{"title":"Brahms","description":"Johannes Brahms (7 May 1833 – 3 April 1897) was a German composer and pianist of the Romantic period. Born in Hamburg into a Lutheran family, Brahms spent much of his professional life in Vienna, Austria. His reputation and status as a composer is such that he is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the \"Three Bs\" of music, a comment originally made by the nineteenth-century conductor Hans von Bülow.\u003cbr\u003e\u003cbr\u003eBrahms composed for symphony orchestra, chamber ensembles, piano, organ, and voice and chorus. A virtuoso pianist, he premiered many of his own works. He worked with some of the leading performers of his time, including the pianist Clara Schumann and the violinist Joseph Joachim (the three were close friends). Many of his works have become staples of the modern concert repertoire. An uncompromising perfectionist, Brahms destroyed some of his works and left others unpublished.\u003cbr\u003e\u003cbr\u003eBrahms has been considered, by his contemporaries and by later writers, as both a traditionalist and an innovator. His music is firmly rooted in the structures and compositional techniques of the Classical masters. While many contemporaries found his music too academic, his contribution and craftsmanship have been admired by subsequent figures as diverse as Arnold Schoenberg and Edward Elgar. The diligent, highly constructed nature of Brahms's works was a starting point and an inspiration for a generation of composers. Embedded within his meticulous structures, however, are deeply romantic motifs.","products":[{"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":"pacm009","title":"PRO ARTE QUARTET Brahms: String Sextet No. 1 (1935) - PACM009","description":"overviewfb55cd020f0643f08418183279e63a5f\n\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eString Sextet No. 1 in B-flat major, op. 18\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;\"\u003eAbbey Road Studio 3, London, 8-9 March, 1935\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eDuration 30:59\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\n\u003c\/b\u003e\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Pro Arte Quartet:\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eAlphonse Onnou, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eLaurent Halleux, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eGermain Prevost, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviola\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRobert Maas, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello\u003c\/span\u003e\u003c\/p\u003e\n\u003cb\u003e\n\u003c\/b\u003e\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cspan style=\"font-size: 16px;\"\u003ewith:\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eAlfred Hobday, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviola\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eAnthony Pini, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM009.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBrahms' First String Sextet\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eThe Pro Arte Quartet plus two, remastered for finest sound quality\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eIt may be assumed from the sheer quantity and breadth of \u003cb\u003eBrahms'\u003c\/b\u003e\n writing for small ensembles that Chamber Music was his favourite mode \nof expression. He uses a wide variety of instrumental combinations and \nnumbers, the largest ensembles of which are the string sextets, the \nfirst of which we're delighted to present here.\u003c\/span\u003e\n\u003cp\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eWhen\n I approached this recording I admit it was with some trepidation - the \npiece is amongst my all-time favourites, and I feared that this early \ninterpretation may not do it justice, or at least that the sound quality\n might let it down. I could not have been more wrong. Brahms' frequently\n dense sextet writing is ideal for the 78rpm medium, effectively \nblanking out much of the inherent surface noise with a wall of sound \n(with apologies to Phil Spector!).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eCouple\n this with a superlative performance by the Pro Arte Quartet, with \nAlfred Hobday and Anthony Pini supplying second viola and cello \nrespectively, and in this brand new Pristine Audio remastering you have \nan irresistable combination.\u003c\/span\u003e\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\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\n\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\u003eBRAHMS \u003c\/b\u003eString Sextet No. 1 in B-flat major, op. 18\u003cspan style=\"font-size: medium;\"\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 \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\u003eAbbey Road Studio 3, London, 8-9 March, 1935\u003cbr\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eOriginally released in 1935 as HMV DB2566-2569\u003cbr\u003e Matrix nos: 2EA1325-II, 2EA1326-II, 2EA1327-II, 2EA1328-ii, 2EA1329-II, 2EA1331-III, 2EA1332-II, 2EA1333-I\u003cbr\u003eDuration 30:59\u003c\/span\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\n\u003cp\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003eThe Pro Arte Quartet:\u003cb\u003e\u003cbr\u003eAlphonse Onnou, \u003c\/b\u003eviolin\u003cbr\u003e\u003cb\u003eLaurent Halleux\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eGermain Prevost\u003c\/b\u003e, viola\u003cbr\u003e\u003cb\u003eRobert Maas\u003c\/b\u003e, cello\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003ewith:\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eAlfred Hobday\u003c\/b\u003e, viola\u003cbr\u003e\u003cb\u003eAnthony Pini\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\/PACM009.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM009.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":31418206285,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":31418206349,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM009_41439ed3-e02a-4601-8664-23e8ed646f80.jpg?v=1487682448"},{"product_id":"pacm010","title":"QUINTETTO CHIGIANO Brahms: Piano Quintet (1951) - PACM010","description":"overviewfb55cd020f0643f08418183279e63a5f\n\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Quintet in F minor, Op.34\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;\"\u003eDecca West Hampstead Studios, 25, 26 \u0026amp; 29 October, 1951\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eOriginally released in 1952 as Decca LXT2687\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e(Duration 38'32\")\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\n\u003c\/b\u003e\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan type=\"_moz\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eQuintetto Chigiano:\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSergio Lorenzi, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRiccardo Brengola, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eMario Benvenuti, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eGiovanni Leone, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviola\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eLino Filippini, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello\u003c\/span\u003e\u003c\/p\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM010.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBrahms' Piano Quintet\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eFabulous early Decca LP recording, remastered for finest sound quality\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;\"\u003eIt may be assumed from the sheer quantity and breadth of\u003cb\u003e Brahms'\u003c\/b\u003e\n writing for small ensembles that Chamber Music was his favourite mode \nof expression. He uses a wide variety of instrumental combinations and \nnumbers, but only once used the combination of piano with string \nquartet: the Piano Quintet in F minor, written between 1861 and 1864. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eDuring\n this time the piece took at least three forms. Beginning life as a \nstring quintet, it was also reworked as a Sonata for Two Pianos, but \nneither form fully satisfied the composer or his close friends and \nconfidantes, Clara Schumann and Joseph Joachim. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eYet\n when one listens to this rich masterpiece as a Piano Quintet it is \nimpossible to guess that its final form was the result of so much \nchopping and changing and such a long gestation. One specialist website \nincludes it in their list of the 15 greatest works of Chamber Music ever\n written!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eThis superb performance was issued in 1952 by Decca. The \u003cb\u003eQuintetto Chigiano\u003c\/b\u003e\n (also known as the Chigi Quintet) was formed in 1939 by musicans from \nthe Accademia Musicale Chigiana, founded by Count Guido Chigi Saracini \nin 1932 with the aim of organising Master Classes for the principal \nmusical instruments. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eThis\n prestigious academy listed amongst it's tutors Pablo Casals, Antonio \nGuarnieri, Alfredo Casella (Count Chigi Saracini's supporter at the time\n of the creation of the Accademia Chigiana), Arrigo Serato, Sergiu \nCelibidache, George Enescu, Andrés Segovia, Alfred Cortot, Jacques \nThibaud, Nathan Milstein, Yehudi Menuhin and many others, whilst the \nlist of pupils is equally stratospheric, including Carlo Maria Giulini, \nZubin Mehta, Daniel Oren, Roman Vlad, Nino Rota, Claudio Abbado, \nSalvatore Accardo, Uto Ughi, Daniel Barenboim, Alirio Diaz, etc. \u003cbr\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eOnce again, Peter Harrison of \u003cem\u003edisk2disc\u003c\/em\u003e has produced a superb remastering job which really does full justice to this marvellous recording.\u003c\/span\u003e\u003cbr style=\"color: #000000; font-family: Georgia,Times New Roman,Times,serif;\"\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\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\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\u003eBRAHMS \u003c\/b\u003ePiano Quintet in F minor, Op.34\u003cspan style=\"font-size: medium;\"\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 \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\u003eDecca West Hampstead Studios, 25, 26 \u0026amp; 29 October, 1951\u003cbr\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eOriginally released in 1952 as Decca LXT2687\u003c\/span\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cbr\u003e(Duration 38'32\")\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\n\u003cp\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan type=\"_moz\"\u003eQuintetto Chigiano:\u003cb\u003e\u003cbr\u003eSergio Lorenzi\u003c\/b\u003e,\u003cb\u003e \u003c\/b\u003epiano\u003cbr\u003e\u003cb\u003eRiccardo Brengola\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eMario Benvenuti\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eGiovanni Leone\u003c\/b\u003e, viola\u003cbr\u003e\u003cb\u003eLino Filippini\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\/PACM010.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM010.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":31418213517,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":31418213581,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM010.jpg?v=1487682453"},{"product_id":"pacm040","title":"BUDAPEST QUARTET Brahms: String Quintet No. 1 (1937) - PACM040","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eString Quintet No. 1 in F, Op. 88\u003c\/span\u003e\u003cbr\u003e\u003cp\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded on 8th February, 1937, Abbey Road, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal Duration: 24:59\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Budapest Quartet:\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eJosef Roismann, \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 Schneider, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBoris Kroyt, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviola\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eMischa Schneider, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ewith:\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eAlfred Hobday\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, viola\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cp class=\"bodybigblue\" data_liveedit_tagid=\"000000000D776290\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM040.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBrahms' First String Quintet\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eThe Budapest Quartet's 1937 classic, remastered for finest sound quality\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eBrahms'\n first String Quintet, written in 1882, shows the composer in his mature\n period finally feeling comfortable in tackling a genre he had \npreviously avoided, confident that he need not feel daunted by the \nperfection of Mozart's great quintets. Somewhat inexplicably this \nparticular work, which is a personal favourite of mine, has proved to be\n one of the composer's least popular chamber works. \u003cbr\u003e\u003cbr\u003eBrahms \nhimself would also be surprised to find this - at the time it was one of\n his own personal favourites, telling his publisher, Simrock, \"You have \nnever before had such a beautiful work from me\", and writing to Clara \nSchumann he stated it to be \"one of my finest works\".\u003cbr\u003e\u003cbr\u003eThe \nBudapest Quartet, augmented by violist Hans Mahlke, had previously \nrecorded the Second Quintet (PACM041) in Berlin. For this recording, \nmade five years later, they had the talents of Alfred Hobday and the HMV\n engineers at Abbey Road studios to assist them. This later recording \nsounds closer and more up-front than the earlier one, recorded in the \nBeethovensaal, and it will be a matter of personal preference as to \nwhich better suits your tastes. There is certainly more detail to be \nheard in this recording, but perhaps at times at the expense of a more \nwell-rounded overall texture.\u003c\/p\u003e\n\u003cp\u003eAndrew Rose\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/p\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\u003eBRAHMS \u003c\/b\u003eString Quintet No. 1 in F, Op. 88\u003cbr\u003eRecorded on 8th February, 1937, Abbey Road, London\u003c\/p\u003e\u003cp\u003eIssued as HMV DB.3143-5\u003cbr\u003eMatrix Numbers: 2EA.4803-8, takes: all 1st except side 3, take 2.\u003cbr\u003eTotal Duration: 24:59\u003cbr\u003e \u003cbr\u003e\u003cb\u003eThe Budapest Quartet:\u003cbr\u003eJosef Roismann, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eAlexander Schneider, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eBoris Kroyt, \u003c\/b\u003eviola\u003cb\u003e\u003cbr\u003eMischa Schneider, \u003c\/b\u003ecello\u003c\/p\u003e\u003cp\u003ewith:\u003cbr\u003e\u003cb\u003eAlfred Hobday\u003c\/b\u003e, viola\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\/PACM040.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM040.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":31463372301,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":31463372365,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM040_ee247690-64f7-43cd-9ef6-2b8d4411b70d.jpg?v=1487681933"},{"product_id":"pacm041","title":"BUDAPEST QUARTET Brahms: String Quintet No. 2 (1932) - PACM041","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e String Quintet No 2 in G, Op 111\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded on 15, 17 November 1932, Beethovensaal, Berlin\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal Duration: 22:57\u003c\/span\u003e\u003cbr\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 Budapest Quartet:\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eJosef Roismann, \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 Schneider, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBoris Kroyt, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviola\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eMischa Schneider, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ewith:\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHans Mahlke\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, viola\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM041.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBrahms' Second String Quintet\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eThe Budapest Quartet's 1932 classic, remastered for finest sound quality\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\"I've been tormenting myself for a long time with all kinds of \nthings, a symphony, chamber music and other stuff, and nothing will come\n of it. Above all I was always used to everything being clear to me. It \nseems to me that it's not going the way it used to. I'm just not going \nto do any more. My whole life I've been a hard worker; now for once I'm \ngoing to be good and lazy!\"\u003cbr\u003e\u003cbr\u003eThese words, spoken by Brahms in the \nsummer of 1890 to his friend Eusebius Mandyczewski, indicated the \ncomposer's plan that his String Quintet in G major would be his final \nwork. Despite its difficult opening, where somehow the cello has to make\n itself heard from beneath the rest of the players' forte semiquavers, \ncaused much consternation amongst the members of the Rosé String Quartet\n who began rehearsing it for the first time in November 1890 with Brahms\n in Vienna (\"the cello...must scrape mercilessly to be heard\" warned \ncellist Elisabet von Herzogeberg). Despite these warnings, and those of \nBrahms' great friend and ally Joachim, the composer let it stand. The \npremière in Vienna on November 11th, 1890, was a fabulous success.\u003cbr\u003e\u003cbr\u003eBut\n the Quintet was not to be Brahms' final work - the experience of its \ncomposition and the sensational reaction to its appearance, led the \ncomposer to reconsider. telling a friend:\u003cbr\u003e\u003cbr\u003e\"Recently I started \nvariuos things, symphonies and so on, but nothing would come out right. \nThen I thought: I'm really too old, and resolved energetically to write \nno more. I considered that all my life I have been sufficiently \nindustrious and had achieved enough; here I had before me a carefree old\n age and could enjoy it in peace. And that made me so happy, so \ncontented, so delighted - that all at once the writing began to go.\"\u003cbr\u003e\u003cbr\u003eThis\n 1932 recording shows little to belie its age. Perhaps the very finest \ndetail is to an extent sacrificed for a more overall rounded sound, but \nit really is a treat for the ears. Hearing this performance, made just \n42 years after the work's première, one senses that it would have made a\n perfect end to Brahms' career. But knowing what it inspired in him, at \nleast partly, to go on to produce, one can also be glad that it was not \nthe end of his music.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e String Quintet No 2 in G, Op 111\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003eRecorded on 15, 17 November 1932, Beethovensaal, Berlin\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eAll 1st takes except sides 3 \u0026amp; 5, take 2. \u003cbr\u003eIssued as HMV DB.1866-8 Matrix Numbers:32-3497\/3501, 32-3512 \u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eTotal Duration: 22:57\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003eThe Budapest Quartet:\u003cbr\u003eJosef Roismann, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eAlexander Schneider, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eBoris Kroyt, \u003c\/b\u003eviola\u003cb\u003e\u003cbr\u003eMischa Schneider, \u003c\/b\u003ecello\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003ewith:\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003eHans Mahlke, viola\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\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\/PACM041.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM041.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":31463373069,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":31463373133,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM041_9ea5ba66-4307-493c-90d2-d7d773e91195.jpg?v=1487681935"},{"product_id":"pacm091","title":"BUSCH QUARTET Brahms: String \u0026 Piano Quartets (1932-49) - PACM091","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;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eString Quartets Nos. 1-3\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 Quartet No. 1\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\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 · 1932-49\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 13:36 \u003c\/span\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\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ewith\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRudolf Serkin \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fGramophone Historic Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fLet me say at once : this is a wonderful performance indeed578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5fIt was wise to choose the more immediately attractive of the two \nstring quartets that make up Brahms’ Op. 51 and I earnestly hope that \nthe record-buying public will support this laudable enterprise. The \ncomposer never returned to the medium of the string quartet, preferring \nthe piano quartet, which he evidently found more congenial. The first \nmovement, full of energy and drive, is a little too rich in texture in \nspite of a lovely lusingando second subject : and the second movement \nis, its dramatic middle section apart, of a very romantic cast. The gem \nof the quartet is the very original Minuet movement which has a lively \nscherzo in place of a trio, and this movement contains music of the \ngreatest beauty. The final movement gives the lie to Wolf, who said \nBrahms could not exult, and nothing in the quartet is lovelier than the \nsudden ironing out of the syncopations of its chief subject, in the \ncoda, and the presentation of the theme in the simplest possible terms \njust before a most exciting conclusion is added. The Busch Quartet are \nat the top of their form in this recording and bring out all the lyrical\n beauty of the work as well as the brilliance of the livelier movements.\n The recording is exceedingly good.\u003cp\u003e\u003cb\u003eA.R., The Gramophone\u003c\/b\u003e Review of String Quartet No. 2, November 1947\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eLet me say at once : this is a wonderful performance indeed. The four\n players are not perhaps in their very highest form in the first \nmovement, but that still leaves them well ahead of most other quartets I\n have heard. Serkin’s opening phrase is not well calculated and he shows\n elsewhere in the movement some tendency to push on in a rather ruthless\n way with heaviness of accentuation : but you can scarcely be in doubt \nthat you are in for a big performance. In the Intermezzo all the players\n have found their form and this odd but magical movement gets a really \nlovely performance.\u003c\/p\u003e\u003cp\u003eBut the heights—and the highest heights— are reached in a magnificent\n reading of the slow movement. The intensity of feeling in the opening \nsection is a quality characteristic of the Busch players (and notably, \nof course, of their leader) : equally noteworthy is the playing in the \ncontrasting С major section that follows. Indeed, the performance of \nthis whole movement makes it quite clear that we are listening to \nartists of the very highest calibre.\u003c\/p\u003e\u003cp\u003eAnd having arrived at this form they proceed to a performance of \nBrahms’ wonderful Finale, which is by turns scintillating and \nwonderfully alluring. How well, for one thing, those changes of time and\n rhythm are judged. Thé balance of the instruments in the recording is \nexcellent throughout, the ensemble is impeccable, while the quality of \nrecorded sound is very good (though, like the. playing, it seemed to me \nto improve from good to excellent as it went along). This is a \nmagnificent set of records.\u003c\/p\u003e\u003cp class=\"western\"\u003e\u003cb\u003eT.H., The Gramophone\u003c\/b\u003e  Review of Piano Quartet No. 1, September 1949\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM091.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\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThese recordings provide us with a wonderful sweep of time both in \nterms of chamber music performance in the era of commercial sound \nrecording, and in terms of recording quality. Thanks in part to the \nefforts of the National Gramophonic Society, by 1932 the major record \ncompanies were taking chamber music seriously and the Busch Quartet were\n among the vanguard of a handful of new, highly professional, \ntechnically brilliant groups able to profit from this.\u003c\/p\u003e\u003cp\u003eBy the time they returned to the Brahms Quartets another revolution \nwas in the air, and we hear clearly the quality leap from the 78rpm disc\n recordings of the 2nd Quartet to the taped recordings of the 3rd and \nthe Piano Quartet.\u003c\/p\u003e\u003cp\u003eAll the recordings have benefited enormously from both pitch \ncorrection and\/or stabilisation and XR remastering in these new \ntransfers.\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\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eBRAHMS String Quartet No. 1 in C minor, Op. 51, No. 1\u003c\/b\u003e\u003cbr\u003eRecorded 19 \u0026amp; 23 September, 1932\u003cbr\u003eIssued as HMV DB 1807-10\u003cbr\u003eMatrix Nos. 2B.3858-65\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eBRAHMS String Quartet No. 2 in A minor, Op. 51, No. 2\u003c\/b\u003e\u003cbr\u003eRecorded 19 April, 1947\u003cbr\u003eIssued as Columbia LX.1022-25\u003cbr\u003eMatrix Nos. CAX.9871-78\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eBRAHMS String Quartet No. 3 in B flat major, Op. 57\u003c\/b\u003e\u003cbr\u003eRecorded 17 \u0026amp; 21 May, 1949\u003cbr\u003eIssued as Columbia LX.1262-5 \u0026amp; LXS.1266\u003cbr\u003eMatrix Nos. CAX.10511-19\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eBRAHMS Piano Quartet No. 1 in G minor, Op. 25\u003c\/b\u003e\u003cbr\u003eRecorded 25 \u0026amp; 26 May, 1949\u003cbr\u003eIssued as Columbia LX.1217-21\u003cbr\u003eMatrix Nos. CAX.10520-29\u003cbr\u003e\u003cb\u003e\u003cbr\u003eRudolf Serkin\u003c\/b\u003e piano \u003c\/p\u003e\n\n\u003cp\u003e\u003cb\u003eAdolf Busch\u003c\/b\u003e violin\u003cbr\u003e\u003cb\u003eGösta Andreasson\u003c\/b\u003e(1)\/\u003cb\u003eErnest Drucker\u003c\/b\u003e(2)\/\u003cb\u003eBruno Straumann\u003c\/b\u003e(3) violin\u003cbr\u003e\u003cb\u003eKarl Doktor\u003c\/b\u003e(1)\/\u003cb\u003eHugo Gottesmann\u003c\/b\u003e(2-4) viola\u003cbr\u003e\u003cb\u003eHermann Busch\u003c\/b\u003e cello\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM091.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM091.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":31975424909,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975424973,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975425037,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975425101,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM091_1f3ddef1-f263-4a57-9e92-3e0626b31f1a.jpg?v=1487681946"},{"product_id":"pasc312","title":"CURZON Brahms, Grieg: Piano Concertos (1951\/3) - PASC312","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;\"\u003eBRAHMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Piano Concerto No. 1\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 Piano Concerto\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1953 \u0026amp; 1951\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 77:45\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;\"\u003eClifford Curzon, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eConcertgebouw Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eEduard van Beinum, \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;\"\u003eLondon Symphony Orchestra \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eAnatole Fistoulari, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIf he was capable of playing a routine bar I have yet to hear it.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe 1953 Brahms is the second of three \nstudio recordings Clifford Curzon made for Decca, between the Enrique \nJordá\/National Symphony Orchestra (1945–46) and the George Szell\/London \nSymphony Orchestra (1962). All are available in Decca’s gathering of his\n complete studio recordings in a series of bargain-priced Original \nMasters boxes. Although the difference in transfers is not huge, the \nadvantage here goes to Pristine’s (from LPs, as usual), sounding richer,\n warmer, and with an expanded dynamic range compared to Decca’s own from\n the master tapes. If, in comparison to his stereo remake with Szell, \nthe recording of the piano still comes across as rather colorless, \nlacking something in impact, that’s simply a limitation of the mono \noriginal. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eCurzon was famous for completely \nrethinking his interpretations with every new performance or recorded \nremake of the same piece. Despite being very recognizably himself in \nfastidious nuance and refinement in all three versions, there are some \nvery striking differences, most notably in the huge disparity of tempo \nin the Adagio, from a briskish 12 minutes with van Beinum to an \nincredibly spacious 16 (!) with Szell in 1962. On the other hand the \nfinale got much slower between 1945 (though slackly conducted by Jordá) \nand 1953. Overall, the middle recording comes across as the most \nclassical of the three, which has much to do with van Beinum’s \nconducting—lean-textured and buoyant, with finely drawn lines sharply \nprojected by the Concertgebouw’s nasal, cutting sound, in striking \ncontrast to Szell’s weighty, monumental approach with the \nricher-textured LSO. If much of the piano writing (starting from the \nfirst solo entry, which can come over as rather gray at the best of \ntimes) is inevitably more effectively projected in the better-recorded \nstereo remake, there is still much to relish, whether the virtuoso fire \nand attack of the first-movement development, the spontaneous, \nforward-pressing rhapsody of the Adagio’s restless second theme, or the \ninimitably Curzonian blend of visceral emotional engagement and minutely\n considered nuance in the finale’s two cadenzas. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs Pristine’s Andrew Rose notes, the \nGrieg (1951) was never a sonic prize, the recording of the orchestra \nrather grainy and opaque. If the Original Masters transfer seems to have\n a little more body and hall acoustic, that is outweighed by its \nmarkedly flat pitch, which Rose has corrected to the recording’s great \nadvantage. The obvious comparison here is to the stereo remake with \nØivin Fjeldstad (1959), which found the LSO in much better form than it \nwas for Fistoulari in 1951; the earlier recording also suffers from an \nexcessively slow Adagio (Fistoulari’s 7:16 to Fjeldstad’s 6:07). As for \nCurzon, if he was capable of playing a routine bar I have yet to hear \nit. He can certainly thunder when required, but the performance is most \nmemorable for its delicacy and finesse of voicing, with breathtaking \ndynamic control at the quiet end of the spectrum, refinement of \npedaling, and his trademark combination of singing luminosity with \nrhythmic tautness. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eCurzon aficionados will probably find \nit worth supplementing their Original Masters discs with these new \ntransfers. More general collectors are probably better served by the \npianist’s stereo remakes. \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 35:5 (May\/June 2012) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC312.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003e\u003cem\u003eClifford Curzon's excellent Brahms and Grieg Concertos\u003c\/em\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Most memorable for its delicacy and finesse of voicing, with breathtaking dynamic control\u003cspan class=\"TIMES\"\u003e, and his trademark combination of singing luminosity with rhythmic tautness\u003c\/span\u003e\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cli\u003e\n\u003cp class=\"body\"\u003eDespite the presence at both sessions which produced \nthese recordings of Decca's crack recording duo, producer John Culshaw \nand engineer Kenneth Wilkinson, there was a marked difference sonically \nin the results they achieved. Indeed, the earlier recording of the \nGrieg, made in London in 1951 - and still prepared as for a 78rpm \nrelease which didn't happen (an additional Chopin fill-up side was also \nrecorded but never issued) - sounds particularly dim and dusty. Reviving\n this recording has perhaps been the major achievement in this release, \nwith 32-bit XR remastering injecting a sense of life and reality missing\n from the Decca LP.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eBy contrast, the 1953 Brahms is a different matter \naltogether, recorded with a clarity that surely makes it a model \nrecording of its era. Both recordings have also benefitted audibly from \nthe latest pitch stabilisation techniques, especially again the Grieg, \nwhere what would have been the third 78pm side (the final third of the \nfirst movement) was distinctly flat by comparison to the rest of the \nrecording.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Piano Concerto No. 1 in D minor, Op. 15\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 19 May-1 June 1953, Concertgebouw, Amsterdam\u003cbr\u003eTransfer from Decca LTX 2825\u003cbr\u003e\u003cb\u003e\u003cspan class=\"body\"\u003eRoyal Concertgebouw\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e Orchestra of Amsterdam\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eEduard van Beinum \u003c\/b\u003econductor\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\u003eGRIEG\u003c\/b\u003e Piano Concerto in A minor, Op. 16\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 15-16 October 1951, Kingsway Hall, London\u003cbr\u003eTransfer from Decca LTX 2657\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003eLondon Symphony \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eOrchestra\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eAnatole Fistoulari \u003c\/b\u003econductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eClifford Curzon \u003c\/b\u003epiano\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\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\/PASC312.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC312.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":32485354317,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32485354381,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32485354445,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32485354509,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC312.jpg?v=1487695177"},{"product_id":"pasc423","title":"CURZON plays Brahms and de Falla (1946\/51) - PASC423","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concerto No. 1 in D minor, Op. 15\u003c\/span\u003e\u003cbr\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eFALLA \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eNights in the Gardens of Spain (Noches en los Jardines de España)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings · 1946\/51\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 74:03\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eClifford Curzon, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano \u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNational Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNew Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eErique Jordá, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cdiv style=\"padding-left: 30px\"\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 120px\"\u003e\u003cspan\u003e\u003cb\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f Thanks to Pristine Audio for allowing both of these important documents of a great pianist to shine in their best light578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe superb English pianist Clifford \nCurzon (1907–1982) made three studio recordings of the Brahms First \nPiano Concerto. The recordings, all for Decca, span the eras of 78-rpm, \ntape, and stereo technology: (1) June 5, 1946, Kingsway Hall, London, \nNational Symphony Orchestra, Enrique Jordá, cond; (2) May, 1953, \nConcertgebouw, Amsterdam, Eduard van Beinum, cond; (3) May 30–June 1, \n1962, London Symphony Orchestra, George Szell, cond. Curzon was a \nmagnificent interpreter of Brahms, and all three recordings have much to\n commend them. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eMy favorite is Curzon’s recording with \nvan Beinum and the Concertgebouw. It’s one of those “lightning in a \nbottle” occasions, when three brilliant champions of Brahms perform at \nthe height of their powers, and with boundless, riveting intensity. The \nearly 1950s Decca mono sound provides a more than adequate \nrepresentation of the historic collaboration. The Szell-LSO recording, \nin beautiful analog stereo sound, and with a remarkably spacious and \npoetic (16:00) second-movement \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n is also of great merit and interest. But the performance does not \npossess the fiery, propulsive character of its immediate predecessor or,\n for that matter, of Szell’s legendary recording with Leon Fleisher and \nthe Cleveland Orchestra (Sony Classical). \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAmong the three Curzon Brahms First \nrecordings, the 1946 version is the most problematic. London in the \nimmediate aftermath of the Second World War was hardly the most \ncongenial venue to produce a technically pristine recording, or one in \noptimal sound. Curzon, of course, gives a first-rate account of the solo\n part. And there are some individual touches that distinguish this \nrecording. For example, Curzon’s initial entrance is his most \nintrospective, poetic, and heartbreaking. But the sound quality of this \nrecording, particularly in past reissues, is far inferior to its \nsuccessors; harsh, overloading in climaxes, and lacking in definition, \nparticularly for the orchestra, which plays such a major role in this \nwork. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe 1946 recording is part of two Decca multi-disc sets: \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eClifford Curzon Edition–Complete Recordings\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (23 CDs and DVD); and Clifford Curzon: \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDecca Recordings 1937-1971, Decca Original Masters, Vol. 3\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (6 CDs). Two single-disc reissues are currently in print. The first, \nreleased in 1998, is on the Pearl label (GEM 0041). The other is the \n2014 Pristine Audio release that is the subject of this review. I also \nlistened to an mp3 version of the recording as reissued on the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDecca Original Masters\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n set. The Pristine Audio is by far the best sonic representation of the \n1946 recording. Curzon’s interpretation now emerges with compelling \nfocus and color. The Pristine Audio is also the only reissue of the \nthree to lend some profile to the orchestra. I find the Pristine Audio \nreissue far better than the Pearl, and enough of an improvement on the \nDecca to merit separate purchase. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eNo reservations need be applied to Curzon’s stylish and beguiling 1951 account of Falla’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNights in the Gardens of Spain\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n or to Pristine Audio’s remastering of John Culshaw’s spacious and \ndetailed recording. Thanks to Pristine Audio for allowing both of these \nimportant documents of a great pianist to shine in their best light.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eKen Meltzer\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:4 (Mar\/Apr 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC423.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eCurzon's first recording of Brahms' first concerto - plus Spanish passion - with conductor Enrique Jordá\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"A\n freshness and shy-voiced eloquence which has the effect of setting the \nyoung Brahms vividly and appealingly before us\" - The Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eEnglish pianist Clifford Curzon and Spanish (later American) \nconductor Enrique Jordá recorded two works together for Decca, though in\n the case of de Falla's \u003cem\u003eNights in the Gardens of Spain\u003c\/em\u003e they \nactually recorded the work twice - a 1945 recording of the piece was \nremade in 1951 for LP release \"for technical reasons\" according to The \nGramophone (at the time Decca were busy dubbing their ffrr 78s for LP \nrelease as much as making new recordings - having heard the 1945 78s \nit's hard to know what those 'technical reasons' could possibly have \nbeen); here we present the later recording. Jordá, judging by the Decca \ndiscography, was something of a jobbing conductor for the label at the \ntime, leading a number of different orchestras in recordings between \n1945 and 1951 - the de Falla being his final Decca outing. Decca had \nsigned Curzon to the label in 1937 and continued recording for them \nregularly for 34 years - despite a professed distaste for recordings.\u003c\/p\u003e\u003cp\u003eThese XR remasters take what were cutting edge recordings of their \nday, both direct to 78rpm disc (Brahms) and early tape (de Falla) and \nbring modern technology and techniques to bear on both of them. Both \nsuffered pitch inconsistencies which have been corrected; XR remastering\n has, in the case of the Brahms, really opened out the somewhat \nconstricted top end whilst, in the Falla, an excessively shrill and \nexaggerated top end has been tamed and the sound filled out. I also had \nto deal with the notorious Kingsway Hall rumble on both recordings, \nwhich was at times annoyingly obvious. Whilst revealing occasional \nsurface coarseness in the 78s, both are a considerable improvement on \nprevious issues.\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\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS  \u003c\/b\u003ePiano Concerto No. 1 in D minor, Op. 15\u003c\/span\u003e\u003cbr\u003e\n\u003cp\u003eRecording producer: Victor Olof\u003cbr\u003eRecording Engineer: Kenneth Wilkinson\u003cbr\u003eRecorded 5 June 1946, Kingsway Hall, London\u003cbr\u003eIssued as Decca (A)K1491-96\u003cbr\u003eMatrix Nos. AR10362-73 \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003eNational Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eDE FALLA  \u003c\/b\u003eNights in the Gardens of Spain , G. 49\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cp\u003eRecording producer: John Culshaw\u003cbr\u003eRecording Engineer: Kenneth Wilkinson\u003cbr\u003eRecorded 2 July 1951, Kingsway Hall, London\u003cbr\u003eIssued as Decca LXT2621\u003cbr\u003eMatrix Nos. AR16233-38\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003eNew Symphony Orchestra\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eClifford Curzon\u003c\/b\u003e   piano\u003cbr\u003e\u003cb\u003eEnrique Jordá\u003c\/b\u003e   conductor \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\/PASC423.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC423.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":37143637005,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37143637069,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37143637133,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37143637197,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC423.jpg?v=1494336803"},{"product_id":"pasc404","title":"DE SABATA Complete Berlin Philharmonic Recordings (1939) - PASC404","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=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 4 in E minor\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;\"\u003eDeath and Transfiguration\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eTristan und Isolde: Prelude \u0026amp; Liebestod\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eAïda: Prelude to Act 1\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eKODALY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDances of Galánta\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRESPIGHI\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Feste Romane\u003c\/span\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 Recordings · 1939\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 06:21\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eVictor de Sabata\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBerlin Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 90px\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fVery enthusiastically recommended578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThese recordings were made by Deutsche \nGrammophon in Berlin in April 1939, and we would probably be better off \njust not to think about the political context of an Italian conductor \nworking in Berlin in 1939, with an orchestra bereft of its Jewish \nplayers. Ironically, de Sabata’s mother was Jewish, which should have \nled the Nazis to ban him from the podium by 1939, and should have led \nhim to refuse to be there! \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAll of that is so complicated, and \nwould require knowledge that we (despite our clear 20–20 hindsight), \ndon’t really have, that it is better to just concentrate on the music. \nAfter all, isn’t that what we do when we listen to the music of Wagner? \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI am familiar with almost all of this material from DG LPs; only the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAida \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ePrelude\n was not in the collection I owned. For those who know the recordings, \nthe only question will be about Pristine’s sound quality, and I believe \nthey have done some of their finest work here. The producer of the set \nis Mark Obert-Thorn, one of the most respected transfer engineers \nworking today. These were never great-sounding recordings. They were not\n made in a good hall, but rather in a recording studio on Alte \nJacobstrasse, with the lack of richness and resonance implied by that \nfact. In some cases, where richness of orchestral color is an essential \ningredient in the music (Strauss and Respighi) this is a flaw that \nlimits enjoyment of the performances. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBut what comes through in all cases is \nthe extraordinary conducting genius of de Sabata. Virtually all \ncollectors know of this from his work on the first Callas \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTosca\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n a classic that has never been out of print since its first release. \nOther collectors know of his fine Verdi Requiem. A handful may be \nfamiliar with Nuovo Era 013.6337, a New York Philharmonic 1951 Wagner \nconcert performed at a remarkable level of white heat, and featuring \nEileen Farrell. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFew conductors have understood as well \nas de Sabata does instinctively the principles of tension and release as\n an important element of performance. One creates that element through \ntempo, dynamic, and harmonic manipulation of the music. Holding back \nhere, accelerating there, carefully grading dynamic changes and relating\n them to tempo changes, and emphasizing certain harmonic shifts, all of \nthese are elements of tension and release. Overdo it and it becomes a \nmannerism, a tiresome trick that makes the listener feel manipulated. \nUnderplay it and the performance fails to engage. It is that element as \nmuch as anything that underlines that EMI \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTosca \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003efrom\n beginning to end, and de Sabata not only brings that knowledge to the \norchestra, but to Callas and Gobbi, and even to some extent to di \nStefano as well. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHere the conductor’s mastery of \ndramatic progression is evident throughout, never more so than in the \nmost dramatic (and many would say tragic) of Brahms’s symphonies. The \n1939 Berlin Philharmonic was not, in fact, the great instrument it had \nbeen before it was robbed of some of its most important players, let \nalone that it is today. Some of the string playing is not quite in \nperfect unison, and can be just a touch crude. But none of that is \nserious enough to detract from this wonderfully free, Romantic-styled \nperformance. If your ideal in this music is Weingartner, this is not \nlikely to appeal. De Sabata is free with rubato, uses a wide range of \ndynamics, and a strong degree of portamento, though always tasteful and \nalways very effective. His internal rhythmic pulse is unerring and firm,\n and this Brahms has a sense of inevitability, an inexorable momentum \nfrom beginning to end. Interestingly, the brief note included in the \njewel box by Pristine quotes a 1999 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGramophone \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ereview\n that says: “In all these performances, the string playing is \nphenomenal, as is de Sabata’s way of etching phrasing and dynamics into \nthe mind and imagination.” I agree with the second half of that \nsentence, but at least in the Brahms don’t quite find that unanimity in \nthe strings that the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGramophone \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ecritic did. But please do not over-react to that reservation; it is truly a minor one when viewed against the whole. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn the Wagner, however, suddenly the \nstrings are at a different level. The richness and beauty of sound \novercomes, for the most part, the dry acoustic of the recording studio, \nand de Sabata’s ability to create that big arch from beginning to end, \nthrough carefully judged dynamics, so that the one true climax comes \nnear the end of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLiebestod\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Here is a perfect example of tension and release. Wagner created it in \nthis music, and de Sabata brings it to life. The final release is not \neven that big climax, but rather the final chord of the Liebestod. Only \nthen do we let our breath out. De Sabata gives us a thrilling \nperformance of this music, one that doesn’t let up for a second. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003ePerhaps the biggest surprise is the \nKodály. I had not heard this in years, and forgot just how lively it \nwas, sparking with energy and rhythmic vitality, and a surprising range \nof orchestral color. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDeath and Transfiguration \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ehas\n many of the same qualities as the Wagner, with beautifully sustained \nlong phrases. The performance of the Respighi is at the same level, but \nthat is music that requires a more modern stereophonic recording. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAs indicated above, Pristine’s \ntransfer is superb, with a richness that I do not remember from the DG \nLPs or any prior release. Minimal notes with the disc, but more \navailable online, and you can order this from Pristine as a download or \nCD. Very enthusiastically recommended. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 37:6 (July\/Aug 2014) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThomas Beecham, the saying used to go \nin London, conducted “red hot.” But Victor de Sabata was “white hot.” I \nthought of this as I listened to Mark Obert-Thorn’s excellent sonic \nrestorations of de Sabata’s Berlin Philharmonic recordings from 1939. \nThe very circumstances of the performances give anyone with a capacity \nfor irony a shiver. Here is a half-Jewish conductor, but a personal \nfriend of Mussolini’s (and predictably scorned by Toscanini), performing\n with Hitler’s largely de-Semitized Berlin Philharmonic under the gimlet\n eye of the authorities, and getting magnificent results just before the\n outbreak of the Second World War. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe genius of art and political \nrevisionism of conscience are seldom on the same page, so we do best \nhere to leave 1930s politics alone and make only musical judgments. The \nmore I listen to de Sabata, the more I conclude that his music making \nrepresents how the PR machine of the day suggested Toscanini was \nsupposed to sound—but didn’t. De Sabata has the sort of fire in pressing\n forward that we associate with Toscanini, but not the stiffness and \nseeming indifference to moments of expansion that so tarnish this \nconductor’s presumed greatness. Reiner might be a better comparison. And\n Carlos Kleiber, better still. Or Solti on a very good day. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOne of the compelling things about de \nSabata’s Brahms Fourth is the extensive and organic use of portamento. \nIt is a swiftish, slithery performance, and the string slides are as \nintuitive and natural as breathing. Portamento has now returned to \nmodern orchestral practice, but for a long time was derided as the \nsaccharin-sickly equivalent of “Home Sweet Home” needlepoint kitsch. But\n the symphony flows beautifully because of it, and the Berlin \nPhilharmonic strings are to die for, even in 1939. This is how \nportamento is surely supposed to work. All these recordings are studio \nproductions, and they unfortunately do not convey the hall reverberation\n we get from Willem Mengelberg’s 1939 Mahler Fourth, for example. \nFortunately, the recordings are dry without being distorted. Even the \ntape hiss sounds smooth and bright—as easily forgotten as the rain \noutside. Mark Obert-Thorn at Pristine is the engineer behind the \ntransfer, and compared to other pressings of these releases by de \nSabata, such as those on the Urania label, he achieves a more natural \nsounding orchestral balance, largely eliminating the blatty upper \nmidrange dominance which so dates recordings in our ears. Some things he\n can do nothing about. The timpani are consistently just barely audible,\n and in the scherzo nearly impossible to hear. This movement would be \ncalled “light,” except for the fact one that one suspects it wasn’t with\n a proper lower end. Obert-Thorn is a bit more conservative than \nPristine’s Andrew Rose, who frequently manages to inject helpful \nout-of-phase material into the restoration process. Even so, this is \nvery listenable. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eTo my surprise, though, I find that \nthere exists a different restoration of the Brahms, the Strauss, and \nhalf of the Tristan music on the FONO label, remastered with the Cedar \nSound System. Cedar is a British manufacturer of mixing equipment, and \nits restoration process evidently features the addition of \nreverberation. There is so much back channel information here, that one \nalmost forgets that de Sabata’s performances are monaural, much less \nacoustically challenged. There are places in the Strauss where this \nturns slightly artificial and metallic—I would have used less—but \noverall, I find the added reverberation a natural and undistracting \nimprovement. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI only wish Pristine had done something similar with the Respighi \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFountains of Rome\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n I am not as enthusiastic as I might be about this performance, whose \nopening sounds rushed to me in a frantic attempt to fill out dead spots \nin the sound—shades of Toscanini chasing non-existent echoes in Studio \n8H. But, this compilation of all the Berlin recordings under one \nacoustic roof is nonetheless valuable. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Strauss and Wagner performances are as intuitively right as the Brahms. I’m particularly struck by how human the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTristan\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n music sounds. De Sabata manages to vary the dynamics moment for moment \nwith slight but very personal changes in mood, all the while building \nthe sonority as we would expect. And the music arches perfectly, not \njust towards the great “love-death” climax, but towards the last chord \nitself. Compared to Karajan in both pieces, one notices that the later \nconductor tends to terrace his dynamics a bit portentously and make the \nmusic sound institutional and less personal. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIt should be no surprise to learn that \nde Sabata conducts the Verdi prelude beautifully and with real power. \nNor should we think the Kodály an eccentric choice: De Sabata is fully \nmaster of its compelling rhythms, if not perhaps able to convey the \ngorgeousness of color available on later recordings. (I’m thinking of \nOrmandy here). \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThese two CDs represent the best \norchestral playing de Sabata had the good fortune to leave us as a \nrecord of his art, well collected in one place. And as usual with great \nconductors from the past, we are stuck with the realities of the day. \nGratitude and frustration mixed together....Music, after all, is a \nvanishing art. Its greatest moments vanish in two seconds. And great men\n of the baton live or die seemingly to shadow-box the air. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eSteven Kruger\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 37:6 (July\/Aug 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC404.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eDe Sabata's magnificent Berlin Philharmonic recordings together for the first time\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e“De Sabata’s account of the Kodaly is thrilling, and the Respighi is, quite simply, sensational: definitive.” - Gramophone, 1999\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\u003eAt the time Victor de Sabata made these recordings, his discography \nwas limited to eight sides of mainly short works recorded with an \nItalian radio orchestra in 1933. This was disproportionate to his rising\n international reputation as a conductor, both in the opera house (as \ndirector of La Scala since 1930 and a frequent guest at the theatres of \nVienna and Berlin) and as an interpreter of the symphonic repertoire.\u003cp\u003eAlthough he would go on to record two more series of orchestral works\n (with the London Philharmonic in 1946 and the Santa Cecilia Orchestra \nin 1947-48) as well as the Requiems of Mozart and Verdi and an \nunsurpassed version of Puccini’s Tosca with Maria Callas, the Berlin \nrecordings occupy a special place in his slim commercial discography. \nThey feature uniformly superb performances – boldly conceived, \nrhythmically flexible and executed with tremendous verve and a minute \nattention to detail. Never again would de Sabata work with an ensemble \nof this calibre for a symphonic commercial recording session. While all \nof the works have appeared before on compact disc, this is the first \ntime they have been assembled in one place (an earlier Pearl set having \nomitted the rare Aïda Prelude).\u003c\/p\u003e\u003cp\u003eThe sources for the transfers were yellow-label postwar DGG pressings\n for the Strauss, Verdi, Kodaly and Respighi items; picture-label \nGrammophon “Meisterklasse” pressings for the Brahms set and black-label \nGrammophon discs for the Wagner.\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\u003cbr\u003e\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e  Symphony No. 4 in E minor, Op. 98\u003cbr\u003eRecorded 11, 13, 14 \u0026amp; 17 March 1939\u003cbr\u003eMatrix nos.: 1079\/80, 1057, 1061\/2, 1068\/9, 1059\/60, 1064 \u0026amp; 1070 GS 9\u003cbr\u003eFirst issued on Grammophon 67490\/5s\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cb\u003eR. STRAUSS\u003c\/b\u003e  Death and Transfiguration, Op. 24\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eRecorded 18 \u0026amp; 31 March and 6, 11 \u0026amp; 12 April 1939\u003cbr\u003eMatrix nos.: 1107, 1072, 1108, 1074, 1097 \u0026amp; 1076 GS 9\u003cbr\u003eFirst issued on Grammophon 67516\/8\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e  Tristan und Isolde – Prelude and Liebestod\u003cbr\u003eRecorded 7, 8, 11 \u0026amp; 12 April 1939\u003cbr\u003eMatrix nos.: 1096, 1098\/9, 1105\/6 GS 9\u003cbr\u003eFirst issued on Grammophon 67496\/7s \u0026amp; 67498\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eVERDI\u003c\/b\u003e  Aïda – Prelude \u003cbr\u003eRecorded 11 or 12 April 1939\u003cbr\u003eMatrix no.: 1104 GS 9\u003cbr\u003eFirst issued on Grammophon 68395\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eKODALY\u003c\/b\u003e  Dances of Galánta\u003cbr\u003eRecorded 7, 8, 11 \u0026amp; 12 April 1939\u003cbr\u003eMatrix nos.: 1100\/3 GS 9\u003cbr\u003eFirst issued on Grammophon 67525\/6\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eRESPIGHI \u003c\/b\u003e Feste Romane\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eRecorded 1, 5 \u0026amp; 6 April 1939\u003cbr\u003eMatrix nos.: 1087\/90 \u0026amp; 1094\/6\u003cbr\u003eFirst issued on Grammophon 67510\/3s\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003e\u003cbr\u003eBerlin Philharmonic Orchestra · Victor de Sabata\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003e Special thanks to Nathan Brown and Charles Niss for providing source material\u003c\/p\u003e\n\u003cp\u003eAll recordings made in the Alte Jacobstrasse Studio, Berlin\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC404.