC-2109\u003cb\u003e - STEREO\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHAIEFF\u003c\/b\u003e  Symphony No. 2\u003c\/span\u003e \u003ca href=\"https:\/\/web.archive.org\/web\/20140802120157\/http:\/\/imslp.org\/wiki\/Symphony_No.1,_Op.38_%28Schumann,_Robert%29\"\u003e\u003cbr\u003e\u003c\/a\u003eRecorded 30 November 1958 in Symphony Hall, Boston\u003cbr\u003eFirst issued on RCA Victor LSC-2352\u003cb\u003e - STEREO\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eBoston Symphony Orchestra · Charles Munch\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC417.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC417.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"western\"\u003e\u003cb\u003eMunch in Boston\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eMunch made his début with the Boston Symphony Orchestra on 27 \nDecember 1946. He was its Music Director from 1949 to 1962. Munch was \nalso Director of the Berkshire Music Festival and Berkshire Music Center\n (Tanglewood) from 1951 through 1962. He led relaxed rehearsals which \norchestra members appreciated after the authoritarian Serge \nKoussevitzky. Munch also received honorary degrees from Boston College, \nBoston University, Brandeis University, Harvard University, and the New \nEngland Conservatory of Music.\u003c\/p\u003e\u003cp\u003eHe excelled in the modern French repertoire, especially Claude \nDebussy and Maurice Ravel, and was considered to be an authoritative \nperformer of Hector Berlioz. However, Munch's programs also regularly \nfeatured works by composers such as Bach, Haydn, Mozart, Beethoven, \nSchubert, Schumann, Brahms, and Wagner. His thirteen-year tenure in \nBoston included 39 world premieres and 58 American first performances, \nand offered audiences 168 contemporary works. Fourteen of these \npremieres were works commissioned by the Boston Symphony and the \nKoussevitzky Music Foundation to celebrate the Orchestra's 75th \nAnniversary in 1956. (A 15th commission was never completed.)\u003c\/p\u003e\u003cp\u003eMunch invited former Boston Symphony music director Pierre Monteux to\n guest conduct, record, and tour with the orchestra after an absence of \nmore than 25 years. Under Munch, guest conductors became an integral \npart of the Boston Symphony's programming, both in Boston and at \nTanglewood.\u003c\/p\u003e\u003cp\u003eMunch led the Boston Symphony on its first transcontinental tour of \nthe United States in 1953. He became the first conductor to take them on\n tour overseas: Europe in 1952 and 1956, and East Asia and Australia in \n1960. During the 1956 tour, the Boston Symphony was the first American \norchestra to perform in the Soviet Union.\u003c\/p\u003e\u003cp\u003eThe Boston Symphony under Munch made a series of recordings for RCA \nVictor from 1949 to 1953 in monaural sound and from 1954 to 1962 in both\n monaural and stereophonic versions.\u003c\/p\u003e\u003cp\u003eSelections from Boston Symphony rehearsals under Leonard Bernstein, \nKoussevitzky, and Munch were broadcast nationally on the NBC Radio \nNetwork from 1948-1951. NBC carried portions of the Orchestra's \nperformances from 1955-1957. Beginning in 1951, the BSO was broadcast \nover local radio stations in the Boston area. Starting in 1957, Boston \nSymphony performances under Munch and guest conductors were disseminated\n regionally, nationally, and internationally through the Boston Symphony\n Transcription Trust. And, under Munch, the Boston Symphony first \nappeared on television.\u003c\/p\u003e\u003cp class=\"western\"\u003e\u003cem\u003e\u003cb\u003eWikipedia\u003c\/b\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo and Ambient Stereo 16-bit FLAC","offer_id":32417564621,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo and Ambient Stereo MP3","offer_id":32417564813,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC417_b4401796-349d-4849-9348-fe93db3b67c4.jpg?v=1487682418"},{"product_id":"pasc310","title":"NIKISCH, FRIED Beethoven: Symphonies 5 \u0026 3 (1913\/24) - PASC310","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;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 5\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\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\u003cspan\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 3, \"Eroica\"\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cp\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\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1913 and 1924\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 76:21\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBerlin Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eArthur Nikisch, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBerlin State Opera Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eOskar Fried, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor \u003c\/span\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe Fifth triumphantly survives the relatively primitive sonics as one of the greatest examples of malleable, expressive romanticism in action578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eArthur Nikisch made a series of recordings before the First World War \nwith the newly formed LSO, as well as the Berlin Philharmonic. Of them \nthe most famous and discographically pioneering was the Fifth Symphony \nof Beethoven. Actually “pioneering” should be qualified because there \nwas an earlier traversal of the symphony by the Grosses \nOdeon-Streich-Orchester directed by Friedrich Kark made in 1910. Kark \nwas a kind of German Landon Ronald. I’ve seen this announced on Wing, an\n exploratory Japanese label, but have never heard it but it has more \nrecently been released on the Historic Recordings label (\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2010\/May10\/beethoven_HRCD0001.htm\"\u003ereview\u003c\/a\u003e).\n Kark was an important figure in the early history of the gramophone and\n it would be good if his other large-scale recordings were represented \nmore fully for us now. \u003cbr\u003e  \u003cbr\u003eBut let’s return to Nikisch (1855-1922)\n whose 1913 recording of the Fifth triumphantly survives the relatively \nprimitive sonics as one of the greatest examples of malleable, \nexpressive romanticism in action. Trenchant and powerful, it exhibits \nthe arch-hypnotist’s art and cogently and, one assumes faithfully, \nreflects its conductor’s spirited, rich impulses in the canon. There are\n many examples of his flexible approach to tempo relations, and he and \nhis engineers maintain a good balance between the small body of strings \nand the (audible) winds and timpani.  The performance has been reissued a\n number of times on LP and CD. The Dutton transfer [CDBP9784] is very \nsmooth; maybe for die-hard 78 fantatics too smooth. Noise reduction has \ncertainly taken off some treble frequencies but has promoted a \nhomogeneity of sound that, to many, will be very acceptable. Symposium \n[1087-88] sounds radically different again, with a more straightforward,\n non interventionist approach. As a result, there is a rather tubby \nsound, and it’s a bit muddy and distant. Pristine Audio retains some \nsurface noise, but has boosted the sound spectrum — these extensions \ngive a greater sense of density. Where the horns are apt to blare in \nother transfers, with this latest release they don’t. It’s a far more \nradical piece of surgery, that’s for sure. \u003cbr\u003e  \u003cbr\u003eThe Kark recording was coupled by Historic Recordings with Henry Wood’s very, very abridged 1922 recording of the \u003ci\u003eEroica\u003c\/i\u003e.\n The disc’s title was ´Beethoven — The Premiere Recordings’. Pristine \nhas taken the same route, coupling the Fifth with the Third, in their \ncase Oskar Fried’s 1924 Berlin outing. Their disc title is `Beethoven — \nHistoric Symphony Recordings’. At least they’re both heading in the \nright direction. Unlike Wood’s, Fried’s recording was complete. It’s a \nvery impressive document, and the first complete recording of the work \non disc. He pipped Frieder Weissmann to the wire by about a year or so. \nSingle movements had also been recorded by such as Leo Blech and Fritz \nBusch. \u003cbr\u003e  \u003cbr\u003eWhen he was making the epic acoustic recording of his \nSecond Symphony, Elgar had the use of 50 players from the Royal Albert \nHall Orchestra. Fried would have had fewer, maybe 30-35. That’s not \ninappropriate for what is a most compelling, almost chamber-scaled \nreading of great intensity, control and nuance. The distinctive Berlin \nOpera winds and their trenchantly contributing brass colleagues ensure \nthat colour is freely distributed. The string players sound emboldened \nto vary and increase the speed of their vibratos in the Funeral March. \nFried ensures that an excellent balance is maintained throughout, that \ndynamics are apposite, and that rubato, whilst often pronounced, is \nexpressively justified. The contours of the performance differ little \nfrom Hans Pfitzner’s 1929 electric recording on Polydor, though there \nare innumerable points of difference interpretatively. The Fried \nperformance has been issued by Music \u0026amp; Arts on CD1185, back in 2006 \nbut I’ve not heard it so can’t comment on their transfer. \u003cbr\u003e  \u003cbr\u003eThese\n two recordings offer an important — and in Nikisch’s case, fundamental —\n insight into performance and recording practice at the time. Fried’s \nrecording is much less well known, which makes its reinstatement that \nmuch better. \u003cbr\u003e\u003cb\u003e\u003ci\u003e \u003c\/i\u003e\u003c\/b\u003e \u003cbr\u003e\u003cb\u003e\u003ci\u003eJonathan Woolf\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC310.