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC404.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":90080641050,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":90080673818,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC404.jpg?v=1501752114"},{"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":"paco079","title":"FLAGSTAD Song Recital 1 - Schumann: Frauenliebe und -leben; Grieg: Haugtassa (1950\/52) - PACO079","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;\"\u003eSCHUMANN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Frauenliebe und -leben, Op. 42\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eGRIEG\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Haugtussa, Op. 67\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS, SCHUBERT, CHARLES\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Short songs\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\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, 1950 and 1952\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 76:59\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\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eKirsten Flagstad \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003esoprano\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eEdwin McArthur \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fAudiophile Audition review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fJust the kinds of vocal elegance and virtuosity in which Flagstad exhibits as much restraint as she does vocal prowess578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003eThe art of Kirsten Flagstad (1895-1962) \nreceives excellent service by way of Pristine and master restoration \nengineer Mark Obert-Thorn, who revive inscriptions the great Norwegian \nsoprano made for RCA, 1950-1952. The original vinyl LPs from which many \nof the songs derive have passed into obscurity, since RCA seems to have \nlost interest in Flagstad’s post-war efforts... \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003eThe Schubert (17 March 1952) and Brahms (10\n April 1952) provide just the kinds of vocal elegance and virtuosity in \nwhich Flagstad exhibits as much restraint as she does vocal prowess. \nSchubert’s “Die junge Nonne” offers another of his ‘dark and stormy \nnights’ narratives that could bathe in ‘religious’ treacle, if \npermitted. Of the Brahms group, “Meine liebe ist gruen,” Op. 63, No. 5 \nbursts forth with a vehemence not easily matched, either by the composer\n or fellow vocalists. The “Sind es Schmerzen, sind des Freudes,” Op. 33,\n No. 3 offers wonderful accompaniment from McArthur, the song taken from\n the Tieck cycle of courtly love and loss, Die Schoene Magelone. The \ntissue of medieval ardor that Flagstad and McArthur weave suggest that \nthis opus stood as his personal version of Tristan.\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cb\u003eGary Lemco, Audiophile Audition\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO079.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eLong-forgotten song recitals from one of the greatest sopranos ever\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eSuperb transfers of Kirsten Flagstad's early-50s LP releases by Mark Obert-Thorn\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eFlagstad’s postwar American recordings for RCA Victor, \nmade between 1950 and 1952, form one of the least-known portions of her \ndiscography, not least because of their lack of availability for most of\n the past half century. Except for a 1965 LP reissue of Haugtussa and a \nsubsequent inclusion of one of its tracks on a 1993 CD devoted to \nhistoric recordings of Grieg songs, the recordings featured here have \nnot been available in any form since the 1950s.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe reason has less to do with the quality of the \nsinging – after all, it was only two months after the last session on \nthis program that Flagstad recorded her iconic Isolde under Furtwängler –\n but rather with RCA’s lack of interest in reissuing anything other than\n her Wagner recordings. (Her prewar RCA song recordings have similarly \nbeen ignored, although at least those have been reissued on CD by \nindependent labels.) Except for the Haugtussa cycle, which Flagstad \nrecorded on two other occasions (Victor, 1940; Decca, 1957), most of the\n items taped in these sessions were the soprano’s only recordings of the\n works, which makes their reissue doubly valuable.\u003c\/p\u003e\u003cp class=\"body\"\u003eThis release is the first of two which will reintroduce \nthese recordings to modern audiences. The second volume will feature \nmore Schubert and Brahms, along with Richard Strauss and a group of \nsongs in English by contemporary composers. Comparative listeners will \nnote that this Haugtussa, recorded in the same Hollywood studio ten \nyears after her initial version, runs about a minute and a half longer \nthan the 1940 recording, while her familiar Charles encore is paced much\n more swiftly than its 1936 predecessor.\u003c\/p\u003e\u003cp class=\"body\"\u003eWhile the \u003cem\u003eHaugtussa\u003c\/em\u003e was transferred from the \n“white dog” label reissue with the benefit of somewhat quieter surfaces,\n the two other recital discs apparently only came out on their \nfirst-release pressings – “plain dog” labels for LM-1738 and maroon \n“shaded dog” for LM-1870 – which tend to be less quiet than later LP \npressings, and some surface swish remains on a few tracks.  Although I \nwas able to assemble six copies of LM-1738, the actual transfer of \u003cem\u003eFrauenliebe\u003c\/em\u003e came from a single original HMV edition of the disc (ALP-1191).\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\u003cli\u003e\n\u003cb\u003e \u003cspan class=\"bodybigblue\"\u003eSCHUBERT\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e1          Die junge Nonne, D.828 (Text: \u003cem\u003eCraigher\u003c\/em\u003e)\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e2          Die Liebe hat gelogen, D.751 (Text: \u003cem\u003ePlaten\u003c\/em\u003e)\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e3          Die Post (\u003cem\u003eDie Winterreise\u003c\/em\u003e, D.911, No. 13) (Text: \u003cem\u003eMüller\u003c\/em\u003e)\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e4          Der Wegweiser (\u003cem\u003eDie Winterreise\u003c\/em\u003e, D.911, No. 20) (Text: \u003cem\u003eMüller\u003c\/em\u003e)\u003c\/span\u003e\n\u003cp\u003e           \u003cbr\u003e\u003cbr\u003e            \u003cb class=\"bodybigblue\"\u003eSCHUMANN\u003c\/b\u003e\u003cbr\u003e             \u003cspan class=\"body\"\u003e\u003cb\u003eFrauenliebe und –leben, Op. 42\u003c\/b\u003e (Text: \u003cem\u003eChamisso\u003c\/em\u003e)\u003c\/span\u003e \u003cbr\u003e \u003cspan class=\"body\"\u003e5          Seit ich ihn gesehen\u003cbr\u003e 6          Er, der Herrlichste von Allen\u003cbr\u003e 7          Ich kann’s nicht fassen, nicht glauber\u003cbr\u003e 8          Du Ring an meinem Finger\u003cbr\u003e 9          Helft mir, ihr Schwestern\u003cbr\u003e 10        Süsser Freund, du blickest\u003cbr\u003e 11        An meinem Herzen\u003cbr\u003e 12        Nun hast du mir den ersten Schmerz getan\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e            \u003cb class=\"bodybigblue\"\u003eBRAHMS\u003c\/b\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e13        Liebestreu, Op. 3, No. 1 (Text: \u003cem\u003eReinick\u003c\/em\u003e)\u003c\/span\u003e \u003cbr\u003e \u003cspan class=\"body\"\u003e14        Meine liebe ist grün, Op. 63, No. 5 (Text: \u003cem\u003eF. Schumann\u003c\/em\u003e)\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e15        Sind es Schmerzen, sind des Freuden, Op. 33, No. 3 (Text: \u003cem\u003eTieck\u003c\/em\u003e)\u003c\/span\u003e \u003c\/p\u003e\n\u003cp\u003e            \u003cb class=\"bodybigblue\"\u003eGRIEG\u003c\/b\u003e \u003cbr\u003e             \u003cspan class=\"body\"\u003e\u003cb\u003eHaugtussa, Op. 67 \u003c\/b\u003e(Text: \u003cem\u003eGarborg\u003c\/em\u003e)\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e16        Det Syng [\u003cem\u003eThe Singing\u003c\/em\u003e]\u003cbr\u003e 17        Veslemöy [\u003cem\u003eLittle Maiden\u003c\/em\u003e]\u003cbr\u003e 18        Bläber-Li [\u003cem\u003eBilberry Slopes\u003c\/em\u003e]\u003cbr\u003e 19        Møte [\u003cem\u003eMeeting\u003c\/em\u003e]\u003cbr\u003e 20        Elsk [\u003cem\u003eLove\u003c\/em\u003e]\u003cbr\u003e 21        Killingsdans [\u003cem\u003eKidlings’ Dance\u003c\/em\u003e] \u003cbr\u003e 22        Vond Dag [\u003cem\u003eEvil Day\u003c\/em\u003e]\u003cbr\u003e 23        Ved Gjætle-Bekken [\u003cem\u003eAt the Brook\u003c\/em\u003e]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e24       \u003cspan class=\"body\"\u003e \u003cb\u003eErnest CHARLES:  \u003c\/b\u003eWhen I have sung my songs (Text: \u003cem\u003eCharles\u003c\/em\u003e)\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\n\u003cspan class=\"bodymidarial\"\u003eTracks 1-12: Recorded 17 March 1952 in RCA Studio No. 2, New York\u003cbr\u003e Tracks 13-15: Recorded 10 April 1952 in RCA Studio No. 2, New York\u003cbr\u003e Tracks 16- 23: Recorded 26 April 1950 in the RCA Studios, Hollywood\u003cbr\u003e Track 24: Recorded 18 March 1952 in RCA Studio No. 2, New York\u003cbr\u003e \u003cbr\u003e Tracks 1-4 and 13-15 first issued on RCA Victor LM-1870\u003cbr\u003e Tracks 5-12 and 24 first issued on RCA Victor LM-1738\u003cbr\u003e Tracks 16-23 first issued on RCA Victor LM-1094\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eKirsten Flagstad \u003c\/b\u003esoprano\u003cb\u003e \u003cbr\u003e Edwin McArthur \u003c\/b\u003epiano\u003cb\u003e \u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eSpecial thanks to Maynard F. Bertolet and Howard Sanner for providing source material\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eTotal duration: 76:59\u003cbr\u003eCover artwork based on a photograph of Kirsten Flagstad\u003cbr\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO079.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO079.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fNew tab578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_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":33845492813,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":33845492877,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":33845492941,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO079_ed79f183-e7bb-4d04-8fad-cea3af2b7d7e.jpg?v=1489157015"},{"product_id":"paco082","title":"FLAGSTAD Song Recital 2 - Schubert, Brahms, R. Strauss, US composers (1952) - PACO082","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;\"\u003eKIRSTEN FLAGSTAD \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSong Recital, Volume 2\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\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, 1952\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 68:23\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\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eKirsten Flagstad \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003esoprano\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eEdwin McArthur \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO082.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSecond volume of song recitals from one of the greatest sopranos ever\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eSuperb transfers of Kirsten Flagstad's early-50s LP releases by Mark Obert-Thorn completes the set\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThe present release is the second of two devoted to \nFlagstad’s complete postwar American recordings for RCA Victor. As noted\n in the first volume (PACO 079), these recordings form one of the \nleast-known portions of Flagstad’s discography, not least because of \ntheir lack of availability for most of the past half century. The bulk \nof the items featured here have not been available in any form since the\n 1950s, and none have previously appeared on CD. In addition, most of \nthe songs taped in these sessions were the soprano’s only recordings of \nthe works, which makes their reissue doubly valuable.\u003c\/p\u003e\u003cp class=\"body\"\u003eAs noted in the earlier volume, the reason for the \nabsence of these recordings from the catalog for so long has less to do \nwith the quality of the singing – after all, it was only two months \nafter the last session on this program that Flagstad recorded her iconic\n Isolde under Furtwängler – but rather with RCA’s lack of interest in \nreissuing anything other than her Wagner recordings. (Her prewar RCA \nsong recordings have similarly been ignored, although at least those \nhave been reissued on CD by independent labels.) Of particular interest \nhere is the group of songs by American composers, including two by her \nlongtime accompanist, Edwin McArthur.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe sources for the transfers were a British HMV LP for \nthe two Schubert songs, a Canadian RCA pressing for the remaining items \nfrom LM-1738, and multiple copies of first-edition American pressings \nfor the remaining items. The crackling noise heard at the beginning of \nTrack 10 is in the original tape master and appears on all LP editions.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSCHUBERT\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e An die Musik, D.547 \u003cem\u003e(Text: Schober)\u003c\/em\u003e (2:58)\u003cbr\u003e Ganymed, D.544 \u003cem\u003e(Text: Goethe)\u003c\/em\u003e (4:08)\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e Von ewiger Liebe, Op. 43, No. 1 \u003cem\u003e(Text: Wenzig)\u003c\/em\u003e (4:32)\u003cbr\u003e O wüsst’ ich doch den Weg zurück, Op. 63, No. 8 \u003cem\u003e(Text: Groth)\u003c\/em\u003e (3:31)\u003cbr\u003e Muss es eine Trennung geben, Op. 33, No. 12 \u003cem\u003e(Text: Tieck)\u003c\/em\u003e (3:21)\u003cbr\u003e Wie froh und Frisch, Op. 33, No. 14 \u003cem\u003e(Text: Tieck)\u003c\/em\u003e (2:22) \u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e Mein Herz ist stumm, mein Herz ist kalt, Op. 19, No. 6 \u003cem\u003e(Text: Schack)\u003c\/em\u003e (3:37)\u003cbr\u003e Ich liebe Dich, Op. 37, No. 2 \u003cem\u003e(Text: Liliencrom)\u003c\/em\u003e (2:24)\u003cbr\u003e Ruhe, meine Seele, Op. 27, No. 1 \u003cem\u003e(Text: Henckell)\u003c\/em\u003e (3:44)\u003cbr\u003e Wiegenlied, Op. 41a, No. 1 \u003cem\u003e(Text: Dehmel)\u003c\/em\u003e (4:20)\u003cbr\u003e Allerseelen, Op. 10, No. 8 \u003cem\u003e(Text: Gilm)\u003c\/em\u003e (3:22)\u003cbr\u003e Zueignung, Op. 10, No. 1 \u003cem\u003e(Text: Gilm)\u003c\/em\u003e (1:53)\u003cbr\u003e Du meines Herzens Krönelein, Op. 21, No. 2 \u003cem\u003e(Text: Dahn)\u003c\/em\u003e (2:31)\u003cbr\u003e Ach Lieb’ ich muss nun scheiden, Op. 21, No. 3 \u003cem\u003e(Text: Dahn)\u003c\/em\u003e (2:16)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e]\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eJ. Walter KRAMER\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e Now like a lantern \u003cem\u003e(Text: Raphael)\u003c\/em\u003e (2:50)\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eJohn Alden CARPENTER\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e When I bring to you colour’d toys \u003cem\u003e(Text: Tagore)\u003c\/em\u003e (2:20)\u003cbr\u003e The sleep that flits on baby’s eyes \u003cem\u003e(Text: Tagore)\u003c\/em\u003e (2:34)\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eJames H. ROGERS\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e At parting \u003cem\u003e(Text: Peterson)\u003c\/em\u003e (2:08) \u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eOley SPEAKS\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e \u003cbr\u003e \u003c\/b\u003e Morning \u003cem\u003e(Text: Stanton)\u003c\/em\u003e (2:10) \u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eEdwin McARTHUR\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e \u003cbr\u003e \u003c\/b\u003e We have turned again home \u003cem\u003e(Text: Towne)\u003c\/em\u003e (2:49)\u003cbr\u003e Night \u003cem\u003e(Text: Towne)\u003c\/em\u003e (2:53) \u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eDeems TAYLOR\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e A song for lovers, Op. 13, No. 2 \u003cem\u003e(Text: Stephens)\u003c\/em\u003e (2:52) \u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eMildred TYSON\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e Sea moods \u003cem\u003e(Text: Benham)\u003c\/em\u003e (2:48)\u003c\/span\u003e \u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003cbr\u003e \u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003eTracks 1-2: Recorded 17 March 1952\u003cbr\u003e Tracks 3-14 and 21-22: Recorded 10 April 1952\u003cbr\u003e Tracks 15-20 and 23: Recorded 18 March 1952 \u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTracks 1-4, 8-9 and 18-20 first issued on RCA Victor LM-1738\u003cbr\u003e Tracks 5-7 and 15-17 first issued on RCA Victor LM-2825\u003cbr\u003e Tracks 10-14 and 21-23 first issued on RCA Victor LM-1870\u003c\/p\u003e\u003cp\u003e\nRecorded in RCA Studio No. 2, New York\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eKirsten Flagstad \u003c\/b\u003esoprano\u003cb\u003e \u003cbr\u003e Edwin McArthur \u003c\/b\u003epiano\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\nTotal duration: 68:23 \u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003e Cover artwork based on a photograph of Kirsten Flagstad\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\/PACO082.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO082.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":32539525773,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32539525837,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32539525901,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO082.jpg?v=1487770883"},{"product_id":"pacm043","title":"FOURNIER, JANIGRO \u0026 BADURA-SKODA Brahms: Piano Trio No. 1 (1953) - PACM043","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Trio No. 1 in B, Op. 8\u003c\/span\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJean Fournier, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e Antonio Janigro, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e Paul Badura-Skoda, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e Recorded in 1953\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eDuration: 33'23\"\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 30px\"\u003e\u003cb\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp data_liveedit_tagid=\"000000000D775CA0\" style=\"padding-left: 30px\"\u003e\u003cb\u003e\u003cb\u003e \u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cb\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/b\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM043.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 Brahms\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eWestminster classical LP recording remastered for finest sound quality\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eWith their reading of Brahms' wonderful Piano Trio in B, once again \nFournier, Janigro and Badura-Skoda show what a wonderful ensemble they \nwere. We already have a number of their 1950's Westminster recordings in\n our catalogue, all wonderfully restored by Peter Harrison, and this is \nmost surely a worthy addition.\u003cbr\u003e\u003cbr\u003eBrahms completed this Trio at the \nage of just twenty-one, and poured into it all the exhuberance of youth.\n Yet what we hear now is that exuberance married to the experience of a \nlong and highly successful life in music, as the work was substantially \nrevised - indeed \"recomposed\" - in 1889, some 35 years later. \u003cbr\u003e\u003cbr\u003eThis\n tightening up stripped quite a substantial amount out of the original, \nwhilst managing to maintain the youthfulness of the original, and it is \nthe later version that is most often heard and recorded. Whether or not \nthis is a good thing was questionable even at the time - Brahms wrote to\n his publisher \"I must categorically state that the old one is bad, but I\n do not maintain that the new one is good.\"\u003cbr\u003e\u003cbr\u003eWell far be it from \nme to question the great composer on this point, suffice to say that it \nremains one of my favourite pieces of chamber music, and this fabulous \nrecorded version is well worth hearing.\u003c\/p\u003e\n\u003cp\u003eAndrew Rose\u003c\/p\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\u003eBRAHMS \u003c\/b\u003ePiano Trio No. 1 in B, Op. 8\u003c\/p\u003e\u003cp\u003e\u003cb\u003eJean Fournier, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003e Antonio Janigro, \u003c\/b\u003ecello\u003cb\u003e\u003cbr\u003e Paul Badura-Skoda, \u003c\/b\u003epiano\u003cbr\u003e \u003cbr\u003e Recorded in 1953, issued as Westminster XWN 18450\u003cbr\u003eDuration: 33'23\"\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\/PACM043.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM043.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":31463419213,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":31463419277,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM043_e02ae20d-3b2f-40e9-8754-184b8dc7f8b2.jpg?v=1487682090"},{"product_id":"paco086","title":"FURTWÄNGLER Brahms: Ein Deutsches Requiem (1948) - PACO086","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=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eEin Deutches Requiem\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\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 performance at Stockholm Konzerthus, 19 November 1948\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:57\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\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eKerstin Lindberg-Torlind \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003esoprano\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBernhard Sönnerstedt \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ebaritone\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eStockholm Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eStockholm Philharmonic Chorus \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\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\u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f This is weighty, flexible, old-fashioned conducting in the very best sense of those words578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAndrew Rose is now competing with \nhimself as a transfer engineer. He produced an excellent prior transfer \nof this performance on Music \u0026amp; Arts—the third on that label, each an\n improvement over its predecessor. I reviewed that transfer in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e32:5\n (I had reviewed an earlier incarnation of the performance in 12:6). \nHowever, he has continued to experiment and improve new techniques, and \nthis one is quite a bit more satisfactory than the Music \u0026amp; Arts \nedition. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe performance is as I described it in 32:5, and those interested can seek out the review in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eArchive.\n This is weighty, flexible, old-fashioned conducting in the very best \nsense of those words. If your ideal in Brahms is Gardiner or \nHarnoncourt, and you feel that is the only way to do this music, you \nprobably will not find much to love here. At 80 minutes, this is one of \nthe slowest \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGerman Requiem\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es\n on disc—but never does it drag, because of the constant sense of \nforward motion. It is Brahms’s harmonic plan that motivates Furtwängler;\n dynamic, tempo, inflection, and phrasing decisions are always shaped by\n the harmonic direction and change inherent in the music. The baritone \nis fine, the soprano starts out unsteadily (and at times out of tune) \nbut gets better as she goes on. But the performance sweeps the listener \nalong with its raw power. It is the only complete Furtwängler \nperformance we have of this work. Other recordings of live performances \nhave chunks missing and virtually unlistenable sound. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eYou have to be willing to tolerate the\n sonic limitations here too, but they are not at all as bad as those \nother versions. Even with Rose’s best work yet, and a fuller, richer \norchestral and choral sound than has been available before in this live \nrecording, one is aware of the distortion and sense of compression at \nclimaxes, and the limited frequency response at both ends of the \nspectrum. Carefully produced studio recordings were being produced at a \nnotably higher level in 1948. Rose made his transfers from Unicorn LPs, \nand has come up with a result that any listener used to historic \nmaterial will certainly find more than tolerable. The improvement over \nhis earlier Music \u0026amp; Arts transfer is certainly audible, though \nwhether it is dramatic enough to warrant replacement will depend on your\n budget and your taste. As someone deeply in love with this performance,\n I am glad to have the new version. \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 36:6 (July\/Aug 2013) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO086.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFurtwängler's only complete recording of the Brahms German Requiem\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eFabulous sound quality extracted from this live 1948 performance in new XR remastering\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eOne can understand the decision, commented on by The \nGramophone's reviewer in 1972, for the original LP issue of this \nrecording to span four sides. Normally one has no difficulty fitting \nBrahms'\u003cem\u003e Ein Deutsches Requiem\u003c\/em\u003e onto CD - Mengelberg in 1940 \ncompleted it in just under 66 minutes (PACO012). Here I've had to cut \nquite savagely into the inter-movement gaps, helped by an accurate \ntuning reading of A4=447Hz drawn from residual mains hum in the \nrecording, in order to just squeeze this into the 80 minutes of a single\n CD without misrepresenting the musical performance. At normal concert \npitch, with the original gaps (with the usual audience coughs), it ran \nto nearly 85 minutes.\u003c\/p\u003e\u003cp class=\"body\"\u003eThis is the only complete Furtwängler \u003cem\u003eGerman Requiem\u003c\/em\u003e,\n and I've been able to make great strides in terms of sound quality in \nthis new 32-bit XR remaster, helped in no small part by the donation of \nan unplayed, mint-condition copy of the original Unicorn LP on which it \nwas first issued, for which we are most grateful.\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\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eEin Deutches Requiem\u003c\/span\u003e\u003c\/span\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-size: 12px;\"\u003eLive performance at Stockholm Konzerthus, 19 November 1948\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTransfers from Unicorn WFS 17\/18\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, November-December 2012\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e Front cover artwork based on a photograph of Furtwängler\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:57\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003eKerstin Lindberg-Torlind \u003c\/b\u003esoprano\u003cb\u003e\u003cbr\u003e Bernhard Sönnerstedt \u003c\/b\u003ebaritone\u003cb\u003e\u003cbr\u003e Stockholm Philharmonic Orchestra\u003cbr\u003e Stockholm Philharmonic Chorus \u003cbr\u003e Wilhelm Furtwängler \u003c\/b\u003econductor\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\/PACO086.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO086.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 class=\"body\"\u003eIn establishing Furtwängler's importance in the \nhistory of interpretation, the Unicorn label has done sterling service. \nHere is another historic performance, inevitably flawed, and not very \nwell recorded (presumably from radio considering the lightness of bass).