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003e\u003cem\u003eTwo major milestones in the history of recorded music\u003c\/em\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"These\n two recordings offer an important — and in Nikisch’s case, fundamental —\n insight into performance and recording practice at the time\" - MusicWeb\n International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cli\u003e\n\u003cp class=\"body\"\u003eI was tempted to title this release \"Historic Gramophone\n Premières\" - after all, it's regularly stated that Arthur Nikisch's \n1913 recording of Beethoven's Fifth Symphony was the first complete \nrecording of any symphony to be made. I've heard it introduced as such \non BBC Radio Three, and I've read it in erudite biographies. Yet it's \nnot true - it wasn't even the first recording of this symphony. For that\n we have to turn the clock back a further three years, and dig out a \nrecording made by Friedrich Kark and the Odeon Symphony Orchestra in \n1910, issued on the Odeon label. Perhaps it is better suggested that \nNikisch's was the first by a \"proper\", named and highly regarded \nprofesisonal orchestra, under a conductor still rated today as one of \nthe greatest of all time.\u003c\/p\u003e\n\u003cp\u003eMeanwhile Oskar Fried's \u003cem\u003eEroica\u003c\/em\u003e was indeed the work's first \nfull recording (though, as often, not all the repeats are there), though\n in the UK Henry Wood had already recorded an abridged version on six \nsides some two years earlier, as was his wont at the time - you can find\n his 1923 Schubert \u003cem\u003eUnfinished\u003c\/em\u003e Symphony also in a condensed \nversion on Pristine Audio (PASC 041). In that case Wood used four \nshortish sides, the entire recording running to a mere 12'43\". Given a \nlittle more space, one might thus usefully explore what exactly \nconstitutes a première recording...\u003c\/p\u003e\n\u003cp\u003eNiggling questions aside, both of these recordings are indeed major \nhistorical events in the history of recorded music. Despite the \nprimitive nature of the recording technology used, both offer serious, \nexcellent interpretations by two of the finest exponents of Beethoven of\n their era. Whilst neither conductor dates back to the era of Beethoven \nhimself, both were firmly grounded in the Romantic musical tradition \nwhich began with the composer. Nikisch was regarded by Brahms as having \ngiven the finest interpretation possible of his Fourth Symphony, whilst \nFried's closeness to Mahler resulted in him giving the second \nperformance of the Ninth Symphony in 1913, together with the first \nrecording of a Mahler Symphony, his Second, also made in 1924 with the \nBerlin State Opera Orchestra.\u003c\/p\u003e\n\u003cp\u003eTo modern ears these acoustic recordings can seem particularly dim \nand distant, with their orchestras necessarily cut down and their \ninstruments adapted to recordings made tightly gathered around a single \nhorn. Trying to unlock the sound of these performances from their faint,\n hissy, crackly and, at times, distorted origins, is going to be a \ntricky business for any remastering engineer. Dynamic range is very \nlimited, even more severely their frequency range.\u003c\/p\u003e\n\u003cp\u003eAnd yet there is perhaps far more to be heard and appreciated than \nfirst meets the ear when hearing the records \"raw\", and these XR \nrestorations have unearthed a remarkable level of depth and detail. The \ndynamic range of these recordings has been pushed to the limit, and a \nfar fuller re-equalised sound, bringing out the (albeit limited) bass, \nallied to a far more rounded lower midrange, helps convey the true sound\n of the instruments to a degree few will have appreciated or even \nnoticed before, and hopefully opened the drama of these performances up \nto some who might otherwise havc dismissed them as too archaic to be \nworthwhile. If this is the case then I would judge this venture to be a \nsuccess - when given a minute or so to attune my ears it certainly works\n for me.\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\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 5 in C minor, Op. 67\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 10 November, 1913, Berlin\u003cbr\u003eTransfer from Schallplatte Grammophon 78s\u003cbr\u003eCatalogue Nos 69504-69507\u003cbr\u003eFace Nos 040784-040791 \u003cbr\u003eMatrix Nos. 1249-1256\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan class=\"body\"\u003eBerlin Philharmonic\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e Orchestra\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eArthur Nikisch\u003c\/b\u003e conductor\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e Symphony No. 3 in E flat, Op. 55 \"Eroica\"\u003cem class=\"body\"\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 1924, Berlin\u003cbr\u003eTransfer from Schallplatte Grammophon 78s\u003cbr\u003eCatalogue Nos 69706-69711\u003cbr\u003eFace Nos B20364 - 20375\u003cbr\u003eMatrix Nos. 1600-1611\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003eBerlin State Opera \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eOrchestra\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eOskar Fried \u003c\/b\u003econductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose at Pristine Audio, September-October 2011\u003cbr\u003eCover artwork based on photographs of Arthur Nikisch and Oskar Fried\u003cbr\u003eTotal duration: 76:21\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\/PASC310.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC310.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":32484025933,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32484025997,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32484026061,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32484026189,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC310.jpg?v=1487692825"},{"product_id":"pasc437","title":"OTTERLOO Beethoven: Symphony No. 9 (1952) - PASC437","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\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 9\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;\"\u003eStudio recording, 1952\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 66:29  \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eErna Spoorenberg\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e (soprano)\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eMaria von Ilosvay\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e (contralto)\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eFrans Kroons\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e (tenor)\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eHermann Schey \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e(bass)\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eAmsterdam Toonkunst Choir\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eResidentie Orkest den Haag\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eWillem van Otterloo,\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e conductor\n\u003c\/span\u003e\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe playing is masterful ...  It deserves to be heard again578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis recording of Beethoven Nine was \ndragged up from the depths of bad pressings and failed CDs. Andrew Rose \nat Pristine has reconstituted it and given it new life. The recording is\n in relatively good condition, and the playing is masterful. It’s a good\n addition to the Beethoven Nine canon. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn the disc booklet, an old review is attached. A “T. H.” from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGramophone\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n says “plenty of bass”: and Mr. T. H. is right. It’s a really thudding, \nbottom-heavy Beethoven, with great booming echoes, particularly after \nthe bass interjections of the first movement. Some detail in the upper \nwoodwind is inevitably lost, but it’s a pay-off I’m willing to have, for\n the sake of the menacing lower registers. The climaxes are a little \ncheesy, with huge sweeps of volume and heavy punches on the timpani, but\n this alleviates in the second movement with the delicate string melody \nthat famously opens it. The timpani grows annoying after a while, and \nthe booming lower end becomes distracting (my speakers were muffling and\n bouncing away even in the delicate bits). Where the microphones must \nhave been placed, for this effect, I dread to think. However, the \neditors of the mix have done well to try and retain its heavy energy and\n coax the upper registers into being audible. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe second movement, for me, is the \nbest. The choral movement, by contrast, is a nightmare, and Mr. \nGramophone noticed this too: the “slight sense of sharpness” noticed in \n1955 is still here, and the near shouting of the vocals grates a little.\n Who, though, doesn’t love “Ode to Joy”? It’s a competent rendering of \nit, though obviously weighed down a little by its cliché status. The \nviolin entry, for instance, is toe-curlingly clichéd: a Romantic swish \nthat doesn’t sit comfortably on the otherwise intense lower strings. \nHowever, the second movement is daringly quick in places, despite a slow\n start, and Otterloo doesn’t manipulate the dynamics like Barenboim or \nChailly. It’s less disciplined, but also less assertive, which is \nrefreshing. I much prefer Barenboim’s, which is tighter, more energetic,\n and full of scholarly focus. However, this is more fun, and with the \nbassy mix gets a new face. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eIn all, a fun way to receive \nBeethoven, and a good addition to one’s Beethoven Nine recordings. It is\n no Barenboim, but what is? And, congratulations to the editors of this \naddition for rescuing it from the depths of forgotten recordings. It \ndeserves to be heard again. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDan Sperrin\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:6 (July\/Aug 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC437.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eWillem van Otterloo's brilliant 1952 Beethoven Ninth\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"The recording is in relatively good condition, and the playing is masterful\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThis 1952 Amsterdam recording was suggested to me in an e-mail I \nreceived a month or so ago: \"I'm sure you get lots of folks saying to \nyou why dont you get hold of such and such a record and work your magic \non it. Here's my suggestion: A Philips LP of Beethoven 9 with The Hague \nPhiharmonic under Van Otterloo ...  I dont think it was that great a \nrecording technically in the first place, but at the time I had the \nchoice between it and the Vox Horenstein...I heard both before \nbuying...and found it even more satisfying...\"\u003c\/p\u003e\u003cp\u003eWell the good news is that, underneath some very average pressings \nand somewhat constricted sound lurks a real gem, sonically- and \nmusically-speaking. It really was very well captured indeed, and despite\n bring let down at the time by technical inadequacies in the microphone \ndepartment, XR remastering has delivered a sound that's vital, full, \nclear, immediate and, where it matters, entirely thrilling!   \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eSymphony No. 9 in D minor, Op. 125 \"Choral\"\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"bodybigblue\" style=\"font-size: small;\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003eRecorded 3-4 May, 1952, Concertgebouw, Amsterdam\u003cbr\u003eOriginally released in the UK as Philips ABL 3030-31\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eErna Spoorenberg\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eMaria von Ilosvay\u003c\/b\u003e, contralto\u003cbr\u003e\u003cb\u003eFrans Kroons\u003c\/b\u003e, tenor\u003cbr\u003e\u003cb\u003eHermann Sche\u003c\/b\u003ey, bass\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAmsterdam Toonkunst Choir\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eHans Cleaver\u003c\/b\u003e, chorus master\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eResidentie Orkest den Haag\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWillem van Otterloo\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC437.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC437.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":31975863629,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975863693,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975863757,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975863821,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC437_730ca9ce-6c87-44a8-9c61-a36151d5e04b.jpg?v=1487682436"},{"product_id":"pacm090","title":"ROSTROPOVICH Chamber Music, Vol. 1 (1956) - PACM090","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e \"Archduke\" Trio\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRACHMANINOV\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Danse Orientale\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eGRANADOS \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eSpanish Dance 5: \"Andaluza\"\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eCHOPIN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Introduction \u0026amp; Polonaise \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio Recordings · 1956\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 64:47 \u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMstislav Rostropovich, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eEmil Gilels, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeonid Kogan, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eAlexander Dedyukhin, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano \u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fGramophone Historic Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fBeethoven - Archduke Trio578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"western\"\u003eThis is as accomplished a performance as a glance at \nthe names of the players would lead one to expect. I had not heard Emil \nGilels in chamber music before; he makes a fine partner for Kogan and \nRostropovich and seems to have a very clear idea of the \u003cem\u003eprimus inter pares\u003c\/em\u003e\n role that Beethoven requires him to play in the Archduke Trio. A \nnaturally commanding player, he succeeds in catching just the right air \nof authority here. I hope we shall be offered much more of him in \nchamber music.\u003c\/p\u003e\u003cp class=\"western\"\u003eNot many years ago we used to be told quite \nregularly—and with some truth— that good chamber music playing could \nnever be hoped for from a collection of virtuosi. From an ad hoc \ncollection, no: the careless throwing together of soloists’ \ntemperaments, such as we witnessed from time to time at international \nfestivals, could scarcely be expected to generate much light. But the \njuxtaposition of strong musical personalities in chamber music can \ncreate excitement when properly managed. It does so here. Kogan, \nRostropovich and Gilels play as one mind but at the same time as a mind \nwith three facets; the performance benefits considerably from the \nindividuality each retains.\u003c\/p\u003e\u003cp class=\"western\"\u003eThe playing as a whole is very strong and direct \n(though never forced or obvious) and I think that anyone expecting \nsoulfulness and \u003cem\u003eInnigkeit\u003c\/em\u003e above all in the Archduke might at \nfirst find the performance a little unsatisfying. Yet it is never \ninflexible: there is nothing relentless about any of the tempi and one \ngets the impression that there’s always time for the detail in the music\n to make effect. It is possibly a little lower in emotional temperature \nthan, say, the performance by Schneider, Casals and Istomin (Philips \nmono GBL5639) that I wrote about so enthusiastically in May last year. \nI’m still very taken with that record, in spite of the mediocre \nrecording quality. I must admit, however, that the tempi on this new one\n are far more likely to find general acceptance. Casals started the \nScherzo very slowly and made much of it sound almost rustic; with \nRostropovich and his colleagues the movement achieves a more natural \nlilt— a little less magic, perhaps, but an altogether easier flow. (It \nis worth mentioning, too, that they observe the double repeat, a fact \nwhich makes their fairly brisk tempo seem essential; the Prades players \non the other hand opted for a simple A В A + coda form and, as I’ve \nsaid, filled it out at a very deliberate pace—textually this can hardly \nbe correct.) In the slow movement the Russians stick close to the \u003cem\u003eandante cantabile mа però con moto \u003c\/em\u003eBeethoven\n asked for; Schneider, Casals and Istomin attempted the near-impossible \nhere and brought off a moving, wonderfully rapt adagio.\u003c\/p\u003e\u003cp class=\"western\"\u003eIt is probably not going to be very illuminating to \npursue comparisons further. This new record arrived rather late for \nreview and I haven’t had time to play it more than once. I doubt, \nthough, whether subsequent hearings would cause me to modify my initial \nimpression, which is of a perceptive, noble and justly proportioned \ninterpretation almost impeccably executed. But I’m also quite sure that I\n shall continue to delight in the old Philips record and to find equal, \nif different, pleasures there. The only general fault I can level at \nthis Russian performance is that its dynamic range is rather restricted.\n This may be the fault of the recording, not of the players: though \nadequate in all respects it is not strikingly good in any and the \nquality of the sound does vary quite noticeably.\u003cbr\u003e \u003c\/p\u003e\u003cp\u003e\u003cb\u003eReview by S.P., The Gramophone\u003c\/b\u003e, August 1963 - \u003cem\u003eLe Chant du Monde\u003c\/em\u003e LP issue\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM090.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBrilliant and rare Soviet chamber music recordings by Rostropovich\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eLegendary Archduke with Gilels and Kogan alongside long-lost Granados and Rachmaninov \u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003eMstislav Rostropovich made a large number \nof recordings for release in the Soviet Union at the start of his \ncareer. Many of these were picked up by Western record companies either \nat the time or since, but there remain undiscovered treasures still to \nbe found. Here we mix the known and the unknown. It's no surprise to \nfind the Archduke turned up in the UK in the early 60s, and it's been \nreissued since. But I can find no solid account of two of the three \nrecordings with Alexander Dedyukhin that I discovered on a Soviet \ncompilation LP of recordings by the cellist and which we present here. \nBoth LPs were in very good condition, though the Soviet pressings \nweren't quite up to contemporary Western standards. XR remastering has \ndone wonders for the rather dim original sound quality, and these \nrecordings really are a delight to hear as a result.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN Piano Trio No. 7 in B flat, Op. 97 \"Archduke\"\u003c\/b\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eEmil Gilels\u003c\/b\u003e piano\u003cbr\u003e\u003cb\u003eLeonid Kogan\u003c\/b\u003e violin\u003cbr\u003e\u003cb\u003eMstislav Rostropovich\u003c\/b\u003e cello\u003c\/p\u003e\n\u003cp\u003eRecorded Moscow, 1956\u003cbr\u003eTransfer from Melodiya ND 03456-03457\u003c\/p\u003e\n\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cb\u003eRACHMANINOV Danse Orientale in A minor, Op.2, No.2\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\n\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eGRANADOS (arr. Pekker) Danzas Españolas No. 5 - 'Andaluza'\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eCHOPIN Introduction and Polonaise brillante in C, Op.3\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMstislav Rostropovich\u003c\/b\u003e cello\u003cbr\u003e\u003cb\u003eAlexander Dedyukhin\u003c\/b\u003e piano\u003c\/p\u003e\n\u003cp\u003eRecorded December 1956, Polskie Nagrania, Warsaw, Poland\u003cbr\u003eTransfer from Melodiya 33D-027828\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM090.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM090.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":37144225485,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37144225549,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37144225613,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37144225741,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM090.jpg?v=1494337612"},{"product_id":"pacm092","title":"ROSTROPOVICH Chamber Music, Vol. 2 (1948-56) - PACM092","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" type=\"_moz\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e String Trio No. 1\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHANDEL\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Larghetto from Sonata in D\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUMANN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Stücke in Volkston Nos. 1 \u0026amp; 4\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Stimmungsbilder No. 2\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSINDING\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Presto from Suite im alten Stil \u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003cspan\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio Recordings · 1948-56\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 60:09 \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMstislav Rostropovich, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeonid Kogan, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRudolf Barshai, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviola\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eVladimir Yampolsky, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano \u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is great stuff! Strongly recommended578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis is great stuff! I’ll admit that for the first\n minute or so of the Beethoven Trio, recorded in Moscow in 1956 and \ntransferred from Melodiya ND 03458-03459, it sounds like the original \nrecording engineer was twiddling the knobs to try optimize the balance \nand aural perspective, because first the players sound distant, then \nclose up, then soft, and then loud. But once the sonic image settles \ninto a stable and comfortable place, the performance one is treated to \nis simply magnificent. Put three of the 20th century’s top Russian \nstring players—Leonid Kogan, Rudolf Barshai, and Mstislav \nRostropovich—together, and you were bound to have a surefire success. \nThe sharp definition and unanimity of articulation one hears in the \nplaying are simply amazing; and the up-tempo, intensely focused, and \nlyrical largesse of this reading—where the music calls for it—lend this \nearly work by Beethoven a stature it doesn’t always achieve in lesser \nhands.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis is not the same performance of the trio by \nthese three players that was recorded live in 1960 at the Prague Spring \nFestival, and which can be heard on a Supraphon CD. It is, however, the \nsame performance that was reviewed by William Zagorski in 16:3, when it \nwas released on Melodiya 10-00552. That review may be a bit confusing \nbecause it covers two separate CDs (the other being Melodiya 00550), \nwhich parses the material differently across the two discs than how it’s\n programmed on this Pristine release. But if you search out Pristine’s \ncompanion to this album, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRostropovich Chamber Music Volume 1\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n you’ll find some (not all) of the works included on the two Melodiya \nCDs. Unfortunately, I haven’t heard either of those discs, so I can’t \ntell attest to how they compare to this “XR” Pristine remastering, but I\n can attest to the phenomenal results Andrew Rose has achieved for this \nrelease.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe remainder of the program is given over to \nRostropovich and Vladimir Yampolsky in a sequence of excerpts from \nlarger works, recorded between 1948 and 1953. Three of them, of \ncourse—the Handel, Strauss, and Sinding—are arrangements for cello from \ntheir original instrumentation. The first movement of the Sinding Suite,\n a perpetual motion piece, originally for violin, is very effective on \ncello, and an excellent virtuoso vehicle for displaying Rostropovich’s \nimpressive technique.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis is a most enjoyable album, and another credit to Andrew Rose and his Pristine label. Strongly recommended. \u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJerry Dubins  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM092.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eMore brilliant and rare Soviet chamber music recordings by Rostropovich\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003cem class=\"bodymid\"\u003eBeethoven String Trio with Kogan \u0026amp; Barshai, plus short pieces by Handel, Schumann, R. Strauss \u0026amp; Sinding \u003c\/em\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eThe original records containing these recordings \nprovide an excellent example of the rapid progress made in recording \ntechnology with the advent of tape and the LP, with the \u003cem\u003eTrio\u003c\/em\u003e \nrecording a significant step forward from the sound of the earlier short\n pieces. The sound quality buried in those 1956 grooves in particular \nturned out to be astonishingly good when released by an XR remastering. \nCertainly it is only the mono source that now gives away the age of the \nrecording - though for most listeners I heartily recommend the Ambient \nStereo edition and the sense of space around the instruments this \ncreates.\u003cp class=\"western\"\u003eThe last-minute discovery of a 1993 Fanfare review \nanswers some questions regarding recording dates with Yampolsky, the \ninitial dullness of which has here been improved upon quite \nsuccessfully. Elsewhere the reviewer bemoans the incomplete nature of \nthese odd movements. I suspect the recordings were made to fit odd 78rpm\n sides and the works in question were never recorded in their complete \nforms. Regardless, they turn out to be older than I imagined, leaving me\n even more surprised at their inherent sound quality.\u003c\/p\u003e\u003cp class=\"western\"\u003eOne truly bizarre anomaly raised its head: in the \nfourth movement of the Beethoven a tape edit had been made where a few \nnotes had been spliced in backwards! Naturally this has now been \nremedied.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN String Trio No. 1 in E flat, Op. 3\u003c\/b\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eLeonid Kogan\u003c\/b\u003e violin\u003cbr\u003e\u003cb\u003eRudolf Barshai\u003c\/b\u003e viola\u003cbr\u003e\u003cb\u003eMstislav Rostropovich\u003c\/b\u003e cello\u003c\/p\u003e\n\u003cp\u003eRecorded Moscow, 1956\u003cbr\u003eTransfer from Melodiya ND 03458-03459\u003c\/p\u003e\n\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cb\u003eHANDEL Violin Sonata in D, Op. 1, No. 13: 3rd mvt. - Largetto\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\n\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eSCHUMANN 5 Stücke im Volkston, Op.102: 1. Vanitas vanitatum: Mit Humor\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eSCHUMANN 5 Stücke im Volkston, Op.102: 4. Nicht zu rasch\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eR. STRAUSS Stimmungsbilder, Op.9: 2. An einsamer Quelle\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eSINDING Suite im alten Stil in A minor, Op. 10 - 1st mvt. - Presto\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMstislav Rostropovich\u003c\/b\u003e cello\u003cbr\u003e\u003cb\u003eVladimir Yampolsky\u003c\/b\u003e piano\u003c\/p\u003e\n\u003cp\u003eRecorded 1948 - 1953\u003cbr\u003eTransfer from Melodiya 33D-027827\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM092.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM092.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Fanfare Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cem\u003eRostropovich Chamber Music (Melodiya CD issue, 1992)\u003c\/em\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eFrom a Western perspective, the political events of the last couple \nof years are enough to make one's head spin. From an Eastern \nperspective, they have to be a whole lot more than that. Gosh, how I \nmiss Winston Churchill's wondrous “Iron Curtain.