\n But devotees of Furtwängler will take such points for granted and \nrelish the chance to study the master's insight into a work which by \nnature one would imagine him specially suited. \u003cbr\u003e \u003cbr\u003e The results are\n not quite what I expected. Much of the phrasing is magical, but I \nimagine it would have been even more flexible had he been conducting one\n of his regular orchestras. Even so the phrasing at the beginning of the\n second movement \"Denn alles Fleisch\" has all the affection one could \nwant, and I have never heard the brief introduction to the great soprano\n solo, \"Ihr habt nun Traurigkeit\", played with such tenderness. The \ntempo there is exceptionally slow - a severe test for the soprano, \nKerstin Lindberg-Torlind, whose light high soprano (initially \ndisappointing) then expands well rather in the manner of Grümmer. There \nare other slow tempi too, but i t was surprising to find \"Wie lieblich\" \ntaken on the fast side with comparatively simple, unpointed phrasing as \nthough it was a folk-song - very natural and fresh with a \nspontaneous-sounding \u003cem\u003estringendo\u003c\/em\u003e in the middle. \u003cbr\u003e \u003cbr\u003e The \npull of urgency natural to a live performance is very clear indeed, but \nfrom Furtwängler I expected a degree more religious dedication. I \nnaturally went to Kempe's Berlin performance (still available on HMV \nConcert Classics- mono XLP 30073-4, 4\/67) and there I found extra \nintensity in the first movement, not just in the sustained \u003cem\u003epianissimos\u003c\/em\u003e but in the outbursts on the word \"Freuden\". But then where Furtwängler scored supremely was in the second movement on the \u003cem\u003efortissimo\u003c\/em\u003e cries of \"Denn alles Fleisch\" which have a bitterness, an agony I have never registered before to such a degree. \u003cbr\u003e \u003cbr\u003e\n The soloists have the best deal of all from the recording engineers. I \nhave already mentioned Lindberg-Torlind. Bernhard Sonnerstedt has a \nlight high baritone, beautifully focused. Next to a singer like \nFischer-Dieskau his style may sound almost naïve, but I found his fresh,\n completely unmannered approach delightfully convincing, with an \nunderlying Biblical strength. The choral sound, I am afraid, is \ngenerally rather muzzy by comparison, but those who buy this record will\n almost certainly know what to expect. It is a pity the \u003cem\u003eRequiem\u003c\/em\u003e was not fitted (as is usual) on three sides, and a fill-up provided. \u003cbr\u003e \u003cbr\u003e \u003cb\u003eE.G., The Gramophone\u003c\/b\u003e, May 1972 - \u003cem\u003ereview of first LP issue\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":32417200653,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32417200781,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32417200845,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32417200973,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO086.jpg?v=1487682110"},{"product_id":"pasc456","title":"FURTWÄNGLER Brahms: Symphonies Nos. 3 \u0026 4 (1948\/49) - PASC456","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;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 3\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 4\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;\"\u003eLive concert recordings, 1948 \u0026amp; 1949\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:47  \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\u003cbr\u003e\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fSomeone wandering into a room where this Brahms Third under Furtwängler was playing would scarcely believe his ears578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWhen considering “historic” \nrecordings, the quality of reproduction is a more important factor than \nis often noted. Here, for example, are two stunning restorations by \nAndrew Rose for his Pristine label that vault these two performances to \nthe top of my own recommendation list for Furtwängler performances of \nthese two symphonies—and in fact to a very high place on the list of \noverall recommendations. One very slight problem; perhaps because of the\n very generous duration of almost 80 minutes, I find some of the pauses \nbetween movements a bit too short (more breath is needed in particular \nbetween the first two movements of the Fourth). But this is something a \nlistener can work with. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe importance of color in \nFurtwängler’s conducting is often undervalued by commentators. We often \nhear about his approach to phrasing, his tempo relationships, his great \nattention to dynamic shading. But in fact the foundation of \nFurtwängler’s conducting was orchestral sonority and color. He built his\n sound from the bottom up, starting with a firm foundation of basses and\n cellos (as well as low brass where appropriate), and the balance of \nweight of different instrumental groups was of crucial importance to his\n conducting. Similarly the blending of voices, the voicing of chords, \nthe varying degrees of vibrato, all were areas on which he clearly spent\n a great deal of time in his rehearsals, either verbally or simply \nthrough gesture. Thus it is critical that we hear Furtwängler \nperformances in the best and most vibrant possible transfers. Both of \nthese performances have been available before (just about every recorded\n note of the conductor has been preserved and issued in some form). Both\n have been heard on relatively good transfers on the EMI and Audite \nlabels. But somehow Pristine has found a whole new level of quality. \nHeard in the label’s XR stereo, the sound has opened up, the bass is \nmuch richer, the highs warmer and less hard-toned, and the blend and \nbalance far more evenly accomplished. The result is that we now have, in\n my view, the best recorded versions of Furtwängler’s way with these \npieces, seminal in his repertoire. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThere is a level of ferocity and \nintensity in the 1943 Furtwängler Brahms Fourth (also issued by \nPristine) that is not equaled here—but that is so flame-filled that it \nis best savored for an occasional hearing, so it doesn’t lose its \nability to shock. What we have here are two extraordinarily strong, \nindividual performances, performances that clearly matter to the \nconductor and the musicians playing them, and performances that sweep \nthe listener along on a sea of momentum. For the Third Symphony there is\n a 1954 Furtwängler performance, also on Pristine, that is quite lovely \nand somewhat more gentle. It is, in fact, beautiful. But the sheer force\n and magnetism here is irresistible, and were I forced to choose only \none it would be this. Interestingly, the conductor takes the first \nmovement repeat here, and did not in 1954. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eBoth of these performances demand to \nbe heard by anyone who cares about 19th-century symphonic music and the \nperformance tradition that underlies the art form. We should be deeply \ngrateful to Andrew Rose and Pristine for the continuously high standards\n of their work. \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\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:5 (May\/June 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\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSomeone wandering into a room where \nthis Brahms Third under Furtwängler was playing would scarcely believe \nhis ears. If the moment happened to be during the development section of\n the first movement, he’d be overwhelmed by the seismic eruption of \npassion and the Berlin Philharmonic’s almost shocking power. For a long \ntime the experience of such a performance was either denied or \nimperfect. Baby boomers are the core of experienced listeners and \ndedicated collectors. When we were young, music-making associated with \nthe Third Reich was impermissible. Even the trickle of Furtwängler’s \npostwar LPs that reached North America sounded alien, considering that \nthe 1950s were the era of a deified Toscanini—the two maestros enjoyed a\n mutual antipathy to each other. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBut that’s old news, and with the \nemergence on CD of hundreds of Furtwängler performances, the most \ncherished being from live concerts, the other problem—imperfect audio \nquality—is being addressed. Boutique and specialty labels such as Tahra \nand Andante led the way by gaining access to orchestra and radio \narchives, but the acknowledged leader in historical restoration is \nAndrew Rose of Pristine Audio. He works from private collections, not \noriginal sources, and manages to maintain a remarkably high level of \nsound quality. In this case, the impact of Furtwängler’s 1949 Brahms \nThird is only revealed when it can be played at lifelike volume levels. \nThis wasn’t possible in previous incarnations on EMI (along with pocket \nlabels such as Archipel, Seven Seas, and Virtuoso), which were variously\n thin, tubby, shrill, or metallic-sounding. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eRose has overcome these flaws to the \nbest of the technology available to him, with special emphasis on a step\n previously shunned by purists, inserting hall ambience. (For a more \ndetailed discussion of the technical side, see Henry Fogel’s review in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e 39:5.) The reading itself lives up to the billing from the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGramophone\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n web site as “an experience unique in the annals of the [Brahms Third] \non record.” Not that Furtwängler just propels the music forward for \nmaximum thrills—his imagination brings in unexpected moments of peace \nbefore and after great surges of emotion. Pristine previously released \nthe only other Brahms Third under him from Berlin, a more serene account\n dating to April 27, 1954, seven months before his death that November. \nThe 1949 performance, held in the Titania Palace after the Allies bombed\n the old Philharmonie, occurred during flu and cold season, but Rose has\n gone some distance to removing coughs and sneezes—they still intrude \nduring the quiet opening of the finale, but hardly at their worst. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eRose tells us that remastering the \nBrahms Fourth from the same hall in October 1948 was a little more \nproblematic, due to a narrower frequency range at the top and bottom. \nThe listener will immediately notice the contrast with the fuller Third \nSymphony; one has to “listen into” the reading, as it were, to get the \nwhole effect of Furtwängler’s conception. There is also less presence \nfrom the woodwind solos and a fairly blurred bass. These drawbacks are \neasily accommodated once you become absorbed in the music-making. While \nslightly less passionate than his account of the Third, this Fourth is \nfull of Furtwängler hallmarks: flexible tempos, magical transitions, and\n great excitement at the climax of each movement. The audience is more \nor less silent; no applause is included in either recording. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eTechnology will no doubt carry us \nfurther in the future, particularly if historical remastering can \nbenefit from software that takes limited frequency response and replaces\n it with updated instrumental sound comparable to modern recordings. \nThat day hasn’t arrived yet, so you won’t be sitting in the Titania \nPalace in full stereo. But it’s glorious to be sitting there in the \nfirst place. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHuntley Dent\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:6 (July\/Aug 2016) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC456.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFurtwängler at his finest in two live performances of Brahms\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e \"The sheer force and magnetism here is irresistible, and were I forced to choose only one it would be this\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cli\u003e\n\u003cp\u003eWhen I remastered a set of Brahms recordings for Pristine release in \n2012, a number of difficult choices had to be made, not least in \nselected a single recording of each of the fourth symphonies for the set\n (PASC 340, 341, 342, 344). In making these choices a number of factors \ncame into play alongside the performances themselves: availability, \nsound quality, durations and so forth all played a part in the final \nchoices made at the time. The series featured a single symphony on each \ndisc, coupled with other recordings of music by Brahms. It is almost \ncertain, therefore, that a primary reason the two recordings presented \nhere did not feature in that series was the simple fact that they could \nbe accommodated together on a single disc: to be returned to at a later \ndate. Happily, that date has now arrived!\u003c\/p\u003e\n\u003cp\u003eThe XR remastering techniques used on these recordings have gradually\n evolved over the 8 years since they were first developed, helped along \nby technological advances in the fields of audio restoration and digital\n signal processing, and the results of these gradual advances can be \nheard to full effect here, especially in the marvellous 1949 recording \nof the third Brahms symphony presented here. It is interesting to note \nthe remarks of an uncredited reviewer for Gramophone's website, who \nremarks on the sound being \"fragile\" and the audience \"intrusive\". \nWhilst the latter was certainly true of the original recording, I've \ntaken out a large number of coughs and sneezes from that December Berlin\n audience, and where not possible to entirely eradicate them, the vast \nmajority have been reduced in volume to a non-intrusive level. As for \nthe sound? Here you will find no fragility: the Berlin Philharmonic \nOrchestra is full, clear, rich and vital in this XR remaster, fully \nconveying ‘the energy of becoming, inexorability and the force of onward\n motion’ Furtwängler identified with this work.\u003c\/p\u003e\n\u003cp\u003eThe earlier recording of the Fourth Symphony, from October 1948, \nproved slightly more troublesome from a sonic perspective, with slightly\n more hiss and less top end extension, but I've managed to make those \ndifferences almost imperceptible - certainly the fullness and richness \nare both there to be savoured, with all the \"drama and thrust\" of the \nperformance fully present.\u003c\/p\u003e\n\u003cem\u003eAndrew Rose\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\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e  Symphony No. 3 in F major, Op. 90\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\n\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e  Symphony No. 4 in E minor, Op. 98\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\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan style=\"font-size: small;\"\u003eBerlin Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eBrahms Symphony No. 3: Recorded 18 December, 1949\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eBrahms Symphony No. 4: Recorded 24 October, 1948\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eLive performances, Titania Palast, Berlin\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_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC456.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC456.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":31975569101,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975569293,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975569421,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC456_f36e3b5b-f661-4727-8591-4ad94d403854.jpg?v=1487682112"},{"product_id":"pacm083","title":"HESS Schubert \u0026 Brahms Piano Trios (1927\/35) - PACM083","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;\"\u003eSCHUBERT \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Trio No 1 in B flat, D898\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Piano Trio No. 2 in C major, Op. 87\u003c\/span\u003e\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-size: 12px;\"\u003eRecorded 1927 \u0026amp; 1935\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 61:26\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;\"\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;\"\u003eJelly d'Arányi, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cbr\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;\"\u003eGaspar Cassadó, \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\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fGramophone Historic Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fBrahms - Piano Trio No. 2578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003eThis Trio has been overshadowed by its greater \nneighbour in C minor, not yet, I think, recorded, but has many beauties \nto recommend it to those who may have passed it by. Tovey says that the \"\n style of the first movement is grandly energetic with deep shadows of \nmystery, the mystery of nature rather than romance.\" There is plenty \nromance, however, in the lovely second subject, most characteristic in \nshape, which the piano first sings, and in the charming codetta for the \nstrings added to it. In the development section which begins on Part 2 \nnotice the Schumannesque augmentation of the opening tune on the 'cello.\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eThe slow movement is scored with violin and \n'cello two octaves apart, except for three bars at the end, an effect \nwhich adds to the \" heroic pathos\" of the music. The tune is the theme \nof a set of five variations of which the first is overcast with the deep\n shadows of mystery which Tovey speaks of above, while the fourth \nvariation in the major key is of a rich texture, simultaneously \ncombining two melodies, one for the piano, the other for the strings, \nbut both growing from the same stem.\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eI cannot better Sir Donald Tovey's description of\n the next movement—\" the dark pianissimo scherzo with its huge white \ncloud-bank trio.\" It is a grand storm piece of symphonic size, but never\n straining the limits of its medium.\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eI am not sure that the players realise the\" \nhumour and mystery\" of the last movement, though they certainly do not \ntake it too fast. It is the one movement in the work which smells \nsomewhat of the lamp and deserves, in part, Tchaikovsky's criticism of \nall Brahms's music- \" it is all very serious, very distinguished, \napparently even original : but in spite of all this the chief thing is \nlacking-beauty.''\u003cbr\u003e To the true Brahmsians, amongst whom I number \nmyself, the verdict is incomprehensible except in regard to a few \nisolated movements or passages : and the same could be said of any great\n composer. The ensemble lacks many of those qualities which gave such \nlustre to the Schubert Trio in E flat reviewed in this number. Cassado's\n tone, always beautiful, is consistently too heavy arid overweighs the \nviolinist, especially when they are playing an octave or two octaves \napart, and Jelly d'Aranyi is curiously disappointing. Her tone is thin \nand sometimes shrill—whith is certainly not the case in the concert \nhall. Myra Hess, who plays splendidly all through, sounds too distant. \nThe important question of balance is therefore not solved \nsatisfactorily. The musicianship of these three artists is, of course, \nnever in question, so that there are many lovely moments and a fine \nbreadth in the interpretation which cannot be seriously damaged by the \ncriticisms set out above. The recording is admirable.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eA.R. - The Gramophone\u003c\/b\u003e, June 1936 (\u003cem\u003ereview of original 78rpm issue of the Brahms\u003c\/em\u003e)\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM083.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eMyra Hess's two excellent pre-war Piano Trio recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eSchubert and Brahms trios brought together in new Obert-Thorn transfers\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThe source for the transfer of the Schubert trio (Hess’s recording \ndebut) was a mid-1930s “large label” American Columbia set, while the \nBrahms came from later pre-war US “microphone label” pressings.\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\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003ePiano Trio No. 1 in B flat major, D.898\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 28 – 30 December 1927 in New York City\u003cbr\u003e Matrix nos. W 98414-5, 98415-2, 98416-2, 98417-3, 98418-3, 98419-2, 98420-1 and 98421-2\u003cbr\u003e First issued on American Columbia 67436-D through 67439-D in Album 91\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Piano Trio No. 2 in C major, Op. 87\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 25 October 1935 in EMI Abbey Road Studio No. 3, London\u003cbr\u003e Matrix nos.: CAX 7646-2, 7647-1, 7648-1, 7649-1, 7650-2, 7651-2, 7652-2 and 7653-2\u003cbr\u003e First issued on English Columbia LX 8246 through 8249 \u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eMyra Hess\u003c\/b\u003e piano\u003cbr\u003e \u003cb\u003eJelly d'Arányi\u003c\/b\u003e violin\u003cbr\u003e \u003cb\u003eFelix Salmond\u003c\/b\u003e cello (Schubert)\u003cbr\u003e \u003cb\u003eGaspar Cassadó\u003c\/b\u003e cello (Brahms) \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\/PACM083.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM083.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":31975648205,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31975648269,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM083_33a95565-ea9e-4dbd-b815-970d15e34f8d.jpg?v=1487682206"},{"product_id":"pacm085","title":"HOLLYWOOD QUARTET plays Brahms, Dvořák, Schubert \u0026 Smetana (1950-55) - PACM085","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;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Quintet in F minor, Op. 34\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;\"\u003eSMETANA\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e String Quartet No. 1 in E minor, T.116 \"From my Life\"\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUBERT\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e String Quintet in C, D.956\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDVORÁK\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e String Quartet No. 12 in F, Op. 96, 'American'\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\" type=\"_moz\"\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 1950-55 \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 15:41\u003c\/span\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;\"\u003eHollywood String Quartet\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cb\u003e\n\u003c\/b\u003e\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cspan style=\"font-size: 16px;\"\u003ewith\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ePaul Robyn, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviola\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e Victor Aller, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e Kurt Reher, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fGramophone Historic Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fEMI reissue, 1982578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThese legendary recordings have been out of circulation \nfor more than two decades, and their return cannot be too warmly \nwelcomed. For younger readers the Hollywood Quartet flourished briefly \nduring the early years of the long-playing record. Its leader, Felix \nSlatkin (father of the conductor, Leonard Slatkin) was a pupil of \nZimbalist and Remer, and in 1937 became leader of the 20th Century Fox \nOrchestra. All the members of the Quartet were principals in various \nHollywood film studio orchestras, and the ensemble did not attract \nattention outside the West Coast of America until the advent of LP when \nthey recorded such repertoire as the Walton A minor Quartet and the \nSixth of Villa-Lobos (Capitol mono CTL7004,6\/51—nla) and the Prokofiev \nSecond coupled with Hindemith’s Third (CTL7016, 4\/52—nla) in \nperformances which I do not believe have been surpassed. \u003c\/p\u003e\u003cp\u003eOn its first \nappearance in 1952, the authors of\u003cem\u003e The Record Guide\u003c\/em\u003e, Edward \nSackville-West and Desmond Shawe-Taylor, hailed the Schubert String \nQuintet (with Kurt Reher as second cello) as \"one of the very best in \nthe discography of chamber music\", no small claim but one that does not \nseem to me overstated. I have periodically played this version over the \nyears and with unfailing satisfaction for apart from their technical \nfinish and perfect ensemble, they seem to penetrate further below the \nsurface than do most of their rivals. I have also long admired their \naccount with Victor Aller of the Brahms F minor Quintet, which it so \nhappens that I played to a visitor quite recently. (My original copy \nbore traces of flutter that proved particularly irksome on the piano in \nthe slow movement, and I was delighted to find that the present transfer\n has no such defect and has a wider range.) It is a powerful and \nthoughtful performance, and holds its own against such distinguished \nrivals as Serkin with the Busch Quartet (World Records mono SHB61, 4\/81)\n from the 1930s, and the 1969 Eschenbach \/ Amadeus (DG 2535 418, 2\/81). \nIt certainly has more concentration and poetry than the (to my mind much\n overrated) version by Poilini and the Quartetto Italiano (DG 2531 197, \n9\/80). \u003c\/p\u003e\u003cp\u003eThe Dvořák originally appeared in harness with the Third Quartet \nof Dohnányi, and my first reaction was to regret that EMI had not left \nthis coupling undisturbed — until, that is, I heard the Smetana. Both \nthese performances were new to me and both strike me as hardly less \nsuperb than their companions. The style of these artists has dated much \nless than many other ensembles: they possess splendid attack and \nfinesse, superb blend and flawless intonation, though there is at times \nan unrelieved intensity and glare in the leader’s tone. The sound is \nremarkably good for its period with plenty of presence and body, though \nthe acoustic is on the small side. Much care has been taken with the \ntransfers and the sound is first class. Those who recall the originals \nwill need no promptings from me to invest in this set. Let us hope that \nEMI will follow it up with the late Beethoven quartets and an anthology \n(which will involve no threat of excessive duplication) with, perhaps, \ntheir Hindemith, Villa-Lobos, Prokofiev, Schoenberg's \u003cem\u003eVerklärte Nacht\u003c\/em\u003e and the Shostakovich Quintet. In the meantime, this is recommended with enthusiasm.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eR.L., Gramophone\u003c\/b\u003e, February 1982\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM085.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe legendary Hollywood String Quartet play Brahms, Dvorák, Schubert \u0026amp; Smetana\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"...splendid attack and finesse, superb blend and flawless intonation...\" - Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eSometimes I transfer and remaster recordings for purely selfish \nreasons - the simple desire to play the records and then hear them in \ntheir full glory after remastering. This is one of those occasions: one \nof my favourite chamber ensembles playing some of my favourite music. I \nhad not read the review reprinted here until I was intimately acquainted\n with the recordings, and I'm happy to see my own judgement mirrored.\u003c\/p\u003e\u003cp\u003eThe records were all appeared in mint condition and played perfectly.\n Pitching was unusual however: it's hard to believe the quartet played \nat the unusually high pitch of A4=~450Hz at which some of these \nrecordings were found, leading me to suspect errors in EMI's 1982 \ntransfers. Here they're pitched to concert standard 440Hz. I also \nnoticed the acoustic being \"on the small side\" and have helped open it \nout slightly.\u003c\/p\u003e\u003cp\u003eXR remastering has performed wonders with instrumental tone, with the\n final results bringing me the great personal satisfaction and enjoyment\n I'd hoped for.\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\u003cbr\u003e\u003cul\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eBRAHMS \u003c\/b\u003ePiano Quintet in F minor, Op. 34 \u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 30-31 March, 1954. First issued as Capitol P.8269\u003c\/span\u003e \u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cb\u003eVictor Aller \u003c\/b\u003epiano\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003e*SMETANA \u003c\/b\u003eString Quartet No. 1 in E minor, T.116 \"From my Life\" \u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 2 November, 1955 First issued as Capitol P.8331\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eSCHUBERT \u003c\/b\u003eString Quintet in C, D.956\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 15-17 January, 1951 First issued as Capitol P.8133\u003c\/span\u003e \u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cb\u003eKurt Reher \u003c\/b\u003ecello\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003e*DVORÁK \u003c\/b\u003eString Quartet No. 12 in F, Op. 96, 'American'\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 23-24 January, 1954 First issued as Capitol P.8307\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003eHollywood String Quartet:\u003c\/b\u003e\u003cbr\u003e \u003cb\u003eFelix Slatkin \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003e Paul Shure \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003e Paul Robyn \u003c\/b\u003eviola\u003cb\u003e\u003cbr\u003e *Alvin Dinkin \u003c\/b\u003eviola\u003cb\u003e\u003cbr\u003e Eleanor Aller \u003c\/b\u003ecello \u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003cbr\u003e Recorded at Capitol Studios, Hollywood\u003cbr\u003e Transfers from EMI box set RLS 765\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\/PACM085.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM085.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":31975648653,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975648717,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975648781,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975648845,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM085_4b63c72b-3a7a-4055-a4d6-4de7ca54a28c.jpg?v=1487682212"},{"product_id":"pasc436","title":"HORENSTEIN Brahms: Symphony No. 1; Bruch: Scottish Fantasy (1962) - PASC436","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;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 1\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\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=\"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;\"\u003eBRUCH \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eScottish Fantasy \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;\"\u003eStudio recordings, 1962\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 76:18  \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJascha Horenstein, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eDavid Oistrakh\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, violin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eLondon Symphony Orchestra\u003c\/span\u003e\u003cbr\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 Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fRecommended for Horenstein’s outstanding Brahms578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eDavid Oistrakh’s 1962 recording of Bruch’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eScottish Fantasy\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is one I’ve been familiar with for years from a London reel-to-reel \ntape. That tape, however, couples the Bruch with Hindemith’s 1939 Violin\n Concerto in a performance by Oistrakh and the London Symphony Orchestra\n conducted by the composer. Something I did not know before reading \nPristine’s informative online notes was that the coupling intended for \nthe Hindemith Concerto on the original Decca LP was to have been \nMozart’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSinfonia Concertante\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n with Oistrakh on violin and Hindemith taking the viola part, but the \nMozart was scrapped when Hindemith heard the playback of the tape and \nwas so “disgusted” by his own playing that he disowned the recording. \nThe Bruch was a last-minute substitution, which required Oistrakh to \nsalvage from mothballs a piece he hadn’t played in years. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003ePerhaps that’s the reason, without knowing why, I never cared much for this hastily prepared performance of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eScottish Fantasy\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n The feeling I’ve always had listening to it is that for long stretches \nOistrakh is on autopilot, playing the notes but without much expression.\n He did make another recording of the piece with Gennady Rozhdestvensky \nand the USSR Symphony Orchestra, coupled with a Berlioz \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHarold in Italy\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. It’s available on a Russian Revelation CD, but I haven’t heard it, nor does it appear to have been reviewed in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOne other possible reason that Oistrakh’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eScottish Fantasy\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is not a favorite can be summed up in one word: Heifetz. He made rather\n a specialty of the piece, claiming it to be his favorite “concerto,” \nand even I, not Heifetz’s biggest fan, have to admit that his 1947 \nrecording with William Steinberg and the RCA Victor Symphony Orchestra, \nand his later 1961 recording with Malcolm Sargent and the New Symphony \nOrchestra, are possibly unmatched for searing emotional intensity by any\n other violinist, save perhaps for Michael Rabin in his 1957 recording \nwith Adrian Boult and the Philharmonia Orchestra. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eMost of the Pristine releases I’ve \nreceived for review have been recordings dating from the early days of \nLP and some going back even further to the 78-rpm era, all subjected to \nAndrew Rose’s amazing XR restoring and remastering technology that has \nrevitalized much important historical material. In this case, the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eScottish Fantasy\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n and the Brahms Symphony No. 1, both led by Jascha Horenstein, are \nproducts of the modern analog LP era. Both were recorded in 1962, both \nin stereo, and both had already been digitized and transferred to CD \nbefore these Pristine refurbishments—the Oistrakh Bruch, coupled with \nthe Hindemith, exactly as on my reel-to-reel tape, and Horenstein’s LSO \nBrahms on a Chesky CD coupled with the Bacchanale from Wagner’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTannhäuser\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e with the Royal Philharmonic and Beecham Choral Society. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs usual, Andrew Rose works wonders to \nclean up and improve the sound, with benefit accruing mainly to \nHorenstein’s Brahms. The conductor’s tempos are a bit on the slow side, \nand of course the first-movement exposition repeat is skipped, but \nthere’s an elemental power to the performance that can’t be denied, and \nthe remastering makes that manifest with clarified textures and the \nhighlighting of instruments, particularly the timpani, within those \ntextures. The solo flute, too, towards the end of the slow introduction \nin the last movement, sings with a sweetness and luminosity of tone that\n would make the angels envious. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eRose’s rationale for rejuvenating \nHorenstein’s LSO Brahms No. 1 was well considered, as the performance is\n quite a commanding one, and the extra measure of information extracted \nfrom the original recording attests to its excellence. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWith regard to the Oistrakh Bruch, I’m \nsomewhat less positive. I’ve not heard the Decca CD, but comparing this \nPristine version against my London reel-to-reel tape, I can’t say I hear\n much difference; and, in any case, whatever sonic improvement there may\n be, it doesn’t profit Oistrakh’s performance. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eRecommended, then, for Horenstein’s outstanding Brahms. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"Br\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJerry Dubins\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:1 (Sept\/Oct 2015) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC436.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eHorenstein conducts two stereo classics from 1962: Brahms and Bruch\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e \"A profoundly impressive account of Brahms's First Symphony\"\u003cbr\u003e\"The performance of the Bruch is superlative\"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003eBoth of these recordings were made within a few months of each other in \n1962 at the Walthamstow Assembly Rooms in north-east London. The Brahms \nwas made for Reader's Digest and engineered by legendary Decca wizard, \nKenneth Wilkinson, the Bruch for Decca without Mr. Wilkinson! They were \nthe first two of just eight studio recordings made by Horenstein with \nthe LSO (of the rest, all but one was recorded for Unicorn Records \nbetween 1969 and 1972). Both were excellent stereo recordings for their \nera and, with the lightest touch of XR remastering and minimal \nrestoration requirements, have come up marvellously here.\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\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS  \u003c\/b\u003eSymphony No. 1 in C minor, Op. 68\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\u003eRecording producer: Charles Gerhardt\u003cbr\u003eRecording Engineer: Kenneth Wilkinson\u003cbr\u003eRecorded 29-30 January 1962\u003cbr\u003eWalthamstow Assembly Hall\u003c\/p\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"bodybigblue\" style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRUCH  \u003c\/b\u003eScottish Fantasy in E flat major, Op. 46\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eDavid Oistrakh, \u003c\/b\u003eviolin\u003c\/span\u003e\u003cbr\u003e\n\u003cp\u003eRecording producer: Erik Smith\u003cbr\u003eRecording Engineer: Alan Reeve\u003cbr\u003eRecorded 24 September 1962\u003cbr\u003eWalthamstow Assembly Hall\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e \u003cb style=\"font-size: medium;\"\u003eLondon Symphony Orchestra\u003cbr\u003eJascha Horenstein\u003c\/b\u003e\u003cspan style=\"font-size: medium;\"\u003e, conductor\u003c\/span\u003e \u003cbr\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\/PASC436.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC436.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":31975656845,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":31975656909,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":31975656973,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC436_4b06de78-d9fe-4579-8f57-d31cd0bf895f.jpg?v=1487682217"},{"product_id":"pasc449","title":"HORENSTEIN Brahms: Symphony No. 3, Haydn Variations, Tragic Overture (1956\/57) - PASC449","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;\"\u003eBRAHMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 3\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 Variations on a Theme by Haydn\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eTragic Overture\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 and live recordings, 1957 (Stereo) and 1956 (Ambient Stereo)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 68:53 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJascha Horenstein, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrchestra of the Southwest German Radio (SWDR)\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrchestre National de la Radiodiffusion Française\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_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fI can say without reservation that this is a stunning Brahms Third \n... the recording has outstanding dynamic and frequency response, realistic-sounding channel separation, and, in a word, sounds like it could have been recorded yesterday...578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eA minor discrepancy regarding the \ndates of these recordings is immediately apparent. Michael Jameson, who \nreviewed the Brahms No. 3 and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHaydn Variations\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n disc on Vox in 24:1 when it was originally released on CD in 2000, \ngives a recording date of 1958. Pristine’s program note quotes Jameson’s\n review verbatim and in full. Yet, with absolute specificity, Pristine’s\n own documentation gives the dates of this studio recording as October \n20–30, 1957. I suspect that 1958 was the year that Vox released the \nrecording on LP, which is the date Jameson cites in his review, and \nwhich Pristine simply reproduces without anyone noting the inconsistency\n between the quoted review and its own documentation. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTragic Overture\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n comes from a different source, a live radio broadcast by the Orchestre \nNational de la Radiodiffusion Française from November 19, 1956. The \nperformance was included in a nine-disc Music \u0026amp; Arts set that was \nthrice reviewed, by Henry Fogel and Peter Rabinowitz in 28:3 and by \nWilliam Zagorski two issues later in 28:5. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003ePristine’s recording details indicate that the Brahms Third and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHaydn Variations\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e are in stereo, while the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTragic Overture\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is in ambient stereo, a term I believe is used to describe a mono \nrecording electronically enhanced to simulate a stereophonic effect. The\n sound of the two works that were recorded in true stereo is quite \nphenomenal. Undoubtedly, Andrew Rose’s XR Remastering played a \nsignificant role, but to be honest, the recording has outstanding \ndynamic and frequency response, realistic-sounding channel separation, \nand, in a word, sounds like it could have been recorded yesterday. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs for Horenstein’s participation, I \ncan say without reservation that this is a stunning Brahms Third. Having\n just finished reviewing a reissued, uninspiring Brahms symphony cycle \nby Mariss Jansons leading the Bavarian Radio Symphony Orchestra, I \nmarvel at the contrast between Jansons’s Brahms Third and Horenstein’s. \nThe latter’s tempos are faster and the performance potent with gripping \ndrama. Listen to Horenstein’s accelerando in the coda to the first \nmovement; he goes for the jugular. Listen, too, to the spooky, \nhaunted-house sound Horenstein draws from the orchestra at the beginning\n of the last movement. I never really made the connection before, but \nit’s a very similar effect to the one Brahms achieves in the eighth \nvariation of his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHaydn Variations\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n which follows the symphony on the disc. Horenstein’s Brahms Third is \nnot only one of the most exciting Brahms performances I’ve heard since \nreviewing Felix Weingartner’s reading of the symphony, also on Pristine,\n in 36:2; it’s also a reading that penetrates to the heart of the score \nand brings this difficult work into focus in a way that many present-day\n performances don’t. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHaydn Variations\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is equally perfectly paced and beautifully shaped. For some reason, \nhowever—exactly why I can’t explain, since both works were recorded in \nthe same studio over a 10-day period—the sound quality of the Variations\n isn’t quite as good as it is in the symphony. There’s a stridency to \nthe violins’ high notes and a bit of overload distortion in loud \npassages. But the minor sonic shortcomings fade into insignificance in \nthe face of a performance this good. Especially notable are the \nSouthwest German Radio Orchestra’s woodwinds, which are really fantastic\n in the tricky writing Brahms throws at them. My one major annoyance \nwith this \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHaydn Variations\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e—though\n I can’t fault Pristine, since it would have been that way on the \noriginal LP—is that the work is afforded a single track, so that the \nvariations are not accessible individually. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFor a 1956 air check, the recorded sound of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTragic Overture\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is reasonably good, but I can’t say it’s great. The orchestra sounds \nrecessed and flattened out across the stage, with little or no depth of \nfield to the sonic image. Moreover (what else is new?), the French \nplayers are not as disciplined as their German counterparts in the \nsymphony and Variations. There are moments here and there of intonation \ndisagreements in all sections—strings, woodwinds, and brass—though not \nall at the same time, and other moments of un-togetherness in the \nensemble as a whole. Horenstein nonetheless perseveres and rises above \nthe orchestra’s limitations to deliver a reading of urgent intensity. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eIf you can get past the less than \nideal sound in the Variations and the Overture, and the less than ideal \norchestral playing in the Overture—which shouldn’t be hard to do, given \nHorenstein’s commanding and inspired readings of these works—you have on\n this Pristine release documents of a very great conductor who, due to \ncircumstances beyond his control, was never offered a permanent post, \nand who did not achieve the fame and glory accorded to other conductors \nof his time. \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\u003eJerry Dubins\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:4 (Mar\/Apr 2016) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC449.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eJascha Horenstein conducts Brahms' Third Symphony\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e \"I can say without reservation that this is a stunning Brahms Third\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eAs I suggested in the notes to Horenstein's 1957 Vox recordings of \nmusic by Berg and Schoenberg (PASC 445), these earliest of Vox's stereo \nrecordings indicate a degree of experimentation with the new concept of \nsoundstage and twin-channel recording. Both the Symphony and the \nVariations demonstrated an exceptionally wide image with a distinct \n\"hole in the middle\" as a result. A combination of digital phase \nalignment and a slight stereo narrowing (to about 85% of the original \nwidth) has done much to produce a far more satisfying and coherent sound\n picture in the two German recordings.\u003cli\u003e\n\u003cp\u003eXR remastering has, once again, done wonders for the tonal balance of\n the orchestras in all three of these recordings, though at times it \nproved tricky to find an acceptable balance between full clarity in the \nupper woodwinds and a tendency in the violins to a somewhat wiry tone, \nalmost certainly as a result of microphone placement during recording \nthe Vox sessions. The Paris orchestra was considerably more \"forward\" in\n tone and this has been somewhat ameliorated. This mono broadcast \nrecording has been presented here in Ambient Stereo, preserving the mono\n image whilst allowing a degree of ambient \"air\" around it. Once again \nI'm grateful to Misha Horenstein for source recordings and help and \nadvice on repertoire and background information.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cli\u003e\n\u003cem\u003e\u003c\/em\u003e\u003cem\u003eAndrew Rose\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\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e  Symphony No. 3 in F major, Op. 90\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\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e  Variations on a Theme by Haydn, Op.56\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\u003e\u003cspan style=\"font-size: small;\"\u003eOrchestra of the Southwest German Radio (SWDR)\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eStereo studio recordings, 20-30 October 1957\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan class=\"bodybigblue\" style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e  Tragic Overture, Op.81\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003e\u003cspan\u003eOrchestre National de la Radiodiffusion Française\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: x-small;\"\u003eLive broadcast, 19 November 1956\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eJascha Horenstein\u003c\/b\u003e, conductor\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC449.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC449.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":31975657165,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":31975657229,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":31975657293,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC449_11b032a8-57d4-4d9b-8a88-953f05f33c12.jpg?v=1487682220"},{"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":"pasc439","title":"HUBERMAN plays Tchaikovsky and Lalo (1928-34) - PASC439","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY\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;\"\u003eLALO\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphonie Espagnole\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eEncores by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBrahms, Chopin, Sarasate, Tchaikovsky\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e and \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eZarzycki\u003c\/span\u003e\u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\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=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio and live recordings, 1928-34\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 72:03\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\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;\"\u003eWilliam Steinberg ∙ Staatskapelle Berlin\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eGeorge Szell ∙ Vienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSiegfried Schultze\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, piano\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\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe performances are unique. There really was no other violinist quite like Huberman578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI can join a long line of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ecritics\n (as well as many others) in praising these recordings, which have been \nclassics since they were made (the Tchaikovsky in 1928, the Lalo in \n1934, and the miniatures 1929–1932). You can go to the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eArchive\n and read enthusiastic raves (and excellent descriptions too) by John \nBauman in 12:4 and 16:5 (the latter the Lalo only), by David Nelson in \n14:4, and Lynn René Bayley in 36:6. Bayley’s review was of a Japanese \nreissue on the Opus Kura label, and I was able to make a direct A-B \ncomparison between the Opus Kura and the Pristine. More importantly, I \nwas able to compare the Pristine with the excellent Naxos transfer of \nthe Tchaikovsky made by Mark Obert-Thorn (paired with a less successful \ntransfer of the Huberman\/Szell Beethoven Concerto) issued in 1999. \nWhatever comparison you make, this now becomes the preferred version of \nboth of these big works, with the miniatures making a lovely bonus. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Opus Kura transfer was noisy and a \nbit harsh. Their engineers obviously took a minimalist approach to \nremoving surface noise from the original 78s, and one admires the purism\n of that style of transferring. However the result had a distracting \namount of noise, and frankly also a hardness of tone to Huberman’s \nplaying and the orchestral strings. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Naxos transfer from 1999 was the \nbest to that date of the Tchaikovsky, and it stood the test of time for \nwell over a decade. The Lalo has never had a truly first-rate transfer. \nBut Andrew Rose has trumped all of his predecessors. There is less noise\n on the Tchaikovsky than is audible on Naxos’s transfer, but Rose has \nmanaged to remove that noise without negatively affecting the sound of \nthe soloist or orchestra. And his XR stereo approach adds some air and \nspace to the overall soundstage without detracting from clarity or \npresence. It is difficult to imagine that anyone will ever make these \nsound better, though I suppose I might have said that after the Naxos \nTchaikovsky release. At any rate, this is \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethe \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eversion to have of these two classic performances.  [\u003ci\u003e*see note below\u003c\/i\u003e]\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe performances are unique. There \nreally was no other violinist quite like Huberman, and you can get a \nsense of that from reading the reviews in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eArchive that I cited above. Huberman could produce a beautiful, rich tone (listen to the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eof\n the Lalo or the Canzonetta of the Tchaikovsky), but beautiful tone was \nnot the centerpiece of his art. Huberman was, in my view, about \nspontaneous flair, spur-of-the-moment drama that nonetheless didn’t pull\n the piece out of shape. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI think this is the very first \nrecording of the Tchaikovsky Concerto. That it has remained available to\n the public on various labels on both LP and CD in the 87 years since it\n was made already makes a statement about its quality. Huberman’s highly\n individual use of portamento and rubato, his phenomenal ability to \nemploy a spiccato technique with a musicality and accuracy that are \nuncanny, his feel for the ebb and flow of Tchaikovky’s line, and the \nfeeling he conveys that he is composing the music as he plays it, \ncombine to make this an extremely important and valuable recording of a \ncornerstone of the repertoire. The Canzonetta is a model of how to use \nrubato effectively to enhance a melodic line. Other critics have \nobserved that Huberman did not concern himself with “elegance,” with the\n niceties of avoiding occasional scrapings or edgy sounds. He was, \nfrequently, going for excitement and creating musical fire, and if a bit\n of beauty were to be sacrificed, all well and good. However much you \nadmire and enjoy Heifetz, Oistrakh, Milstein, Elman, or any other master\n violinist, it is essential that you know this recording. It is unlike \nany of the others. William Steinberg’s flexible accompaniment, and \norchestral playing with a real sense of occasion about it (after all, \nmaking a complete recording of a violin concerto was not an everyday \noccurrence back in 1928) add to the total. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Lalo is perhaps not as definitive a\n recording, if only because it followed the then common practice of \nomitting the third movement Intermezzo. Still, that same sense of \n“making it up on the spot,” a kind of excitement of discovery of the \nmusic that we rarely get in performances, is present here. And George \nSzell, by treating the score with the same respect he might give a \nMozart or Beethoven concerto, and by getting razor-sharp playing from \nthe Vienna Philharmonic, also makes a major contribution to the whole. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOne can feel a smile in the face during\n the playing of the miniatures. Clearly Huberman is having fun with the \nSarasate and Zarzycki pieces (I wish Pristine had included what I \nconsider to be Huberman’s greatest recording—Sarsate’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCarmen Fantasy\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e), and all are transferred with a more natural sound than previous efforts. They make a lovely bonus. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eFor anyone to whom the violin is an \nimportant instrument, and to anyone for whom the Tchaikovsky and\/or Lalo\n works are important pieces in the repertoire, this is a release of \ntruly historic importance. “Historic” can be an overused word, but in \nthis case it applies perfectly. \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 39:1 (Sept\/Oct 2015) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003ci\u003e*NB. This is a mono release prepared for Pristine by Mark Obert-Thorn, not, as the reviewer mistakenly implies, an XR Ambient Stereo release remastered by Andrew Rose\u003c\/i\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC439.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eHuberman's magnificent Tchaikovsky and Lalo - and more!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"T\u003cspan class=\"TIMES\"\u003ehis is a release of truly historic importance\u003c\/span\u003e\" - Fanfare\u003cbr\u003e\"There are no greater violin recordings in existence\" - Gramophone\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eBronislaw Huberman’s 36-year recording career began with four sides \nfor Berliner in 1899 and continued in a series of piano-accompanied \nacoustics for American Brunswick (1921 - 1925).  But it was not until he\n started making electrical recordings for Columbia in Europe (1928 – \n1935) that he was first heard on disc with orchestra.  The Tchaikovsky \nConcerto presented here comes from his first session for the label; but \nthere would be a hiatus of six years before he would record any more \nconcertos, and the rest were all done in a group of concentrated \nsessions in a single month.\u003c\/p\u003e\u003cp\u003eDuring a ten-day period from June 13th through the 22nd in 1934, \nHuberman recorded the two Bach violin concertos and the Mozart 3rd under\n Issay Dobrowen (all on Pristine PASC 397), followed by the Beethoven \n(PASC 421) and the present Lalo \u003cem\u003eSymphonie espagnole\u003c\/em\u003e with George\n Szell.  The sessions were a logistical nightmare:  the hall was often \nin use for other functions; the orchestra was playing at a special \nfestival every night; and Szell had to commute between Vienna and \nPrague, where he conducted evening performances after spending the days \nrecording. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eAdded to this was Huberman’s own highly-strung temperament.  As \nColumbia A\u0026amp;R rep Rex Palmer wrote to his London home office at the \ntime, the violinist “broke down in the middle of a record on innumerable\n occasions, and even after obtaining a [completed] master he needed 5 or\n 10 minutes rest before anything further could be done.”  Despite the \nvarious tribulations, Huberman produced classic accounts of all the \nworks recorded, not the least of which was the Lalo.  Through the rather\n over-reverberant hall sound and occasional technical imperfections of \nthe original recording, we hear a performance of great panache and \ndazzling, insouciant virtuosity. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe Tchaikovsky Concerto shows another aspect of Huberman’s art.  \nCritic Hans Keller famously called the violinist “part gypsy, part \nsaint”; and while the Bach concertos embody the latter quality, the \nTchaikovsky is perhaps the best example of the former.  No soloist today\n would dare to play the work with the kind of rough-hewn individuality \nand disciplined abandon that Huberman brings to it.  When we hear it, we\n are reminded anew why we listen to historical recordings.  Huberman is \npartnered here with the conductor then known as Hans Wilhelm Steinberg, \nwith whom he would go on to co-found the Palestine Symphony Orchestra \n(later to become the Israel Philharmonic) some eight years later.\u003c\/p\u003e\u003cp\u003eAfter his recording career reached a premature end, Huberman would \ncontinue to play the concerto repertoire in concerts, some of which were\n broadcast and preserved on disc.  A Mozart 4th under Bruno Walter \nsurvives (PASC 397), as does the Brahms with Rodziński (PASC 421), \nanother Beethoven with Leon Barzin and, just a year before his death, \nanother Tchaikovsky with Ormandy.  Unlike those performances, fine as \nthey are, the recordings on this collection catch him at the height of \nhis powers, before the 1937 plane crash that injured his hands.  They \nstand as a testament to one of the greatest of all violinists and \nrecreative artists.\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\n    \u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eHUBERMAN: TCHAIKOVSKY Violin Concerto, LALO Symphonie Espagnole\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\n        Encores by Brahms, Chopin, Sarasate, Tchaikovsky and Zarzycki\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\u003cstrong\u003eColumbia Studio Recordings ∙ 1928 – 1934\u003c\/strong\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cdiv\u003e\n    \u003cp\u003e\n        \u003cstrong\u003e \u003c\/strong\u003e\n    \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e TCHAIKOVSKY: Violin Concerto in D major, Op. 35\u003c\/strong\u003e\u003cbr\u003e1. 1st Mvt.: Allegro moderato – Cadenza (16:04)\u003cbr\u003e2. 2nd Mvt.: Canzonetta: Andante (6:06)\u003cbr\u003e3. 3rd Mvt.: Finale: Allegro vivacissimo (6:00)\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eStaatskapelle Berlin ∙ William Steinberg\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cspan style=\"font-size: 10px;\"\u003eRecorded 28 \u0026amp; 30 December 1928 in the Beethovensaal, Berlin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eMatrix nos.: WAX 4509-2, 4510-1, 4511-1, 4512-2, 4513-2, 4514-1 \u0026amp;\n    4515-2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eFirst issued on Columbia L 2335 through 2338\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e4. \u003cstrong\u003eTCHAIKOVSKY: Mélodie, Op. 42, No. 3\u003c\/strong\u003e (3:29)\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded 22 February 1929 in the Columbia Petty France Studio, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eMatrix no.: WAX 4671-1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eFirst issued on Columbia L 2338\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    5.