“ It so clearly defined \nwho the enemy was, and gave us all such a compelling sense of purpose. \nAs a product of the postwar McCarthy era, I was duly indoctrinated \nagainst the evils of Soviet Communism. It produced a grim, joyless, \ndour, cultureless society that was best gotten rid of—especially in \nlight of the fact that it was hell-bent on getting rid of us. I \ndutifully persisted in this politically correct mind-set until I \ndiscovered a few ancient and extraordinarily crude LPs released under \nthe imprimaturs of Coliseum and Bruno. They contained standard (and \nnot-so-standard) repertoire stuff performed by then largely unknown \nSoviet artists. Thus it was that I first heard David Oistrakh, Leonid \nKogan, Mstislav Rostropovich, Vladimir Yampolsky, Sviatoslav \nKnushevitsky, and Kiril Kondrashin. Those recordings were all “produced“\n by one Bruno G. Ronty, who, apparently, gained access to a number of \nbootleg Soviet LPs and used them as sources for the production of his \nown record line, hence the dismal sound— similar to hearing an LP that \nhad been pressed on wretched vinyl through a bad telephone connection. \n“How lousy Soviet recording is—“ I concluded;—“Yet another example of \nWestern supremacy and Soviet backwardness.“ On a couple of releases \nRonty proudly stated that no moneys from the sale of these records would\n ever reach their [evil] sources.\u003c\/p\u003e\u003cp\u003eOne of my prize Coliseum releases of that era is CRLP 179, containing\n a postwar recording of Lalo's Symphonie Espagnole (with the usually \nmissing Intermezzo) played by a then quite young David Oistrakh and \nseconded by Kiril Kondrashin—by all measures but sonic excellence, a \nfabulous recording.\u003c\/p\u003e\u003cp\u003eDuring the ensuing decades other Soviet releases reached the shores \nof New Jersey via more legitimate channels. A company called Connoisseur\n Record Corp., in Kearny, NJ, began to release a series of mono LPs from\n both the MK and Supraphon catalogs. Thus it was, as callow youth, that I\n first heard the Leningrad Philharmonic under Yevgeny Mravinsky in a \nperformance of Prokofiev's Sixth Symphony. I had never heard the piece \nbefore, and that performance (lovingly preserved in eminently decent \nsound on ALP-158) is, many years and many recordings later, still the \none by which I judge all others.\u003c\/p\u003e\u003cp\u003eSoviet recordings eventually penetrated the American market via \nseveral other Western companies—Monitor, EMI, and later CBS. In our \ndigital era, MCA has issued a number of releases, as has Sheffield Labs \n(see Fanfare 11:1, “Sheffield Goes to Moscow,“ by Peter Rabinowitz). A \nfew other releases reached our shores on Olympia, and I have in my \nlibrary one recording on Melodiya Australia (distributed by Allegro \nImports). Now, finally, with the collapse of the Soviet Union (and under\n the duress of having to raise hard currency), Melodiya is marketing its\n vast, varied, and often distinguished catalog on its own. As a fan of \ntheir work over the years, I wish them all the best.\u003c\/p\u003e\u003cp\u003eUpon examining these two offerings, I have a few minor, and I hope \nfairly innocuous, quibbles. Each box proudly states “Made in the USSR.“ \nIn fact, though the recordings and jewel box design are Russian, the CDs\n themselves were manufactured by American Helix. For a moment I thought \nthat Russia had a CD production facility, but no such luck. The \nmarketing strategy of Melodiya, as demonstrated here, is to exploit the \nWestern name recognition of the major artists involved—Rostropovich, \nGilels, Kogan, and (to aficionados of the art of accompaniment) \nYampolsky, are all, and have been, well-established figures for years. \nThis approach makes sense, but here it has been executed at the expense \nof repertoire considerations. On the first disc only two of Schumann's \nStücke im Volkston are given. Given performances of this quality, I \nwould have liked to hear the remaining three numbers. I feel it would \nhave been wiser to program the whole set at the expense of the \noverexposed Kinderscenen excerpt and the Sinding Presto. Likewise, on \nthe second disc, the Larghetto from Handel's Sonata in D, op. 1, No. 13,\n needs its companion movements in order to be a viable musical \nexperience.\u003c\/p\u003e\u003cp\u003eThe “star“ of these two releases is Mstislav Rostropovich. The first \ndisc covers his career from 1948 (the Sinding Presto) through 1953 (the \ntwo excerpts from Stücke im Volkston)—long before he had become an \ninternationally known figure. The second CD contains performances from \n1949 (the Chopin Introduction and Polonaise Brilliante) through 1956 \n(the Beethoven Trio for Violin, Viola, and Cello). Along the way one can\n partake of the outstanding work of a comparatively youthful Emil Gilels\n (forty years old in Beethoven's Trio, op. 97); Leonid Kogan (thirty-two\n years old in both the Beethoven Trios, op. 3 and op. 97), and of \nviolist Rudolf Barshai before the founding of his Moscow Chamber \nOrchestra. In all cases, the sound is eminently decent for its vintage.\u003c\/p\u003e\u003cp\u003eBeethoven's Trio No. 1 for Violin, Viola, and Cello in E♭, op. 3, and\n his “Archduke“ Trio, op. 97, are the two main events on these releases.\n All six movements of op. 3 are given equally robust and sensitive \nperformances—pointed, beautifully intoned, and informed with both \nvitality and a particularly Russian brand of whimsy. For once this piece\n of youthful (ca. 1786) Beethoven is given its due.\u003c\/p\u003e\u003cp\u003eThe “Archduke“ Trio, in the hands of Gilels, Kogan, and Rostropovich,\n receives an arching, ruminative, and noble reading. Phrases speak with \nan eloquence they seldom have in the hands of more modern, objective \nplayers. All elements—attack, dynamics, and tone color—are brought into \nplay and masterfully exploited in the making of an expansive, quietly \nheroic performance. This is the tradition that had already produced \nDavid Oistrakh and would eventually spawn Yuli Turovsky.\u003c\/p\u003e\u003cp\u003eThe other pieces, despite their modest dimensions, or overall worth, \nare all done as if they are the musical end of the world. Of special \nnote is the Villa-Lobos Prelude from Bachiana Brassileira No. 1—here \ngiven an intensely dark, brooding, and Russianly manic reading.\u003c\/p\u003e\u003cp\u003eAs I stated above, the sonics on these two releases are, by Western \nstandards, fine for their respective ages. To anyone familiar only with \nthose old Coliseum and Bruno releases, these samples of \nlate-1940s-through mid-1950s Soviet recording will prove, in this CD \nincarnation, astonishing. To those familiar with subsequent Soviet \nreleases distributed in the West, these offerings will be more than \nmerely technically competent—they will prove to be musically satisfying.\u003c\/p\u003e\u003cp\u003eI hungrily await future releases.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eReview by William Zagorski\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 16:3 (Jan\/Feb 1993) of \u003cem\u003eFanfare\u003c\/em\u003e Magazine.\u003cbr\u003eThe recordings referred to include those on this release and those on PACM090\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":37144245581,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37144245773,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37144245965,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37144246285,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM092_00fa38d8-a0d0-41cd-8b1d-cd9c3c63ba70.jpg?v=1494337649"},{"product_id":"pacm095","title":"SALMOND plays Beethoven \u0026 Grieg Cello Sonatas (1926-29) - PACM095","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Cello Sonata No. 3 in A major, Op. 69\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eGRIEG\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Cello Sonata in A minor, Op. 36\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eShort works by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003e Bridge, Bruch, Glazunov, Grieg, Popper \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eand \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSaint-Saëns\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr data_liveedit_tagid=\"000000000D7722F0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings · 1926-29\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:25\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/p\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFelix Salmond, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello \u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSimeon Rumschisky, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fA robust-, rich-, and vibrant-toned player578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eBritish-born Felix Salmond (1888–1952) was a \ndistinguished cellist and later a highly regarded pedagogue at Juilliard\n and Curtis. Unfortunately, through no fault of his own, his performing \ncareer was seriously tarnished, perhaps even sidelined, due to the \ndisastrous London premiere of Elgar’s Cello Concerto in 1919, in which \nSalmond had been personally entrusted by the composer with the solo \npart. Elgar, who conducted the performance, had been given little time \nto rehearse, and the critics were merciless in their morning-after \nreviews. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThough he was in no way responsible for the \ndebacle, Salmond was thereafter dogged by it in the UK, so in 1922, he \ncrossed the Pond, made his New York debut, and settled in America. Two \nyears later he joined the faculty at Juilliard, and a year after that he\n was appointed head of the cello faculty at the Curtis Institute of \nMusic, a position he held until 1942, when he abruptly resigned in a \nsnit over being snubbed by the institute’s new director, Efrem \nZimbalist, who had hired Emanuel Feuermann without consulting Salmond. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMark Obert-Thorn, who remastered and produced \nthese recordings for Pristine, has written a bio of Salmond that is \nclose to a verbatim extract from Wikipedia’s entry on the cellist. \nThere’s nothing wrong in that, except that in cutting and pasting, \nObert-Thorn seems to have gotten some of the wording out of order, with a\n highly amusing result that deserves quoting: “It was perhaps as a \npedagogue that Salmond left his most enduring legacy. He began teaching \nat Juilliard in 1924, where he stayed until his death, and was appointed\n head of the cello department at the Curtis Institute the following \nyear….” There’s nothing like a little post-mortem moonlighting to ward \noff the eternal boredom. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eTo set matters straight, Salmond was at Juilliard \nfor only a short time before taking the position at the newly \nestablished Curtis Institute in Philadelphia, where, it’s true, he \nremained until he resigned in 1942 over the Feuermann affair. But as you\n can see from Salmond’s dates given above, he lived another 10 years \nuntil 1952. If only he’d not let his bruised ego dictate his precipitous\n actions, he might have stayed on at Curtis until the end, for \nFeuermann’s tenure there was very brief, less than a year, in fact. He \ndied suddenly in 1942 at the age of 39 from complications following a \nsurgical procedure. So, out of pique, Salmond had given up a good job \nand prestigious position for nothing, though he probably took some \npersonal pleasure in seeing Zimbalist left twisting in the wind. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAmong the students Salmond taught at Curtis, while\n dead according to Obert-Thorn, were Leonard Rose, Bernard Greenhouse \n(of Beaux Arts Trio fame), and Frank Miller, who played under Toscanini \nin the NBC Symphony Orchestra and recorded Strauss’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Quixote\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e with the maestro for RCA in 1953. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI’m not quite sure how prominent a pedestal \nSalmond occupies in the Cello Hall of Fame. His dates place him \nrelatively close to Pablo Casals (1876–1973), Guilhermina Suggia \n(1885–1950), Beatrice Harrison (1892–1965), and Gaspar Cassadó \n(1897–1966), of those who were born in the 19th century and lived far \ninto the 20th. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI don’t believe Salmond recorded very extensively,\n though he did make a handful of 78s for Columbia, mainly in the late \n1920s. Mark Obert-Thorn has put together this program from a number of \nthose Columbia recordings, all made in New York between 1926 and 1929. \nThere’s no point in pretending the sound on this CD will have you \nmarveling at how great it is. There’s considerable grit in the grooves, \nwhich manifests itself as a kind of constant low-grade swooshing \nbackground noise, like the cosmic radiation residue from the Big Bang. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIf you can get past that, Salmond comes across as a\n robust-, rich-, and vibrant-toned player—it’s easy to hear the \ninfluence he had on Leonard Rose—and as having a strong, confident \ntechnique. His big-ticket numbers on the disc, the Beethoven and Grieg \nsonatas, would be absolutely competitive in today’s market if the \nrecordings were up to current state-of-the-art standards. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWith the exception of Bruch’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eKol Nidrei\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n the remaining items on the disc fall into the category of short salon \nand encore-type pieces, all of which Salmond favors with his radiant, \nrotund tone. He’s placed forward and spotlighted, so that Simeon \nRumschisky’s piano sometimes seems banished to a faraway place, but \nRumschisky is no shrinking violet. He holds his own and proves himself \nan essential contributor to these performances. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs always, Pristine’s releases are available \ndirect from pristineclassical.com as physical CDs as well as \ndownloadable files in mp3 and FLAC formats. The current offering is well\n worth your attention, if great cellists and cello playing of the past \ninterest you. \u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJerry Dubins \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM095.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFelix Salmond, influential and inspirational English cellist, plays Beethoven, Grieg and more\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"\"they\n have struck immediately the right mood for each movement and never lost\n sight of it amid the mass of detail\" - The Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eBritish cellist Felix Salmond (1888-1952) was born into a musical \nfamily.  His father was a baritone and his mother a pianist who had \nstudied under Clara Schumann.  He began formal cello studies at the age \nof 12, entered the Royal Academy of Music at 16 and went on to study at \nthe Brussels Conservatory at 19.  The following year, he made his debut \nat Bechstein Hall in London, in a program which included Frank Bridge’s \nFantasy Trio with the composer as violist and Salmond’s mother at the \npiano.\u003c\/p\u003e\u003cp\u003eSalmond’s attempt to build an international career was interrupted by\n World War I.  After its conclusion, he participated in the first \nperformance of Elgar’s String Quartet.  As a result, Elgar chose him to \ngive the première of his Cello Concerto under the composer’s direction \nin 1919.  The performance turned out to be a debacle.  Albert Coates, \nwho was conducting the rest of the concert, used up most of Elgar’s \nscheduled rehearsal time, leading the angered composer to consider \nwithdrawing the work.  For Salmond’s sake, he went on with the \nperformance; but the critics savaged the orchestra’s poor execution.  \nWounded by the experience, Salmond would never play or teach the \nconcerto outside of England.  In 1922, he left for America, which would \nbecome his home base for the rest of his life.\u003c\/p\u003e\u003cp\u003eIt was perhaps as a pedagogue that Salmond left his most enduring \nlegacy.  He began teaching at Juilliard in 1924, where he stayed until \nhis death, and was appointed head of the cello department at the Curtis \nInstitute the following year (a post from which he abruptly resigned in \n1942 when the Institute’s new director, Efrem Zimbalist, engaged Emanuel\n Feuermann to join the faculty without having consulted Salmond).  His \npupils included Leonard Rose, Bernard Greenhouse, Frank Miller, Alan \nShulman, Daniel Saidenberg and Orlando Cole. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eSalmond’s discography is comparatively small.  After a few acoustic \nVocalions made in England before his emigration, he was signed by \nAmerican Columbia, where he benefitted from the recent defection of \ntheir star cellist, Pablo Casals, to the rival Victor label.  This \nrelease presents most of his electric commercial recordings, which ended\n in 1930, even though he was to continue performing for another two \ndecades.  It features two of the three album sets that Columbia issued, \nthe third being the Schubert B-flat Piano Trio with Myra Hess and Jelly \nD’Aranyi (Pristine PACM 083).\u003c\/p\u003e\u003cp\u003eThe present transfers were made from first edition American Columbia \n“Viva-Tonal” pressings, the quietest form of issue for these \nrecordings.  Some of the tracks, particularly the earliest ones, suffer \nfrom distant miking and have an inherently smaller signal-to-noise ratio\n than others.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eCello Sonata No. 3 in A major, Op. 69\u003c\/span\u003e\u003cbr\u003e\n\u003cp\u003eRecorded 18 January and 16 February 1926 in New York City\u003cbr\u003e Matrix nos.: W 98207-3, 98208-1, 98209-3, 98210-1, 98225-3 \u0026amp; 98239-1\u003cbr\u003e First issued on Columbia 67187-D through 67189-D in Set 38\u003cbr\u003e \u003c\/p\u003e\n\u003cp\u003e• \u003cb\u003eBRUCH\u003c\/b\u003e: Kol Nidrei, Op. 47\u003cbr\u003eRecorded 5 and 17 June 1928 in New York City\u003cbr\u003eMatrix nos.: W 98550-1 \u0026amp; 98551-3\u003cbr\u003eFirst issued on Columbia 50073-D\u003c\/p\u003e\n\u003cp\u003e• \u003cb\u003eTRADITIONAL\u003c\/b\u003e (arr. O’Connor-Morris): Londonderry Air\u003cbr\u003eRecorded 15 February 1926 in New York City\u003cbr\u003eMatrix no.: W 98240-1\u003cbr\u003eFirst issued on Columbia 7107-M\u003c\/p\u003e\n\u003cp\u003e• \u003cb\u003eSAINT-SAËNS\u003c\/b\u003e: The Swan (from Carnival of the Animals)\u003cbr\u003eRecorded 15 March 1926 in New York City\u003cbr\u003eMatrix no.: W 98242-3\u003cbr\u003eFirst issued on Columbia 7107-M\u003c\/p\u003e\n\u003cp\u003e• \u003cb\u003eGLAZUNOV\u003c\/b\u003e: Serenade Espagnole, Op. 20, No. 2\u003cbr\u003eRecorded 19 April 1926 in New York City\u003cbr\u003eMatrix no.: W 98234-5\u003cbr\u003eFirst issued on Columbia 7117-M\u003c\/p\u003e\n\u003cp\u003e• \u003cb\u003eBRIDGE\u003c\/b\u003e: Mélodie\u003cbr\u003eRecorded 20 May 1929 in New York City\u003cbr\u003eMatrix no.: W 98660-2\u003cbr\u003eFirst issued on Columbia 50156-D\u003c\/p\u003e\n\u003cp\u003e• \u003cb\u003ePOPPER\u003c\/b\u003e: Gavotte in D major\u003cbr\u003eRecorded 15 June 1928 in New York City\u003cbr\u003eMatrix no.: W 98553-2\u003cbr\u003eFirst issued on Columbia 50156-D\u003c\/p\u003e\n\u003cp\u003e• \u003cb\u003eGRIEG\u003c\/b\u003e: To Spring, Op. 43, No. 6\u003cbr\u003eRecorded 25 October 1927 in New York City\u003cbr\u003eMatrix no.: W 98401-6\u003cbr\u003eFirst issued on Columbia 67363-D in Set 78\u003cbr\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eGRIEG  \u003c\/b\u003eCello Sonata in A minor, Op. 36\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cp\u003eRecorded 13 and 17 May 1927 in New York City\u003cbr\u003e Matrix nos.: W 98345-3, 98346-2, 98347-1, 98348-1, 98349-2, 98350-3 \u0026amp; 98351-4\u003cbr\u003e First issued on Columbia 67360-D through 67363-D in Set 78\u003cspan style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eFelix Salmond\u003c\/b\u003e   cello\u003cbr\u003e\u003cb\u003eSimoen Rumschisky\u003c\/b\u003e   \u003cspan\u003epiano\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\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\/PACM095.