\n    \u003cstrong\u003e\n        CHOPIN (arr. Huberman): Waltz in C-sharp minor, Op 64, No. 2\n    \u003c\/strong\u003e\n    (3:15)\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded 22 February 1929 in the Columbia Petty France Studio, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eMatrix no.: WAX 4672-2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eFirst issued on Columbia LX 137\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n6. \u003cstrong\u003eBRAHMS (arr. Joachim): Hungarian Dance No. 1 in G minor \u003c\/strong\u003e    \u003cstrong\u003e \u003c\/strong\u003e(3:01)\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded 7 February 1932\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eMatrix no.: IDWA 9155-5\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eFirst issued on Columbia LB 8\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    7.\n    \u003cstrong\u003e\n        SARASATE: Romanza andaluza (No. 1 from \u003cem\u003eDanzas españolas\u003c\/em\u003e, Op.\n        22)\n    \u003c\/strong\u003e\n    (4:39)\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded 10 June 1929 in the Columbia Petty France Studio, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eMatrix no.: WAX 5006-1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eFirst issued on Columbia L 2332\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    8. \u003cstrong\u003eZARZYCKI: Mazurka in G major, Op. 26\u003c\/strong\u003e (4:22)\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded 11 June 1929 in the Columbia Petty France Studio, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eMatrix no.: WAX 5011-1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eFirst issued on Columbia L 2332\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eSiegfried Schultze (piano) \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eLALO: Symphonie espagnole, Op. 21\u003c\/strong\u003e\u003cbr\u003e9. 1st Mvt.: Allegro non troppo (7:22)\u003cbr\u003e10. 2nd Mvt.: Scherzando: Allego molto (3:49)\u003cbr\u003e11. 4th Mvt.: Andante (6:02)\u003cbr\u003e12. 5th Mvt: Rondo: Allegro (7:54)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eVienna Philharmonic Orchestra ∙ George Szell\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cspan style=\"font-size: 10px;\"\u003eRecorded 20 \u0026amp; 22 June 1934 in the Mittlerer Konzerthaussaal, Vienna\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eMatrix nos.: WHAX 39-3, 40-2, 41-2, 42-1, 43-3 \u0026amp; 44-1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eFirst issued on Columbia LX 347 through 349\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eBronislaw Huberman (violin)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n    Producer and Audio Restoration Engineer: Mark Obert-Thorn\n\u003c\/p\u003e\n\u003cp\u003e\n    Additional restoration and pitch stabilisation by Andrew Rose\n\u003c\/p\u003e\n\u003cp\u003e\n    Total Timing: 72:04\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC439.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC439.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":14167871389757,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":14167871422525,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC439_1e2ce042-89d4-4b33-815c-d28714f3c727.jpg?v=1556784961"},{"product_id":"pakm035","title":"KATCHEN Brahms: Piano Sonata No. 3; Rachmaninov: Piano Concerto No. 2 (1949\/51) - PAKM035","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;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Sonata No. 3\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eRACHMANINOV \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concerto No. 2\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\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 1949 and 1951\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 64:28\u003c\/span\u003e\u003cbr\u003e \u003c\/span\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;\"\u003eJulius Katchen, \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\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe New Symphony Orchestra\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\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e Anatole Fistoulari\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM035.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eGroundbreaking LP releases from the great virtuoso Katchen\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eThe first solo piano \u0026amp; piano concerto LPs - now in exceptional XR remasters\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eBoth of these recordings represent true milestones in \nthe development of the long playing record. The Brahms was originally \nreleased in the USA by Decca's American subsidiary, London, some seven \nmonths prior to Decca's launch of the LP format in the UK in June 1950, \nwhen this LP was amongst the first batch of issues. Although the long \nplayer had been around in the States for some two years, Katchen's LP \nrelease of the Brahms \u003cem\u003e3rd Piano Sonata\u003c\/em\u003e was in fact the first full LP of music for solo piano.\u003c\/p\u003e\u003cp class=\"body\"\u003eA year later, the pianist notched up a second historic first - astonishingly, the Rachmaninov \u003cem\u003e2nd Concerto\u003c\/em\u003e\n recording he made with Fistoulari just two months prior to its June \nrelease was the first piano concerto release on LP. Both this and the \nBrahms are worthy holders of these titles - Katchen is still today \nremembered perhaps more than anything for his playing of Brahms, and \nalthough the \u003cem\u003e3rd Sonata\u003c\/em\u003e was not his earliest recording of \nBrahms for Decca, it was the first to see commercial release:; in May \n1947 Katchen had recorded the \u003cem\u003eVariations and Fugue on a Theme by Handel\u003c\/em\u003e in a session which aslo saw the recording of his first actual Decca disc release (Liszt's \u003cem\u003eHungarian Rhapsody\u003c\/em\u003e\n was issued on 78rpm in February 1948). This first Brahms recording has \nremained unissued, along with two other recordings from this session, \nand it was remade in a recording done in April 1949 and issued first on \n78rpm in September 1950 and eventually on vinyl in 1952.\u003c\/p\u003e\u003cp class=\"body\"\u003eThis was clearly a confusing time for the record buyer. During the sessions that yielded the \u003cem\u003e3rd Sonata\u003c\/em\u003e, Katchen had also recorded Brahms' \u003cem\u003eIntermezzo in E flat Op.117\/1\u003c\/em\u003e, but this was only \u003cem\u003eever\u003c\/em\u003e issued on 78s - in a set which paired it with the \u003cem\u003eThird Sonata\u003c\/em\u003e\n (AX423-27) when issued on shellac nine months after the sonata's vinyl \nrelease! The same sessions resulted in three Chopin recordings which \nagain would have needed to be collected on both vinyl and shellac by the\n 1950's Katchen completist.\u003c\/p\u003e\u003cp class=\"body\"\u003eBy April 1951 things seem a little more settled, \nformat-wise. The Rachmaninov was still issued on both 33rpm and 78rpm, \nbut this time the vinyl and shellac release dates were just a month \napart (possibly less - we only have the month to go on and not the \nprecise issue date), with UK vinyl getting the priority over both \nshellac and the US vinyl release.\u003c\/p\u003e\u003cp class=\"body\"\u003eBoth of the sessions represented here were produced by \nthe legendary John Culshaw, with the equally revered Kenneth Wilkinson \nmanning the controls for the \u003cem\u003eConcerto\u003c\/em\u003e recording (we have no record of who engineered the \u003cem\u003eSonata\u003c\/em\u003e),\n and both live up to the standards one comes to expect from Decca at \nthis time. What is unusual about both, but was clearer to me when \nrestoring the \u003cem\u003eSonata\u003c\/em\u003e, is a rather unusual harmonic distortion \nthat was evident during louder sections at the frequency range above \nabout 8kHz. However, the trigger for this distortion is not the higher \nnotes - these are generally clean and clear when heard in isolation - \nbut rather the lower notes in the left hand. Booming bass notes seemed \nto trigger a high end distortion which subsequent research strongly \nsuggests was a product of the tape recorders in use at the time, rather \nthan the vinyl replay medium.\u003c\/p\u003e\u003cp class=\"body\"\u003eConsequently much of the time spend remastering these \notherwise excellent recordings has revolved around taming this tendency \nwhere it occurs. Both recordings have emerged from the XR remastering \nprocess sounding truly rejuvenated, and although sharper listeners with \nhighly analytical hi-fi systems, listening at higher volumes, may still \nbe aware of some residual traces of this distortion in the \u003cem\u003eSonata\u003c\/em\u003e,\n for the majority it will be merely a curiousity to be read about and \nnot heard. Certainly my own hi-fi speakers don't reproduce it noticeably\n at normal listening levels.\u003c\/p\u003e\u003cp class=\"body\"\u003eFrom a performance point of view it is clear why Katchen\n was to be associated with Brahms so much - this early recording is \nreally excellent. Writing in \u003cem\u003eThe Gramophone \u003c\/em\u003ein July 1950, L.S. has the following to say:\u003c\/p\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003ci\u003eJulius Katchen gives an impressive performance \nwhich has real coherence (he is, of course, helped by L.P. continuity): \nhe seems equally successful with the massive highly-strung style of the \nopening (how alike in feeling this is to the 'D minor Concerto, written a\n year later!) and the sentimental ardours of the slow movement (which is\n prefixed by three lines from a love poem by Sternau). In the Scherzo, \nwith its flying leaps, Katchen manages to keep the movement light and \nairy at the same time as giving it substance: in fact, the only \ncriticism I have to offer of this very considerable pianist is that he \nis inclined to overdo the left-hand-before-right-hand trick to express \ndeep feeling.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThe Rachmaninov's reviewer H.F., in August 1951, managed\n to get himself somewhat amusingly tangled up in the new-fangled vinyl \ntechnology:\u003c\/p\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003ci\u003eLong-playing records are almost as moody and \nunaccountable as composers. No amount of flattery, persuasion, and \ntactful handling will make this one play ball with me (perhaps out of an\n innate psychological sense of revenge that I am not a whole-hearted \nadmirer of Rachmaninov as a composer ?). The tonal range is wide enough;\n but when I turned things down so as to reach a tolerably pleasing \nall-over sound, there was no body left; as soon as I began to turn \nthings up, the effect was increasingly as if the music had been recorded\n in a biscuit tin...\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e...before delivering a verdict which turns to the \nperformance itself (suffice to say his concerns about sonics are not \nevident on this new Pristine XR issue):\u003c\/p\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003ci\u003eThis is the pianist's recording—he takes it by \nhis powers (which are high) and is allowed it by those who balanced \norchestra and solo instrument. Memory is a trickster, but I fancy \nRachmaninov himself played the Concerto with greater warmth, more \nlovingly, less athletically. In other ways Julius Katchen is a worthy \nfollower of that great performer. I feel that the performance as a whole\n design laid out before one suffers a little from the fact (as it seems \nto me) that the pauses are each slightly too long for gramophone \nreception. The piano tone is consistently far better than the orchestral\n tone, despite an occasional point of blasting. The pianist shows \nhimself at his best in the third movement ; but, indeed, he is \nexceptionally good all the way through.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSonata for Piano No. 3 in F minor, Op. 5\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003e\u003cb class=\"body\"\u003eJulius Katchen, piano\u003c\/b\u003e\u003cbr\u003e Recorded 11 October 1949, West Hampstead Studios, London, produced by John Culshaw\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003eIssued on LP in the USA Dec. 1949 as London LLP112 and in the UK in June 1950 as Decca LX4012\u003cbr\u003e Also issued in the UK as Decca 78s AX423-27 in March 1951\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRACHMANINOV\u003c\/b\u003e Concerto for Piano and Orchestra No. 2 in C minor, Op. 18\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e \u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003e\u003cb class=\"body\"\u003eJulius Katchen, piano\u003cbr\u003e The New Symphony Orchestra\u003cbr\u003e conductor Anatole Fistoulari\u003c\/b\u003e\u003cbr\u003e Recorded 11-12 April, 1951, Kingsway Hall, London, produced by John Culshaw, engineered by Kenneth Wilkinson\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003eIssued on LP in the UK in June 1951 as Decca LXT2595 and in the USA in July 1951 as London LLP384\u003cbr\u003e Also issued in the UK as Decca 78s AX535-39 in July 1951\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eTransfers and XR remastering by Andrew Rose at Pristine Audio, March 2010\u003cbr\u003eCover artwork based on a photograph of Julius Katchen\u003cbr\u003e\u003cbr\u003eTotal duration: 64:28 \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\/PAKM035.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM035.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":34044633101,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34044633229,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34044633357,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34044633485,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM035_e2cccb8d-80be-4fcb-904f-ab138a91a305.jpg?v=1489487920"},{"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":"paco012","title":"MENGELBERG Brahms: Ein Deutsches Requiem (1940) - PACO012","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;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e \u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eEin Deutsches Requiem, Op. 45\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\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 live in Amsterdam, 7th November 1940\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eDuration 65:50\u003c\/span\u003e\u003c\/span\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;\"\u003eJo Vincent, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003esoprano\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eMax Kloos, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003ebaritone\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eAmsterdam Toonkunst Choir\u003c\/span\u003e\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;\"\u003eRoyal Concertgebouw Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eConducted by\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e Willem Mengelberg\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fBill Rosen's Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThere are moments of great choral climaxes in Parts II and VI that are as great or greater than I've ever heard them578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThe Brahms German Requiem has been close to my heart ever since, as a \ncollege freshman, I sung in it at age 19. We rehearsed it for eight \nmonths under Hugo Strelitzer, an exile from the Nazis who had been an \naide to Richard Strauss. Strelitzer had often prepared the Requiem for \nStrauss to conduct; he made it clear that he thought little of our \nefforts. We turned to Brahms for solace. \u003cbr\u003e \u003cbr\u003e One wonders what \nStrauss would have thought of Mengelberg's performance. They were close \nand admiring friends. On the one hand, Mengelberg's German Requiem is a \ngreat and a magnificent performance even with the usual Mengelberg \nquirks; there are moments of great choral climaxes in Parts II and VI \nthat are as great or greater than I've ever heard them. On the other \nhand, Mengelberg has stuck a knife in his artistic creation that has \nwounded but not killed it. More anon. \u003cbr\u003e \u003cbr\u003e I Selig Sind \u003cbr\u003e \u003cbr\u003e \nThe opening movement is very good, but not great, due to Mengelberg's \ntypical tempo instabilities. Because of this, the beautiful modulation \nat \"Sie gehin hin\" does not make as great an impact as it could. Still, \nthere are many beautiful moments. \u003cbr\u003e \u003cbr\u003e II Denn alles Fleisch \u003cbr\u003e \u003cbr\u003e\n The opening funeral march is remarkably steady and the choral \nfortissimo is shocking and very clear. The trio is lovely and the repeat\n of the funeral march is archingly beautiful and forward in movement. \nThe Handelian fugue that follows is one of the greatest things I've \nheard from Mengelberg: entries strong and brilliantly clear; \ncounterpoint dazzling. Have I ever heard it this good before? And then, \nsuddenly, it's OVER. I can't believe it. A small poisonous doubt creeps \nin--can he have cut it? I don't have a score and I check timings with \nother performances and it's within the time limits, so I let it go. \u003cbr\u003e \u003cbr\u003e III Herr, lehre doch mich \u003cbr\u003e \u003cbr\u003e\n A superb baritone, Max Klos, opens with \"Lord, let me know mine end\" \nand the chorus is very beautiful in consoling him. And then Mengelberg \ndoes what no other conductor, not even Furtwängler, Toscanini or \nKlemperer has done: he conducts the usual murky pedal fugue as if it \nwere Mozart with great clarity and beauty. Every strand is clear; the \nchoral fugue above and the unyielding orchestral pedal below. A \nmagnificent accomplishment. \u003cbr\u003e \u003cbr\u003e IV Wie lieblich \u003cbr\u003e \u003cbr\u003e This acme of sweetness, this bob-bon is superb and the little contrapuntal acid in the middle cuts it very well. \u003cbr\u003e \u003cbr\u003e V I habt nun Traurigkeit \u003cbr\u003e \u003cbr\u003e Jo Vincent is not Elizabeth Schwartzkopf in the 1947 Karajan recording of the Requiem and that says it all. \u003cbr\u003e \u003cbr\u003e VI  Denn wir habel \u003cbr\u003e \u003cbr\u003e\n The great climax of the Requiem. Again Max Klos (nearly equal to Hans \nHotter) opens and Mengelberg creates great mystery and suspense. The \nmood finally breaks into tempestuous choral fury. The Pristine Audio \nrestoration has performed a real miracle here. The choral power is \"in \nyour face\"! The final \"Death, where is thy sting?\" is thrown out like \nhammerblows from heaven. I have never heard it with such power. I \nunderstand Strelitzer's contempt for our puny efforts. \u003cbr\u003e \u003cbr\u003e Then \nthe great Handelian fugue begins: \"Thou art worthy, o Lord\" and again \nMengelberg's mastery of chorus and orchestra is a thing to behold: \nclarity, power, unstoppable momentum. And it STOPS! \u003cbr\u003e And I know, \nbeyond the shadow of a doubt, that he has made a large cut! I search on \nthe Internet and find two references to large cuts in the 6th movement. \u003cbr\u003e \u003cbr\u003e\n What can one say to such an unbelievable, arrogant artistic blunder? \nCuts have been made to works, of course, to sections that were too long \nor where inspiration lagged. But to cut Brahms at the acme of his \ninspiration and Mengelberg at the height of his recreation? To me it is \nincomprehensible. It suggests to me that Mengelberg's great genius was \nmixed with considerable arrogance, that he did not feel as Schnabel did \nthat \"the music is always better than we can perform it\". \u003cbr\u003e \u003cbr\u003e VII Selig sind \u003cbr\u003e \u003cbr\u003e Strong, heavy. It is perhaps now WE who need the consolations of the Requiem. \u003cbr\u003e \u003cbr\u003e\n It is obvious that I feel strongly about the cuts. Even so, this is a \nmagnificent performance of the German Requiem with miraculous sound \nespecially in the fortissimo choral pssages. I cannot forbear to listen \nto it, even while I realize that Mengelberg lacked the artistic \ngreatness of a Schnabel, a Toscanini or a Furtwängler.\u003cbr\u003e\u003cbr\u003eReviewer: Bill Rosen\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO012.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFabulous wartime Brahms Requiem from Holland\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eMengelberg's live 1940 performance in a superb sonic make-over\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\nBrahms' German Requiem, given its first full performance in Leipzig in \n1869, began life over a decade earlier in sketches for a projected first\n symphony, which became the first Piano Concerto. It is unclear whether \nthe death of Brahms' great friend and mentor, Schumann, became the \noriginal impetus for the work; what is clear is that the death of his \nmother in 1865 inspired the composer to put his full effort into the \nwork.\u003cbr\u003e\u003cbr\u003eA first performance in 1867, of the opening three \nmovements, was not a great success - the playing was poor and it was \nbadly received. Five months later a six-movement version, then intended \nto be complete, was given in Bremen Cathedral with the composer \nconducting, and his father, and friends Clara Schumann and the violinist\n Joachim amongst those present in what was a deeply moving event. The \nfifth movement was then added, giving a symmetry and balance to the \nwhole piece. \u003cbr\u003e\u003cbr\u003eAt the age of thirty-five, Brahms was finally fully\n established as a composer with the success of this piece, and the \nproclamation made many years earlier by Schumann, that in Brahms the \nworld had a worthy successor to Beethoven, began to look possible. \u003cbr\u003e\u003cbr\u003eThe\n text is not drawn from the Catholic Mass, as with a majority of Requiem\n Masses set to music at this time; Brahms instead drew on Luther's \nGerman Bible to produce a text designed to console and inspire the \nliving, rather than offering prayers to the dead. (See below for links \nto further detailed information about this piece)\u003cbr\u003e\u003cbr\u003eThis \nrecording, made onto acetate 78rpm discs by a Dutch radio station in \n1940, was one of a number of Mengelberg's live output that has survived \nreasonably well. I say reasonably, as the recording itself was \noriginally very good, but wear and tear of the delicate and unique disc \nsurfaces in the twenty years prior to their transfer to tape and then LP\n had caused significant damage.\u003cbr\u003e\u003cbr\u003eOnly very recently has the \ntechnology become available to correct the problems inherent in the \noriginal discs, and by the slow and painstaking application of new \nrestoration techniques we are now able to present this wonderful \nrecording in a sound quality far superior to anything heard before. \u003cbr\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_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO012.jpg578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO012.pdf578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":33988856845,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":33988856909,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO012.jpg?v=1489415075"},{"product_id":"pasc403","title":"MUNCH Boston Rarities Volume 1 (1950\/51) - PASC403","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=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUMANN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 1 in B-Flat, “Spring”\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 Symphony No. 4 in E Minor\u003c\/span\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 Recordings · 1950\/51\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 72:06\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\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eCharles Munch\u003c\/span\u003e\u003c\/b\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBoston Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/div\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fVive le beau Charles! 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThese are great performances, available\n for the first time on CD. Why should one get monaural recordings of \nworks Munch and the BSO re-recorded in stereo? First, as producer Mark \nObert-Thorn notes, the present version of the Schumann includes repeats \nin the first and fourth movements that Munch omitted in his 1959 remake.\n The repeats contribute to the majesty and depth of Munch’s overall \nconception. Second, Munch rarely gave the same interpretation of a work \nin repeat performances. He was a highly improvisational artist, which in\n part accounted for his relaxed attitude toward rehearsals. Michael \nSteinberg, the BSO’s longtime program annotator, wrote that Munch was \n“short on discipline and sheer industry,” but I think he just saw no \nneed to imprint one specific performance on the orchestra during \nrehearsal. My high school music teacher said that Munch was “too nice a \nguy,” yet if you take him in total you appreciate the results that he \ngot. As with Karajan and Giulini, Munch’s handsome features gave him an \nadvantage in drawing a beautiful sound out of an orchestra. As an older \nwoman I know said to me of Munch, “I thought he looked like God.” \nCertainly the performances on the present CD are filled with electricity\n and sheer sonic beauty. Martin Bookspan wrote that Munch had a tendency\n to “freeze up” in the recording studio, but that’s not the case here. A\n BSO player commenting on the succession of Erich Leinsdorf to Munch as \nmusic director said, “The highs were not as high, but the lows were not \nas low.” Luckily we have two instances here of “the highs.” \u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn the “Spring” Symphony, the introduction of the opening movement is like the unraveling of some cosmic matter, a sort of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMaestoso \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003echurning\n of the heavens. The movement’s main section is loaded with charm, as \nall nature comes to life. The BSO players are on the edge of their \nseats. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLarghetto \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003epresents\n a pastoral idyll, with the sun and clouds shifting through the trees. A\n peasant feeling dominates the scherzo, mixing together song and dance. \nThe final movement’s high spirits almost sound a bit tipsy, as if \nSchumann were translating his heavy drinking into sound. This surely is \none of the great statements of this symphony. In the Brahms Fourth, one \nnotes Munch’s admiration for Toscanini. There is the same quickness in \ntempo and clarity of texture, although Munch draws a more beautiful \nsound out of the BSO than Toscanini did from the NBC. At no point do we \nencounter the Central European indulgence in phrasing and plushness of \nsound that one hears, say, from Wolfgang Sawallisch and the London \nPhilharmonic. Munch’s opening movement is direct and unaffected. The \nseverity of its rhetoric is offset by a bucolic feeling in the winds. \nHis slow movement sounds like a dramatic soliloquy, Shakespearean in its\n sense of self-revelation. The third movement is positively Jovian, \nhaving an Olympian jocosity. For the last movement, Munch takes the \ndirection “with energy and passion” very much to heart. To Munch, \nthere’s an inevitability to this last symphonic movement by \nBrahms—nothing could follow it. I’m not sure I always would want to hear\n the Brahms Fourth this way, but when I’m in the mood it’s fantastic. \u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThe sound engineering is full and \nprobably too reverberant, although the Brahms is a little closer up than\n the Schumann. Obert-Thorn has opted to leave in a lot of tape hiss, \nwhich in all likelihood does the tone color some good. My favorite \nstereo version of the Schumann is the period performance informed \naccount by Florian Merz conducting the Klassische Philharmonie \nDüsseldorf. For a traditional rendition, I like Christoph Eschenbach \nwith the Bamberg Symphony; I have not heard his Hamburg remake. The best\n stereo Brahms Fourth I know is Antal Doráti’s with the London Symphony.\n Charles Munch’s recordings were an integral part of my upbringing, so \nencountering the present reissue was like meeting again a treasured and \nadmired friend. All I can say about this CD is \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eVive le beau Charles! \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDave Saemann\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:1 (Sept\/Oct 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC403.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eRare 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\u003eFirst CD outing for these major symphonic works in new Obert-Thorn transfers\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThis release is the first of two which focus on Munch\/Boston studio \nrecordings that have never seen an “official” CD reissue, not even in \nthe 40-CD (plus one bonus CD) Japanese RCA series, “The Art of Charles \nMunch”. The present program features two symphonies recorded early in \nMunch’s Boston tenure. One distinguishing characteristic of the Schumann\n is that the first and fourth movement repeats are observed on this \nrecording, while they are cut in Munch’s 1959 stereo remake.\u003c\/p\u003e\u003cp\u003eThe original LPs were burdened with a rather uningratiating sound \n(surprisingly from the same Richard Mohr\/Lewis Layton team which would \ngo on to produce so many excellent “Living Stereo” releases) – \nover-reverberant and limiter-plagued. This was a conscious choice in \nRCA’s engineering from the mid-1940s through the early ‘50s to suggest, \nas one modern critic put it, a sound so huge, it could scarcely be \ncontained by the microphones. Adding insult to injury, the original LP \nissue of the Schumann was pitched a semitone sharp, and the first \nmovement contained several minor but noticeable pitch drops. These have \nbeen corrected in the current release.\u003c\/p\u003e\u003cp class=\"western\"\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\u003cbr\u003e\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eSCHUMANN  \u003c\/b\u003eSymphony No. 1 in B-flat major, Op. 38, “Spring”\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eRecorded 25 April 1951 in Symphony Hall, Boston\u003cbr\u003eFirst issued on RCA Victor LM-1190\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e  Symphony No. 4 in E minor, Op. 98\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eRecorded 10 - 11 April 1950 in Symphony Hall, Boston\u003cbr\u003eFirst issued on RCA Victor LM-1086\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eBoston Symphony Orchestra · Charles Munch\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC403.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC403.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cb\u003eMunch in Boston\u003c\/b\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\u003e\u003cbr\u003e\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":"Ambient Stereo 16-bit FLAC","offer_id":90077364250,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":90077397018,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":90077429786,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC403_fa840ab3-2f92-4943-91a7-7c688e57fd97.jpg?v=1501752110"},{"product_id":"paco019","title":"SCHUMANN BBC Lecture Recitals (1950, 1951) - PACO019","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;\"\u003eELISABETH SCHUMANN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Illustrated lectures\u003c\/span\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\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eBBC Radio broadcasts from 1950 and 1951\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eDuration 52:03\u003c\/span\u003e\u003c\/span\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;\"\u003eElisabeth Schumann, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003esoprano\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eErnest Lush, \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_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\"This\n is so much more than a record of a singer performing songs; it is a \nwindow to another era, the era of Slezak and Gadski, Gerhardt and Paul \nReimers, singers for whom expression was as important as musicality. \nNeedless to say, Pristine Classical enhances the sound quality of the \noriginal disc, although a small amount of the original surface swish \nremains. Indispensable for fans of the soprano as well as for vocal \nstudents wanting to learn more about the interpretation of Lied.\"\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: medium;\"\u003e - Fanfare, May\/June 2008\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO019.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBBC Lecture-Recitals, 1950, 1951\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eAs given by by Elisabeth Schumann\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThese lectures offer a fascinating insight into the life and music of\n the much-loved soprano, Elisabeth Schumann, speaking at the end of her \nlife (she died in 1952). Amongst the musical suggestions and \nillustrations she sprinkles anecdotal gems, such as can be heard in our \nsample here, where Brahms berates the orchestra of Arthur Nikisch and \ndemands that they play more \"blue\".\u003cbr\u003e\u003cbr\u003eShe leads us through a \nmusical journey of lied singing, and with expert accompaniment from \npianist Ernest Lush, offers seven full songs, plus numerous short \nexamples from both these and other works. Despite the simplicity of the \n1950's BBC presentational style, the programmes move along at a good \npace, neither overly technical nor glib - two delightful and rare \nofferings from one of the world's great singers.\u003cbr\u003e\u003cbr\u003eNotes on the \nrestoration:This recording came to us via a \"private issue\" 33rpm LP, \nwhich had clearly been mastered from older, probably acetate 78spm, \nrecords. Both lectures were originally rather murky and scratchy, with \nvarying amounts of noise and hiss throughout. I've used a series of \ntechniques modified from our usual XR restoration methods to improve the\n tonal quality of both speech and singing here, and carried out a huge \namount of declicking and decrackling, as well as a considerable amount \nof noise reduction. Some remnants of the original poor quality sound \ndoes, inevitably, remain - largely in the background - and should not be\n a distraction from the fascinating musical and speech contain to be \nfound herein.\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\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cb\u003e Mozart\u003c\/b\u003e: Das Veilchen (KV.476)\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e Schubert\u003c\/b\u003e: Lachen und Weinen (D.777)\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e Wolf\u003c\/b\u003e: Mausfallen-Spruchlein\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e Brahms\u003c\/b\u003e: Vergeliches Ständchen (Op. 84 No. 4)\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e R. Strauss\u003c\/b\u003e: Morgen (Op. 27 No. 4)\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e Schubert\u003c\/b\u003e: Die Forelle (D.550)\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eWolf\u003c\/b\u003e: In dem Schatten meiner Locken\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBBC Radio broadcasts from 1950 and 1951\u003cbr\u003e\u003cbr\u003eTransferred from private LP issue EJS-328\u003cbr\u003eOriginal source probably acetate 78rpm discs\u003cbr\u003e\u003cbr\u003ePristine Audio remastering by Andrew Rose, August 2007\u003cbr\u003eDuration 52:03\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eElisabeth Schumann, \u003c\/b\u003esoprano\u003cbr\u003e\u003cb\u003eErnest Lush, \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\/PACO019.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO019.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":33989369933,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":33989370061,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO019.jpg?v=1489416650"},{"product_id":"pacm054","title":"SERKIN, BUSCH QUARTET Brahms: Piano Quartet No. 2 (1932) - PACM054","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Piano Quartet No.2 in A, Op. 26\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\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 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\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;\"\u003eAbbey Road Studio 3, London, 21 September 1932\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\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\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eDuration 39:16\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"color: #000000\"\u003e\u003cb\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRudolf Serkin\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, piano\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eMembers of The Busch Quartet:\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eAdolf Busch, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eKarl Doktor\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, viola\u003c\/span\u003e\u003cb\u003e \u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eHermann Busch, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM054.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eRudolph Serkin \u0026amp; the Busch Qt. play Brahms\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\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eThis recording, made the day after Rudoph \nSerkin and Adolf Busch had recorded Brahms' 2nd violin sonata, was one \nof a series of Brahms recordings Busch and Serkin were contracted to HMV\n to record during the early 1930's, though it would be a further 16 \nyears before they tackled the first of Brahms' Piano Quartets, and no \nrecording of his third was ever made by Serkin.\u003cp\u003eThe discs themselves, although immaculate \ncopies, showed varying problems of swish, variable surface noise, and in\n parts a rather murky sound - much of which can probably be put down to \noriginal mastering difficulties. As always the goal has been to iron out\n these variations whilst preserving as much sound quality as possible, \nso that the finished transfer doesn't interfere with hearing superb \nmusicianship and believable instruments, and I hope you'll find that \nthis goal has been successfully achieved.\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\u003eBRAHMS\u003c\/b\u003e Piano Quartet No.2 in A, Op. 26\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cdiv\u003e\n\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\u003eAbbey Road Studio 3, London, 21 September 1932\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cbr\u003eIssued as HMV DB.1849-52\u003cbr\u003eMatrix numbers 2B.3876-83\u003cbr\u003eTakes 2, 1, 1, 3, 3, 4, 2, 2\u003cbr\u003eDuration 39:16\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\u003cp\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cb\u003e\u003cbr\u003eRudolf Serkin\u003c\/b\u003e, piano\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003eMembers of The Busch Quartet:\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eAdolf Busch, \u003c\/b\u003eviolin\u003cbr\u003e\u003cb\u003eKarl Doktor\u003c\/b\u003e, viola\u003cb\u003e \u003cbr\u003eHermann Busch, \u003c\/b\u003ecello\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\/PACM054.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM054.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":31463535629,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31463535693,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":31463535757,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM054_7eaee5fc-a0b0-43de-a465-c6e704b191c6.jpg?v=1487682578"},{"product_id":"pacm078","title":"SPALDING \u0026 DOHNÁNYI The Brahms Violin Sonatas (1951) - PACM078","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;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eViolin Sonata No. \u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e1 in G major, Op. 78\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\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;\"\u003eViolin Sonata No. \u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e2 in A major, Op. 100\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eViolin Sonata No. \u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e3 in D minor, Op. 108\u003c\/span\u003e\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\u003c\/span\u003e\u003c\/span\u003e\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\n\u003cdiv\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1951\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 67:21\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eAlbert Spalding, \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\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e Ernö Dohnányi, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano \u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM078.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003e\"America's greatest native-born violinist\" brilliant in Brahms\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eLegendary, long out-of-print recordings return in new Obert-Thorn transfers\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003e\u003cbr\u003eThese legendary recordings, featuring America's greatest\n native-born violinist and the famous Hungarian \ncomposer\/conductor\/pianist, have not been generally available since the \ndemise of the Remington label over half a century ago. Multiple copies \nof each of the two LPs containing the sonatas were assembled for \ntransfer. The First Sonata came from one of Remington's later, \nblack-and-gold label vinyl pressings, featuring quieter surfaces than \nthe original, red label issues, which seemed to have been pressed on a \nnoisier hard plastic-like material. (The odd noise during the slow \nmovement appears to be the banging of a radiator in the studio. There is\n also a momentary pitch fluctuation in the original master during this \nmovement.)\u003c\/p\u003e\u003cp class=\"body\"\u003eAlthough I had two copies of the disc with the Second \nand Third Sonatas available on the later pressings, I found that both \nhad a noticeable pitch wobble, even when the discs were perfectly \ncentered. This was probably due to either the master tape or the disc \ncutting table turning at an uneven speed. Since the red label pressings \ndid not exhibit this flaw, they were used for those works, despite their\n greater surface imperfections.\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\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\u003eBRAHMS \u003c\/b\u003eViolin Sonata No. \u003cspan class=\"bodybigblue\"\u003e1 in G major, Op. 78\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eRecorded in 1951 in New York City\u003cbr\u003eFirst issued on Remington R-199-84 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\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\u003eViolin Sonata No. \u003cspan class=\"bodybigblue\"\u003e2 in A major, Op. 100\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eRecorded in 1951 in New York City\u003cbr\u003eFirst issued on Remington R-199-49\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eViolin Sonata No. \u003cspan class=\"bodybigblue\"\u003e3 in D minor, Op. 108\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eRecorded in 1951 in New York City\u003cbr\u003eFirst issued on Remington R-199-49\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\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\u003cdiv\u003e\n\u003cbr\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003e Cover artwork based on a photograph of Albert Spalding\u003cbr\u003e\n Special thanks to Frank Forman, Richard A. Kaplan, Donald Manildi and \nthe International Piano Archives at the University of Maryland (IPAM) \nfor providing source material\u003cbr\u003eTotal duration: 67:21\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan class=\"body\"\u003eAlbert Spalding, \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan class=\"body\"\u003eErnö Dohnányi, \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003epiano \u003c\/span\u003e\n\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\/PACM078.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM078.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":37198641357,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37198641421,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37198641485,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM078_46a21868-9f47-4ef8-a06e-3ab04edb4cab.jpg?v=1494407302"},{"product_id":"pakm065","title":"SPIVAKOVSKY Bach to Bloch, Volume 1 (1955-67) - PAKM065","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBACH-LISZT \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Great Organ Fantasy \u0026amp; Fugue in G Minor BWV 542\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSonata No. 21 in C Major Op. 53 (Waldstein)\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eCHOPIN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eBallade No. 1 in G Minor Op. 23\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eRomanze in F Major Op. 118 No. 5\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePrelude Bk. 1 No. 7, Ce qu'a vu le vent d'Ouest\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePrelude Bk. 1 No. 12, Minstrels\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eKABALEVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSonata No. 3 in F Major Op. 46\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 1955-1967\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eDuration 70:25\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJascha Spivakovsky,\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e piano\u003c\/span\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis central movement is a mere five minutes, yet under Spivakovsky’s fingers seems to speak of whole worlds578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eJascha Spivakovsky (1896–1970) is quite\n a find. His teacher, Moritz Maher-Marr, studied with Franz Liszt and \nAnton Rubinstein, and this is one instance where a heritage being passed\n down is audible. His series of concerts with Furtwängler is possibly \nhis most famous endeavor, although he was chosen by Richard Strauss to \nplay the solo in that composer’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBurleske\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. His brother was the famous violinist Tossy Spivakovsky. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe recordings here were made in \nSpivakovsky’s own music room at his home in Melbourne, Australia by the \npianist’s son, Michael Spivakovsky, who also oversaw the transfers in \nMelbourne before they were sent to France for Pristine to restore and \nremaster, and, in fact, to acoustically “rehouse.” \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Bach\/Liszt is awe-inspiring in its \nbreadth of touch and its perfectly judged dimunuendos. Lines are clear \nthroughout, and the whole exudes a tremendous sense of an awareness of \nthe work’s structure. The “Waldstein” first movement is fast but \nprecise, the staccato and accuracy clearly the result of fingers of \nsteel. One thing that sings throughout this performance is a sense of \nrightness, of knowing. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio molto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is simply stunning, a perfect pocket of Beethovenian stillness where \nsilences speak with Webernian potency. The finale creeps in with real \nmagic and golden tone. Beauty is important here, and so is pedal \ntechnique. Spivakovsky is not afraid to use the pedal, but he does not \nshy away from the pedal-free, either. The result is terrifically \nexciting, imaginative, and true to the spirit of Beethoven. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe same clarity characterizes \nSpivakovsky’s Chopin. Any blurrings are clearly intentional and have a \nclear point relating to the composer’s ongoing narration. This is \nthought through, an object lesson in how to pedal in Chopin. The 6\/4 \nsection becomes the ghost of a waltz; the coda is astonishing because, \nwithout losing any of its excitement, it is both intelligent and \naccurate. The crepuscular side of Brahms (op. 118\/5) emerges from the \nstrong chords of this Romanze’s opening. Spivakovsky apparently often \npaired the two particular Debussy \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePréludes\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n on offer here. Perhaps some detail is blurred by the recording in the \n“West Wind” here, but it remains an impressive, elemental, and explosive\n reading; there is no such problem in “Minstrels,” given in a \nperformance of great, almost cartoony, character. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003ePerhaps the greatest treasure of all is\n Kabalevsky’s Sonata No. 3. He gives the piece more backbone than does \nMoiseiwitsch in his famous October 1946 HMV account. A link to Prokofiev\n in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante cantabile\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n seems clear, and Spivakovsky seems equally clear that Kabalevsky can \nplumb just as great depths as that better-known composer This central \nmovement is a mere five minutes, yet under Spivakovsky’s fingers seems \nto speak of whole worlds. Similarly the finale, which seems on the \nsurface to make reference to the same spirit as does Shostakovich in \ncircus mode, is here a sparkling piece of wit, yet one that fits the \nsonata’s overall concerns perfectly. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eJust one thing, and I am probably \nbeing remarkably stupid, but why is it called “Bach to Bloch”? There is \nno Bloch here (apart from perhaps a mental “Bloch” on my part), \nalphabetically it goes further than “B” and it goes further than Bloch \nchronologically, too (Kabalevsky died in 1987). Anyway, this is \nwonderful. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eColin Clarke\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eThis article originally appeared in Issue 39:2 (Nov\/Dec 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM065.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eIntroducing Jascha Spivakovsky (1896-1970), \"One of the greatest pianists of our time\"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eFirst solo piano release from a brilliant pianist who never recorded commercially\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"text-align: center;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003e“Back in Russia when I was four years old, my mother dragged me through \u003cbr\u003esnowdrifts \u003c\/span\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003etwenty feet deep to hear an outstanding prodigy. YOU were that prodigy.”\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cem\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003e\u003cbr\u003eVladimir Horowitz, 1948\u003c\/span\u003e\u003c\/em\u003e \u003cem\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"text-align: center;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003e“The sensation of London. At the last evening concert in the Albert Hall it is estimated that \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003e3,000 people were unable to gain admission, and there were scenes of wild enthusiasm.”\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cem\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003e\u003cbr\u003eThe Mercury\u003cbr\u003e\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"text-align: center;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: small; font-family: georgia, palatino;\"\u003e“Supreme mastery of the instrument and brilliant \u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan style=\"font-size: small; font-family: georgia, palatino;\"\u003etechnique [and] that rarer quality to be described only \u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan style=\"font-size: small; font-family: georgia, palatino;\"\u003eas soul … \u003cbr\u003emuch as I want to hear Cortot, I want to \u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan style=\"font-size: small; font-family: georgia, palatino;\"\u003ehear Spivakovsky again still more”\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: small; font-family: georgia, palatino;\"\u003e\u003cem\u003e\u003cspan\u003e\u003cbr\u003eDover Express\u003c\/span\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eProducing this first volume of recordings by the pianist Jascha \nSpivakovsky has been something of a global endeavour. Co-ordinated by \nSpivakovsky's grandson, Eden Spivakovsky initially from Singapore, now \nin Australia, with transfers overseen by Spivakovsky's son, Michael at a\n renowned mastering studio in Melbourne, Australia, the choices for this\n volume were then sent to me in France for audio restoration and \nremastering. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eAfter much deliberation, this first volume concentrates on Jascha \nSpivakovsky's solo work - later volumes will include concerto and \nchamber music, the latter alongside Jascha's renowned violinist brother,\n Tossy Spivakovsky, and will delve further into the past. Most of the \npresent recordings were made by Jascha during rehearsals for concerts \nand broadcasts in Australia in the 1960s, and were recorded by Michael \nSpivakovsky onto a mono Tandberg reel-to-reel tape recorder using a \nstandard-issue microphone. They were not therefore intended for release,\n and it has been my task to elevate the quality of the recordings to a \nstandard which not only is acceptable to modern listeners but also does \nfull justice to Jascha Spivakovsky himself.\u003c\/p\u003e\u003cp\u003eUsing the most up-to-date audio restoration and remastering software,\n I've been able to correct pitch anomalies, compensate for the tonal \ninaccuracies of the microphone, eliminate electrical hum, greatly \ndiminish tape hiss, and digitally \"rehouse\" Jascha in one of the more \nintimate concert halls at Santa Cecilia, Rome, renowned for fine musical\n acoustics which complement the piano's tone, without introducing a wash\n of unnatural reverberation.\u003c\/p\u003e\u003cp\u003eThis page can only serve as an introduction to the incredible musical\n story of Jascha Spivakovsky - for a fuller picture I strongly recommend\n you visit \u003ca href=\"https:\/\/web.archive.org\/web\/20160327131238\/http:\/\/www.jascha.com\/\" target=\"_blank\"\u003ewww.jascha.com\u003c\/a\u003e and immerse yourself in an amazing musical voyage of discovery. As Damian Thompson of \u003cem\u003eThe Spectator\u003c\/em\u003e\n wrote to me a few days ago, in response to first hearing Jascha \nSpivakovsky: \"Greatest pianist I've never heard of? More like one of the\n greatest pianists I've heard.\"\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH-LISZT\u003c\/b\u003e The Great Organ Fantasy \u0026amp; Fugue in G Minor, BWV 542 \u003cbr\u003e\u003c\/span\u003e\u003ci\u003eRecorded Melbourne, November 1963\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Sonata No. 21 in C Major Op. 53 (Waldstein)\u003cbr\u003e\u003c\/span\u003e\u003ci\u003eRecorded Melbourne, around October 1967\u003cbr\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eCHOPIN\u003c\/b\u003e Ballade No. 1 in G Minor Op. 23\u003cbr\u003e\u003c\/span\u003e\u003ci\u003eRecorded Melbourne, December 1966\u003c\/i\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003ci\u003e \u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Romanze in F Major Op. 118 No. 5\u003cbr\u003e\u003c\/span\u003e\u003ci\u003eRecorded  c. October\/November 1955 (location unknown) \u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eDEBUSSY\u003c\/b\u003e Prelude Bk. 1 No. 7, \u003cem\u003eCe qu'a vu le vent d'Ouest\u003c\/em\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003ci\u003eRecorded  c. February\/March 1958 (location unknown)  \u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eDEBUSSY\u003c\/b\u003e Prelude Bk. 1 No. 12, \u003cem\u003eMinstrels\u003c\/em\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003ci\u003eRecorded  c. February\/March 1958 (location unknown) \u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eKABALEVSKY\u003c\/b\u003e Sonata No. 3 in F Major Op. 46\u003cbr\u003e\u003c\/span\u003e\u003ci\u003eRecorded Melbourne, c. May\/June 1962\u003c\/i\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eJascha Spivakovsky\u003c\/b\u003e, piano\u003cbr\u003e\u003cspan style=\"text-decoration: underline; color: #0000ff;\"\u003e\u003ca href=\"http:\/\/www.jascha.com\/\" target=\"_blank\"\u003e\u003cspan style=\"color: #0000ff;\"\u003ewww.jascha.com\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003ePrivate recordings were made in Jascha Spivakovsky's music room in Melbourne, Australia by Michael Spivakovsky\u003cbr\u003eTransfers by Crystal Mastering, Melbourne, Australia\u003cbr\u003eRestoration and XR remastering by Andrew Rose at Pristine Audio\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAKM065.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM065.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fDetailed Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\n    \u003cp\u003e\n        \u003cstrong\u003eJascha Spivakovsky\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003eBach to Bloch: Volume 1\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003eBach-Liszt Organ Fantasy and Fugue in G Minor BWV 542\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        Jascha Spivakovsky’s November 1963 recording of the Bach-Liszt Organ\n        Fantasy and Fugue in G Minor BWV 542 is a grand and noble\n        interpretation filled with passion and insight. The pianist had opened\n        recitals with this work as early as 1922, and in this performance four\n        decades later he presents Bach’s musical brilliance and the myriad\n        possibilities for playing his polyphonic compositions on the piano.\n        Liszt’s transcription enables a broader capacity of tonal and dynamic\n        variance than the organ for which the work was originally written and\n        Spivakovsky exploits a rich array of sonorities to express the dramatic\n        and emotional content of Bach’s oeuvre. He additionally reveals the\n        complex structure of Bach’s contrapuntal writing with the clarity of an\n        architectural blueprint through his transparent voicing and precise\n        articulation, using variation of touch, attack, dynamics, and pedaling\n        to project the themes, counter-themes, and bridge passages in\n        accordance with their musical significance. The mood is grand,\n        reverent, and noble in the Prelude, musical phrases being carefully\n        shaped and climaxes attentively built (Spivakovsky avoids peaking too\n        quickly in order to increase tension throughout this section). The\n        Fugue has a more ebullient atmosphere, being despatched with\n        crisply-defined touch, transparent and consistent voicing, and a\n        rhythmic pulse that is not rigid yet is steady and forward-moving. A\n        Delhi newspaper during Spivakovsky’s first tour of India in 1956 stated\n        that \"the grand introduction of the Fantasia and the deliciously clear\n        rhythm of the Fugue were rendered with superb artistry and\n        musicianship”, and the same qualities can be heard in this current\n        performance.\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003eBeethoven Sonata No.21 in C Major Op.53, ‘Waldstein’\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        Spivakovsky’s October 1967 recording of Beethoven’s Waldstein Sonata is\n        nothing less than extraordinary. It seems almost inconceivable that the\n        pianist should have been aged 70 at the time of this reading, the first\n        movement being taken at a remarkably brisk tempo yet played with\n        tremendous accuracy, clarity, and rhythmic certainty. Spivakovsky uses\n        minimal pedal (he seems almost not to be using it at all) and his\n        articulation is incredibly clean and even, each and every note sounding\n        clear while his exquisitely shaped phrasing highlights key musical\n        motifs. In the second movement, transparent voicing reveals the\n        composer’s rich harmonic textures while polished phrasing projects\n        melodic lines with tremendous lucidity. Particularly impressive are the\n        pauses between phrases: the silence never leads to a loss of musical\n        structure or tension but in fact adds to it. In the final movement,\n        attentive pedaling (as per Beethoven’s markings in the score) creates a\n        haze around the main melody while the undulating left hand\n        accompaniment is still clearly defined. Structure is revealed with\n        uncanny transparency through the use of skilled articulation and\n        phrasing, enabling multiple motifs to be underlined at the same time,\n        each phrase singing while specific notes are accented without breaking\n        the line. Sir Neville Cardus referred to Spivakovsky’s Beethoven\n        playing as \"an experience of mind and spirit and a sincere artist’s\n        submergence of self and technical awareness into the world of\n        Beethoven” and this breathtaking performance, fleet and virtuosic as\n        well as emotionally and intellectually profound, fits the renowned\n        critic’s description perfectly.