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM095.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003eBeethoven Cello Sonata No. 3 (original 78rpm issue)\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBeethoven’s \u003cem\u003eSonata in A\u003c\/em\u003e for ’cello and piano, op. 69, was \ndown on the list of works to be done by Columbia for the Beethoven \ncentenary. Whether it actually appeared with the rest of the centenary \nrecords I cannot say, but in any case it is only now that the discs have\n reached me. The \u003cem\u003eSonata \u003c\/em\u003eoccupies six sides (L. 1935—7, three \n12in. records, 19s. 6d.) and is admirably played (complete, of course) \nby Felix Salmond and Simeon Rumschisky. The ’cello \u003cem\u003eSonatas\u003c\/em\u003e are \nprobably less familiar to most people than those for piano or for \nviolin, but they form nevertheless a distinguished series in which the A\n major stands out much as the \u003cem\u003eKreutzer\u003c\/em\u003e does among those for violin or the \u003cem\u003eAppassionata\u003c\/em\u003e\n among the piano works. It is, that is to say, a good example of \nBeethoven’s “ middle period ” at its best, and as it is the middle \nperiod that has found most favour with the general public Columbia have \ndone wisely in selecting it for recording. The broad, spacious first \nmove­ment and the characteristic \u003cem\u003eScherzo\u003c\/em\u003e are on the usual Beethoven plan. But the slow movement after a promising start is suddenly abandoned (as happens also in the \u003cem\u003eWaldstein)\u003c\/em\u003e and we pass at once to the brilliant \u003cem\u003eFinale.\u003c\/em\u003e\n The performers are fully competent technically to tackle what is by no \nmeans an easy work, and they deserve high praise for the manner in which\n they have struck immediately the right mood for each move­ment and \nnever lost sight of it amid the mass of detail. The “ brassy ” quality \nof the Columbia ’cello tone, concerning which I have previously \ncomplained in these pages, has not quite disappeared, but it is far less\n marked than it was, and is confined to a few loud passages in the tenor\n register. Elsewhere and in other respects I found nothing to criticise \nand a great deal to admire. The work presents some difficult problems of\n balance, especially perhaps in those passages where the ’cello part \nlies very low and the piano is busy above it. But all these have been \nsuccessfully negotiated, and we have on the whole a set of records \nworthy to rank with the other Columbia centenary issues. I can offer no \nhigher praise.\u003c\/p\u003e\u003cp\u003eP.L.\u003c\/p\u003e\u003cp\u003eThe Gramophone, September 1927\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":31975894797,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31975894861,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM095.jpg?v=1487682502"},{"product_id":"pacm099","title":"SALMOND plays Beethoven Cello Sonatas 1, 4 \u0026 5 (1926-48) - PACM099","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eCello Sonatas 1, 4 and 5\u003c\/span\u003e\u003cbr\u003e\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e7 Variations on “Bei Männern” from Die Zauberflöte\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eEncores by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBizet\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e, \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eChopin\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e, \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eFauré\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e, \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePianelli \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eand \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePierné\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr data_liveedit_tagid=\"000000000D7722F0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1926-48\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:09\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFelix Salmond, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello \u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeonid Hambro, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSimeon Rumschisky, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIt seems greedy (but not churlish) to ask for more ... bring them on578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs a successor disc to its first Felix Salmond release, PACM 095 (see reviews in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e38:4),\n Pristine Audio releases legendary private recordings of Beethoven’s \nfirst cello-piano sonata and his last two in this genre. Various sources\n had told me these were made just prior to World War II, but that turns \nout to be in error—off by a decade. Salmond, who played the five works \noften in recital, gave a concert at Julliard in January of 1947 at which\n he performed the canon with American pianist Leonid Hambro to celebrate\n the 25th anniversary of Salmond’s U.S. debut. Mark Obert-Thorn informs \nus in Pristine’s notes for this release that a year later, the two \nJulliard faculty members returned to the school’s concert hall to record\n the works. The three presented here appeared on a private LP in 1960 as\n part of varied efforts promoting the school. No mention, thus far, of \nthe 1948 recordings of the Second and Third Sonatas. Pristine’s \nexcellent transfer of the cellist’s 1926 recording of the Third leads \noff the earlier release. Thus we have 80 percent and now a delightful \n1928 recording of the “Bei Mannern” Variations, with the same empathetic\n piano partner as in the Third Sonata. We are making progress, but must \nstill hope that the other two 1948 recordings will surface. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eLeonid Hambro (1920–2006) was a notable pianist \nand a rigorous scholar, in the traditions of such figures as Schnabel, \nShure, Serkin, but was utterly unlike those artists in his personal \nmanner and in the range of his performing interests. He recorded \nGershwin with the Moog Synthesizer, and performed with Victor Borge. His\n scholarly bent was more evident in his performances of Beethoven and in\n his writings with Jascha Zayde. As can be heard in these performances, \nhe was not wedded to the vertical bar lines in which some of the German \nmasters find themselves entangled (Hambro was Chicago-born of \nLithuanian-Jewish parents). At age 28, he does not to my ear quite have \nhis older colleague’s innate lyricism. However, my taste runs to \nperformances of these works in which the performers vary a bit in \nperforming styles, and I find Hambro’s Beethoven a distinguished \ncounterpoise to Salmond’s playing. The pianist died less than a decade \nago, having served on the Aspen Faculty as well as that of Julliard, and\n finally as head of the Piano Department at California Institute of \nArts. These recordings are as much a tribute to Hambro as to Salmond. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eA tribute to Salmond this release is indeed, and \nto Beethoven as well. In 1948 the cellist’s technique and interpretive \nconcentration were fully intact. The microphone placement of these \nprivately made recordings, in Obert-Thorn’s splendid remastering for \nPristine, captures the cello tone superbly. The piano, while ample, does\n not quite have all the overtones of a current recording, but it will \nserve. Balance is remarkably good. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe First Sonata lacks nothing in fluency and \nflow. It may not quite have the charm of the old Janigro-Zecchi \nrecording, or the first Casals set (older still), but it is charming \nenough, and less serious than Fournier-Schnabel or Casals-Serkin. The \nzest with which the duo plunges in to the final reprise of the first \nmovement’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eallegro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n theme to conclude the movement is infectious. That zest continues right\n into the second movement and here the remarkable sound is particularly \ngood at conveying Salmond’s lower partials. The piano seems a bit \nclearer. Maybe someone moved a mike. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe two sonatas of Beethoven’s op. 102 are among \nhis more enigmatic works, particularly the first (Sonata No. 4) and also\n possessed of considerable profundity (the Fifth, especially, I would \nsay). Salmond and Hambro take the Fourth Sonata very seriously and play \nthe first movement with great concentration and a consistently steady \ntempo and drive. I find this the most individualistic interpretation of \nthe three and one of the most persuasive performances of the work I \nknow. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWithout making comparisons (odious or otherwise!) \nHambro’s opening flourish in the last sonata put me more in mind of \nSchnabel’s address and command than any I have recently heard. He and \nSalmond are extremely clear and firm in their articulation of the main \nlines of this first movement. The depth of lyric feeling in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is also notable. As I listen, I continually remind myself that Salmond,\n although not old, has a full career behind him, whereas Hambro is still\n in the first third of his own long life. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThroughout these recordings, one is totally \nunaware of them as recording studio products. They sound as \nperformances, and never more so than in the Fifth Sonata. Again, \nSalmond’s plangent lower string tone is well captured, and in this first\n movement the piano sound is at its best. One is eager to hear the other\n two sonatas. I suspect, as much as I love the earlier recording of op. \n69 (one of my favorites), the performance with Hambro will be a quite \ndifferent matter—remembering, too, that over two decades had passed. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eStill, Obert-Thorn is unduly harsh on himself and \non Columbia (God knows, as one who lived through Columbia 78s and early \nLPs, it is easy to be hard on them!). His transfer of the June 1928 \nrecording of the lovely variations on Mozart’s aria, while clearly of an\n earlier vintage than the sonatas, does not fall unattractively on my \near. It is, not unexpectedly, similar to the performance of the third \nsonata recorded 30 months earlier with the same pianist. I love the \npiece and this is a charming rendition. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe five remaining encore pieces, also with \nRumschisky at the keyboard, include one selection which is rather more \nthan that: the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLargo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n from Chopin’s op. 65 Cello Sonata. This lovely bit leaves me wanting \nthe entire work (recalling the terrific Grieg Sonata included in PACM \n095) but we take this, recorded the day after the Beethoven Variations, \nas all we are going to get. An arrangement of Pianelli’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eVillanelle\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e from 1926, Faure’s op. 16 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBerceuse \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e(recorded same day as the Variations), and an excerpt from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eL’Arlesienne\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, are followed by Piernè’s op. 7 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSerenade\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n both products of an April 1927 session to complete. Despite \nObert-Thorn’s criticisms, his sonic resuscitations here are amazing; \nbetter to my ear than some on the earlier disc. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIt seems greedy (but not churlish) to ask for \nmore, yet if Andrew Rose and\/or Mark Obert-Thorn have any further \nSalmond items, bring them on; specially the other two Beethoven sonatas \nfrom 1948. Julliard must have those 78-rpm acetates stored somewhere, or\n were they done on tape? From the quality of this issue, it might have \nbeen possible. \u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames Forrest \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM099.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFabulous hi-fi recordings of Beethoven sonatas from 1948 - first general release\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003ePlus more rare 1920s tracks in their first ever reissue from cello virtuoso Salmond\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\nOn March 29, 1947, Felix Salmond gave a recital at the Juilliard School \ncommemorating the twenty-fifth anniversary of his American debut. The \nprogram was one he had played on more than one occasion over the years: \nthe five Beethoven Cello Sonatas. The following year, Salmond and his \nperforming partner, fellow Juilliard faculty member Leonid Hambro, \nreturned to the school’s Concert Hall to make a private recording of the\n sonatas, three of which were issued in 1960 on a private LP as a \nfund-raiser to help establish a scholarship in his name.\u003cbr\u003e\u003cbr\u003eThese \nrecordings are revelations in several ways. First, they show that \nSalmond maintained his technique even in his sixtieth year. His last \ncommercial recordings were made in 1930, when he was forty-two; and \nalthough he continued to concertize and appear on broadcasts, these \nBeethoven sonatas are the only published documents of his playing after \nthat.\u003cbr\u003e\u003cbr\u003eBut more importantly, they present Salmond in the finest \nrecorded sound he ever received. Except for some occasional surface \nnoise from the original acetate discs, they have the presence, and \nnearly the frequency range, of high fidelity mono tape recordings. The \ndifference is most striking going from the last sonata to the 1928 \nrecording of the “Magic Flute” Variations which follow it. Here is the \nSalmond with which most listeners are familiar – a figure from a shadowy\n past, heard dimly through a haze of surface hiss on even the best of \nAmerican Columbia’s “Viva-Tonal” pressings.\u003cbr\u003e\u003cbr\u003eAll of which raises \nthe question: Why did the record companies ignore Salmond after 1930, \nwhen he continued to play at such a high level? The Depression surely \nhad something to do with it. For much of the 1930s, Classical \ninstrumentalists either recorded in Europe or not at all. (Casals, for \nexample, cut his last disc for Victor in 1928; but HMV was happy to keep\n him busy after that.) Due to his teaching positions both at Juilliard \nand the Curtis Institute, Salmond’s career by this time was largely \nbased in the U.S. By the time American labels began recording cellists \nagain, a new generation had appeared, including Feuermann and \nPiatigorsky. Though still active, Salmond was largely forgotten.\u003cbr\u003e\u003cbr\u003eIt\n is posterity’s loss. As critics noted when the first volume of this \nseries came out (Pristine PACM 095), Salmond’s playing has a decidedly \nmodern feel, in contrast to the sentimental, portamento-laden \nperformances of his elder British countryman W. H. Squire. It was an \napproach he passed on to his many pupils, including Leonard Rose, \nBernard Greenhouse and Frank Miller, and it can be heard even on the \nearliest of the recordings presented here. We are fortunate to be able \nto hear him at last not “through a glass darkly” but, in these late \nrecordings, nearly “face to face”.\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Cello Sonata No. 1 in F major, Op. 5, No. 1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Cello Sonata No. 4 in C major, Op. 102, No. 1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Cello Sonata No. 5 in D major, Op. 102, No. 2\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eFelix Salmond \u003c\/b\u003ecello\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003eLeonid Hambro\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: small;\"\u003e piano\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded in 1948 in the Juilliard Concert Hall, New York City\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eFirst released in 1960 on an unnumbered private LP issued by Juilliard\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e 7 Variations on “Bei Männern” from Die Zauberflöte\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 4 June 1928 in New York City\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.: W 14386-1, 14387-4, 14388-4 \u0026amp; 14389-4 (Columbia 179-M\/180-M)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003ePIANELLI\u003c\/b\u003e (arr. Joseph Salmon) - Villanelle\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 19 April 1926 in New York City\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix no.: W 98241-2 (Columbia 7117-M)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eCHOPIN\u003c\/b\u003e Largo from Cello Sonata in G minor, Op. 65\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 5 June 1928 in New York City\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix no.: W 146391-3 (Columbia 169-M)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eFAURÉ\u003c\/b\u003e Berceuse (Cradle Song), Op. 16\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 4 June 1928 in New York City\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix no.: W 146390-4 (Columbia 169-M)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBIZET\u003c\/b\u003e Adagietto from L’Arlesienne\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 29 April 1927 in New York City\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix no.: W 143184-7 (Columbia 2054-M)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003ePIERNÉ\u003c\/b\u003e Serenade, Op. 7\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 29 April 1927 in New York City\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix no.: W 144032-6 (Columbia 2054-M)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eFelix Salmond \u003c\/b\u003ecello\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003eSimeon Rumschisky\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: small;\"\u003e piano\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM099.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM099.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":31975902541,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31975902797,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM099_389d26aa-5e50-4a51-8e81-0a868843e94b.jpg?v=1487682505"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/collections\/Beethoven.jpg?v=1495803709","url":"https:\/\/www.pristineclassical.com\/collections\/composer-beethoven.oembed?page=17","provider":"Pristine Classical","version":"1.0","type":"link"}