\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003eChopin Ballade No.1 in G Minor Op.23\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        Although the piano used in this December 1966 recording of Chopin’s\n        First Ballade has some intonation issues, the performance is one of the\n        greatest ever recorded, Spivakovsky sounding spontaneous despite his\n        remarkable attention to detail. Melodic lines are presented like\n        sentences recited by a skilled actor, with a natural rise and fall,\n        with organic pacing and expression, the connectivity between lines well\n        thought through, always played with extraordinary subtlety. With his\n        adjustments to dynamics, tone, and nuance (via pedaling and timing),\n        Spivakovsky gives phrases priority over rigid metrical structure yet\n        never loses the pulse. He plays in the true Romantic tradition, with\n        rubato used in relation to the structure of the work, subtle\n        differences of time and shaping being used to highlight each repeated\n        structural or musical element. He underscores many of the same inner\n        voices highlighted in Josef Hofmann’s legendary 1937 Golden Jubilee\n        performance, yet whereas Hofmann’s burnished voices soar on a higher\n        sonic plane than the other layers, here they are coloured such that\n        they are clearly revealed within the overall texture of the work. This\n        powerful performance nevertheless eschews exaggerated climaxes and\n        contrived emotionality, the pianist ensuring that the performance\n        doesn’t peak too soon, holding back until the actual structural climax\n        of the work. A 1933 review from The Advertiser stated that \"Jascha\n        Spivakovsky gave us a new interpretation of Chopin's G Minor Ballade,\n        one that mattered. It was maturely conceived – not Spivakovsky at the\n        expense of Chopin.” Indeed, the pianist reveals here the best of the\n        Romantic tradition - inspired individuality and breadth of expression -\n        with the best of the newer approach to objective presentation of the\n        composer’s intent through respect of the text.\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003e\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003eBrahms Romanze in F Major Op.118 No.5\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        The recording of Brahms’s Romanze in F Major Op.118 No.5 in\n        October-November 1955 features a broad tempo and expansive rubato.\n        Spivakovsky does not highlight the primary melodic line so much as he\n        does the larger harmonic progression of the work, paying attention to\n        its counterpoint and overall structure, each section being distinct yet\n        seamlessly bridged with attentive adjustments of tempo and dynamics.\n        Each of the four initial presentations of the main melody in the\n        opening section is voiced differently, with adjustments to dynamics and\n        timing serving to highlight a variety of emotional expressions through\n        the same theme. Spivakovsky’s weighting of chords in the outer sections\n        is exquisite, while in the middle section both the melodic line and\n        inner voices are beautifully intertwined; the remarkable deceleration\n        before the more agitated central section, with each note’s timing and\n        decay seamlessly presented, anticipates the change in mood. Following\n        the luminous and penetrating middle section, he shapes the reprise into\n        a broad arch, following Brahms's written intentions, all the while\n        applying his unerring taste in phrasing and rubato to build the tension\n        and dynamics to a marvelous peak, drawing out passion and depth to\n        build to a carefully-identified climactic point near the end of the\n        work, and then a gorgeous fading out to a beautifully-timed\n        presentation of the final chord. It is little wonder that the pianist\n        was so widely acclaimed for his Brahms playing, in Europe (and Germany\n        in particular) in the ‘20s and ‘30s and in his Australian, American,\n        British, and other international appearances from the through the ‘30s\n        to ‘60s.\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003eDebussy: Two Preludes\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003eBook 1 No.7: \u003cem\u003eCe qu’a vu le vent de l’Ouest\u003c\/em\u003e\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003eBook 1 No.\u003c\/strong\u003e\n        \u003cstrong\u003e12: \u003cem\u003eMinstrels\u003c\/em\u003e\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        Two Debussy Preludes recorded in February\/March 1958 demonstrate\n        Spivakovsky’s brilliance at characterization and shifting tonal\n        palettes. In \u003cem\u003eCe qu\u003c\/em\u003e’\u003cem\u003ea vu le vent de l\u003c\/em\u003e’\u003cem\u003eOuest\u003c\/em\u003e\n        (What the West wind saw), fiery passion is fused with skilled voicing\n        and an array of tonal colours that brings to mind Debussy’s orchestral\n        writing (there is more than a passing resemblance to \u003cem\u003eLa Mer\u003c\/em\u003e).\n        The pianist told his son Michael that he imagined that “the wind would\n        sometimes be a gentle zephyr looking down over the landscape and at\n        other times blowing into a violent typhoon as it passed over raging\n        seas or volcanoes” - indeed, the Manchester Guardian in 1948 stated\n        that “Mr. Spivakovsky turned the west wind into a cyclone.” His massive\n        dynamic range is carefully exploited so that tension builds at an\n        appropriate pace, while careful pedaling and voicing serve to present\n        melodic subjects within a cathedral of sound, true to Debussy’s\n        impressionistic style.\n    \u003c\/p\u003e\n    \u003cp\u003e\n        In \u003cem\u003eMinstrels\u003c\/em\u003e, Spivakovsky captures the whimsical tone of\n        Debussy’s writing with a masterful application of rubato, creating a\n        sense of nervousness characteristic of this work, which depicts a\n        variety stage show: one can well imagine a bumbling entertainer almost\n        losing his balance during the opening trick. He plays with energy and\n        an almost childish, unfiltered naiveté as moods change moment by\n        moment. Dissonance is voiced transparently rather than harshly,\n        highlighting the humour and playful nature of this work with creative\n        timing and controlled dynamic contrast.\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003eKabalevsky\u003c\/strong\u003e\n        \u003cstrong\u003e \u003c\/strong\u003e\n        \u003cstrong\u003ePiano Sonata No.3\u003c\/strong\u003e\n        \u003cstrong\u003e in F Major Op.46\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        Spivakovsky’s May\/June 1962 account of Kabalevsky’s Piano Sonata No.3\n        rivals the legendary recordings of Horowitz and Moiseiwitsch.\n        Throughout the entire work, Spivakovsky lets the music speak while\n        still playing with a very individual approach. He plays with exquisite\n        clarity, his singing tone and lyrical phrasing revealing the beauty of\n        the main melodic subject of the first movement while careful tempo\n        adjustments and accenting underscore the work’s harmonic and structural\n        elements while his lilting, dancing touch keeps the music light on its\n        feet. As always, Spivakovsky’s treatment of transitions is thoughtfully\n        considered: note the delightful expansive broadening of tempo before\n        the return of the main subject in the first movement. His deep forging\n        of the long line in the second movement draws out the melancholic\n        atmosphere, which together with his transparent voicing of the\n        accompaniment highlights the sardonic harmonic flavour of the movement.\n        The various moods of the closing movement - from playful to passionate\n        to anguished - are woven together with care. Spivakovsky’s varied tonal\n        palette includes a sparkling sound in the upper registers in buoyant\n        moments, in contrast to a more expansive depth of tone in more dramatic\n        sections. Even in the work’s most passionate measures, the pianist\n        never bangs, resisting the common ‘combat boot’ accents one often hears\n        in such repertoire, instead letting clarity of texture and fullness of\n        tone be the basis of his dramatic framework. A lush reading that is a\n        miracle of articulation and subtle tempo variation and post-Romantic\n        expression.\n    \u003c\/p\u003e\n    \u003cp\u003e\n        - Mark Ainley\n    \u003c\/p\u003e\n\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":28551975075901,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":28551975108669,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":28551975141437,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":28551975174205,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM065_4601c90a-539c-49ad-9a3a-3cabc16e9534.jpg?v=1558686539"},{"product_id":"pacm101","title":"SQUIRE plays Chamber Music: Brahms, Tchaikovsky et al (1924-28) - PACM101","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eClarinet Trio\u003c\/span\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Trio\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eEncores by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDvorák, Harty, Huré, Dunkler \u003c\/span\u003e\u003c\/b\u003e\u003cbr\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\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1924-28\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 77:24\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\n\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb data_liveedit_tagid=\"000000000D7755A0\"\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb data_liveedit_tagid=\"000000000D7755A0\"\u003e\u003c\/b\u003e\u003c\/span\u003e\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eW. H. Squire, \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\n\u003cp class=\"bodybigblue\" data_liveedit_tagid=\"000000000D776290\"\u003e\u003cbr\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fRecommended to collectors of historic recordings - the leading British cellist of his generation578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWilliam Henry Squire (1871–1963) was the leading \nBritish cellist of his generation; despite his longevity, however, his \nrecording career seems to have lasted only into the early 1930s. In \naddition to the works offered here, he also recorded concertos of \nSaint-Saëns and Elgar, Beethoven’s “Archduke” Trio (all also available \nfrom Pristine), and numerous shorter works such as the four encores \nincluded on this CD. The recordings here were all made between 1924 and \n1928 for English Columbia, and the two major works were first \nrecordings.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eSquire’s collaborators were all well known as \nwell. Haydn Draper was the nephew of the famous clarinetist Charles \nDraper, who recorded both the Mozart and Brahms Quintets with the Léner \nQuartet; Arthur Catterall and the Australian pianist William Murdoch \nhave both fallen into obscurity, but were leading recording artists of \ntheir day. Hamilton Harty, best remembered as a conductor, was a triple \nthreat, and is documented here in his other two roles, those of pianist \nand composer. He was knighted the year after this recording was made.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eDespite the able ministrations of producer Mark \nObert-Thorn, there’s no mistaking the acoustic origin of the 1924 Brahms\n recording; the sound is boxy, with a bit of an edge to Squire’s tone. \nThe balance favors the cello, which probably was closer to the recording\n horn than the other two instruments. Nevertheless, one can tell that \nDraper had a pure sound—the ascendancy of Reginald Kell, who was to \nchange English clarinet playing, for better or worse, for three \ngenerations, was still in the future—and that Harty acquits himself \nwell. The interpretation is rather mainstream, but the tempo of the last\n movement is somewhat unbending, perhaps partially owing to the \nfour-and-a-half minute limitation of the 78-rpm side.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe sound is much better in the 1928 recording of \nthe Tchaikovsky Trio, which was extravagantly spread over 12 sides—and \nthat with a sizeable cut in the finale. There is, for the time, an \nunusual amount of reverberation in this recording; Obert-Thorn says in \nhis note that this trio was recorded at a lower level, which might \nexplain the atypical amount of surface noise that remains in the \ntransfer. The performance is more free-wheeling than that of the Brahms,\n with plastic tempos and lots of portamento from both string players. \nMurdoch plays his share of wrong notes; of course, editing of recordings\n was impossible in those days.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe four encores document a kind of cello playing \nnot heard anymore, with frequent, generous slides. Here, far more \nclearly than in the sonically compromised Brahms, or even in the \nTchaikovsky, where the violin predominates, Squire displays a fine tone \nand a tasteful vibrato. The Harty and Dunkler pieces also show that he \nhad a healthy technique.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eGiven the limitations of the originals, \nObert-Thorn’s transfers are exemplary; the side joins are undetectable \neven if you know where they are, and aside from the Brahms, the sound is\n as natural as you could hope for, considering the nearly 90-year-old \noriginals. Now perhaps Pristine can be persuaded to devote a CD or two \nto the all-but-forgotten Catterall, who recorded two concertos and four \nsonatas for Columbia in the 1920s. Recommended to collectors of historic\n recordings. \u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eRichard A. Kaplan   \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM101.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eW. H. Squire's brilliant chamber music brought back to life by Mark Obert-Thorn\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"A splendid virtuoso and also one of the wisest and most broadminded of men\" - Hamilton Harty\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\nDuring a recording career that stretched from the late 1890s to the \nearly 1930s, British cellist William Henry Squire (1871-1963) set down \nmany sides of short encore pieces and two cello concertos (the latter \nfeatured on Pristine’s earlier release devoted to Squire, PASC 393).  \nAlthough he, along with violinist Arthur Catterall and pianist William \nMurdoch, made a series of acoustic recordings of movements from chamber \nworks usually abridged to a single side, Squire only participated in \nthree complete chamber music recordings:  Beethoven’s “Archduke” Trio \n(on Pristine PACM 073), and the two A minor trios presented here.\u003cbr\u003e\u003cbr\u003eIt\n is remarkable that at a time during the acoustic recording era when few\n chamber works were available complete on disc, Columbia would have \nchosen to record Brahms’ less well-known Clarinet Trio.  The clarinetist\n is Haydn Paul Draper, nephew and pupil of the more well-known Charles \nDraper (who also recorded chamber music for Columbia around the same \ntime).  Hamilton Harty (not yet “Sir” – his knighthood would come the \nfollowing year) is the pianist, as he was on many of Squire’s solo discs\n in the acoustic era.  Brahms had declared his composing days at an end \nwith his G major String Quintet in 1890; but hearing clarinetist Richard\n Mühlfeld inspired him to write this trio the following year, along with\n his Op. 115 Clarinet Quintet.\u003cbr\u003e\u003cbr\u003eTchaikovsky was initially \nreluctant to write a traditional piano trio, feeling that the sound of \nthe piano did not mesh well with the violin and cello.  However, the \ndeath of his close friend, the pianist\/composer\/conductor Nikolai \nRubinstein in 1881 prompted his Op. 50, his only work with this \ncombination of instruments.  Squire here is joined by British violinist \nArthur Catterall and Australian pianist William Murdoch, frequent \nchamber partners of his both in concert and on disc.  The recording is \nnot quite complete; the Finale section of the second movement was cut to\n about half its length, probably to avoid going to an additional odd \nside.  Based on the ample reverberation to be heard, the session may \nhave been held in Wigmore Hall, as was the Beethoven “Archduke” with \nSammons, Squire and Murdoch from a few days earlier.  However, the \noriginal engineering here seems to be more distant and recorded at a \nlower level.\u003cbr\u003e\u003cbr\u003eConcluding our program are four cello encores of the\n type for which Squire was most famous on disc.  Squire’s frequent \ncollaborator as conductor and accompanist, Harty, is heard here as a \ncomposer.  French organist and composer Jean Huré (1877-1930) wrote his \n“Air” to be accompanied by either piano or organ, and Squire recorded it\n both ways, the first acoustically and the second, heard here, \nelectrically. \u003cbr\u003e\u003cbr\u003eThe sources for the transfers were mainly American\n Columbia discs – a “New Process” set for the Brahms, and “Viva-Tonal” \npressings for the Tchaikovsky, Harty and Huré works.  The Dvǒrák and \nDunkler pieces came from an Australian Columbia disc.\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\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eClarinet Trio in A minor, Op. 114 (acoustic recording)\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eH. P. Draper\u003c\/b\u003e (clarinet) ∙ \u003cb\u003eHamilton Harty\u003c\/b\u003e (piano)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 21 October 1924 in London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.: AX 692-1, 693-2, 694-1, 695-1, 696-1 \u0026amp; 697-1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eFirst issued on Columbia L 1609\/11\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003e Piano Trio in A Minor, Op 50, “To the Memory of a Great Artist” \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eArthur Catterall\u003c\/b\u003e (violin) ∙ \u003cb\u003eWilliam Murdoch\u003c\/b\u003e (piano)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 23 December 1926 in London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.: WRAX 2311-2, 2312-2, 2313-1, 2314-2, 2315-2, 2316-2, 2317-1, 2318-1, 2319-1, 2320-2, 2321-3, 2322-1\u003cbr\u003eFirst issued on Columbia L 1942\/7 \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eDVǑRÁK (arr. Grünfeld) \u003c\/b\u003e Songs my mother taught me, Op. 54, No. 4 (from \u003cem\u003eGypsy Songs\u003c\/em\u003e) \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eWith piano accompaniment\u003cbr\u003eRecorded March, 1928 in London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix no.: WA 7085. First issued on Columbia D 1620\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHARTY \u003c\/b\u003e Scherzo, Op. 8\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eWith piano accompaniment\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 13 April 1927 in London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix no.: WAX 2571-2. First issued on Columbia L 2115\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHURÉ \u003c\/b\u003e Air \u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eGeorge Thomas Pattman \u003c\/b\u003e(organ)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 3 October 1928 in the St. John’s Wood Synagogue\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix no.: WAX 4128-1. Issued on American Columbia 50214-D\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eDUNKLER \u003c\/b\u003e La fileuse (The spinning wheel), Op. 15\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eWith piano accompaniment\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded March, 1928 in London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix no.: WA 7088\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eIssued on Australian Columbia 03611\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eW. H. Squire\u003c\/b\u003e, cello \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\/PACM101.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM101.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\u003cb\u003eBrahms Clarinet Trio\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eAmong Brahms’ last and most mature works \nare four in which the clarinet is used, with remarkable facility, and \nwith a perfect perception of its powers. His employment of the \ninstrument in this late chamber music was largely influenced by' hearing\n a very fine clarinet player, Mühlfeld. The work is recorded uncut.\u003cbr\u003e\u003cbr\u003eFirst Movement.\u003cbr\u003e\u003cbr\u003eAllegro\n (quick).—Very characteristic of Brahms are both the leading themes used\n in this movement. Their arpeggio nature is a favourite device of the \ncomposer, and the first conforms even more closely to one of his habits \nof mind in building tunes, by com­mencing with the four notes of the \nkey-chord. In order to keep the tonal balance, the ’cello frequently \nplays in its high register, the piano filling up the middle of the \ncompass. The second main theme begins at the top of page 5, on the \n’cello, and is in the major key. The first theme, when it returns after \nthe development (in the ’cello) is considerably altered. In particular, \nthere is an increase of the rushing scalic work of which we had a taste \non the second page, just before the entry of the second subject. The \nquick leaping figures of this movement are finely contrasted with the \nmore broadly moving yet still agile even-beat stepping (cf.. e.g., pages\n 12 and 13). A passage of scales and arpeggios, over piano chords, \nbrings the movement to an end.\u003cbr\u003e\u003cbr\u003eSecond Movement,\u003cbr\u003e\u003cbr\u003eAdagio \n(slow).—Clarinet (answered by ’cello) has a descending- and-mounting \ntheme, in leisurely stride, varied (top of page 15) by another which the\n clarinet has first, in a minor key. The treatment is free, the dialogue\n moving serene and eloquent, unhurried yet unflagging. On page 16 the \nclarinet has a version of the first theme in which its main melody notes\n are emphasised, the smaller, more quickly-moving notes being omitted. \n(The ’cello’s plucked notes here are not quite of the sweetest; and \nthroughout its highest notes have a trace of whine). The leading theme \nis heard again on page 17, bottom line, upon the ’cello. \u003cbr\u003e\u003cbr\u003eThird Movement.\u003cbr\u003e\u003cbr\u003eAndantino\n grazioso {slowish, gracefully).—This is called “ scherzo ” on the \nlabel, but it is more like the older minuet. (Compare its feeling with \nthat of the Mozart B flat Quartet, noticed elsewhere.) It is slight, and\n scarcely of interest equal to that of the other movements. A point of \ninterest is the long sweep of the first tune—an extended melody. After \nthis has been repeated by the piano, a minor-key section ensues, \nfollowed by a partial repetition of the first portion of the movement. \nThen comes a new section, with the clarinet moving in sweeping \narpeggios. A return of the first theme (’cello) brings the movement to \nan end.\u003cbr\u003e\u003cbr\u003eFourth Movement.\u003cbr\u003e\u003cbr\u003eAllegro (quick).—The time is \ngiven as 2\/4 (6\/8)—two in a bar, but the beats sometimes divided into \ntwo parts, sometimes into three. This makes for that diversity of rhythm\n that Brahms was so fond of. The leaping tune that begins (in the \n’cello) comes very often, in some shape or other. So does the \nfive-semiquaver figure that the piano has in the second line. (Already \nwe have our alternation of beat-division, it will be noticed.) At the \nseventeenth bar comes a tune, the complement of the first—leading up (at\n the two bars of slower notes, bottom of page 31) to the second chief \ntheme, distinguished by its being partly two-in-a-bar and partly in \nthree. Its second half (bottom of page 32) is given by piano alone. \nAfter only eight bars of this, the first chief tune returns (piano), its\n complementary portion being delayed by a little development and by a \nkind of “false start” (bottom of page 34), The piano, as before, has \nthis portion to itself. Follows a repetition of the alternated \ntwo-and-three-beat section, in its two parts (second this time given to \nclarinet and ’cello), and a coda wherein some joyous arpeggios round off\n the movement.\u003cbr\u003e\u003cbr\u003eThe only fault I find in the playing is that the \n’cello is sometimes a thought too strong for the reed instrument (most \nbeautifully played); and that the piano tone, though pretty good \n(sometimes notably so) fails on occasion to give full sonority. If any \nare a little surprised to see Mr. Harty in the ranks of pianists, it may\n be recalled that before becoming known as a conductor he was one of the\n finest accompanists we had. His sensitive playing here is in the \nhighest degree effective, and the limitation spoken of, I am sure, is \npurely that of the piano, not of the player.\u003cbr\u003e\u003cbr\u003eK. K., The Gramophone, February 1925\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eTchaikovsky Piano Trio\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eTchaikovsky’s Piano Trio in A minor “To\n the Memory of a Great Artist” played by Arthur Catterall, W, H Squire \nand William Murdoch L.1942-47 (12in., £1 I9s., in an album). It is good \nthat this work has been recorded in its entirety. The Theme and \nVariations out of it, on one record, was among the precious early \nchamber music records of pre-electric days, but that sort of thing is \nnot good enough to-day: and therefore the same three artists have played\n the whole work on six records, very much to the credit of Columbia. The\n performance is good though it never breathes quite so deeply as was \nintended by the composer. The best playing is to be found in the \nvariations, which also are more in chamber music style than the first \nmovement, where a dramatic line is maintained not unlike that of the \nsymphonies. (It is queer that Tchaikovsky in his operas is lyric and in \nthe symphonies and for instance this trio is dramatic to a great extent.\n The operas, by the way, are not out of repertory to-day, as the analyst\n of the album will have it, Onegin and even Pique Dame being in steady \ndemand on the Continent.) Nevertheless it is an extremely enjoyable \nperformance which is sure to be welcomed by the many lovers of this fine\n work. There is no need for me to add anything in the way of analysis, \nsince this is well done in the album itself\u003cbr\u003e\u003cbr\u003eC. J., The Gramophone, July 1928\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":31975970253,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31975970381,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM101_82b21926-e366-46e8-8c5f-b8b7ba1deb53.jpg?v=1487682606"},{"product_id":"pacm042","title":"STARKER \u0026 BOGIN Brahms: Cello Sonatas (1953) - PACM042","description":"overviewfb55cd020f0643f08418183279e63a5f\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;\"\u003eBRAHMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Cello Sonata No. 2 in F major, Op. 99\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\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1953\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e Duration 44:47\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 30px\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\" data_liveedit_tagid=\"000000000D776290\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJanos Starker, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eAbba Bogin, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM042.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eStarker \u0026amp; Bogin's 1953 Brahms Cello Sonatas\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\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\"Of the two sonatas cellists (and their audiences) seem to prefer the\n F major for its passion and its effectiveness, qualities less marked in\n the much earlier E minor work. No. 1 can make an effect, to, if played \nwith the abandon that is possible only after intensely detailed care and\n abandon.\"\u003cbr\u003e\u003cbr\u003eThus the second edition of The Record Guide in 1955 \nsummed up these two cello sonatas. Earlier this year [2006] we issued \nthe 1934 recording of the first sonata made by Feuermann and van der Pas\n (PACM035) and perhaps Feuermann has the edge over Starker for the kind \nof abandon referred to above, a performance which allowed his natural \ngenius to come to the fore.\u003cbr\u003e\u003cbr\u003eBut that is not to belittle this \nlater recording - the warmth of Starker's lower registers and singing \nclarity as he moves higher is beauty to behold. The performance is \nwonderfully constructed and leaves the listener with few reservations \nbeyond a slightly clangy piano tone during louder periods.\u003cbr\u003e\u003cbr\u003eAnd of\n course this release, coming as it does from an LP rather than 78rpm \nissue, has the advantages not only of a full frequency response, but \nalso the inclusion of the Second Sonata. And for me it is here that this\n recording really comes into its own - one senses that it is the later \nwork which really inspires one of the great cellists to produce a \nrecording worthy of his talents. This is truly a performance to savour, \nas Bogin too is lifted to achieve higher things in his piano \naccompaniment.\u003cbr\u003e\u003cbr\u003eThis recording is complemented by the five \nBeethoven Cello Sonatas, on Volumes One and Two, in bringing together on\n Pristine Audio the complete recordings by Starker and Bogin as a duo.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Cello Sonata No. 1 in E minor, Op. 38\u003cbr\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Cello Sonata No. 2 in F major, Op. 99\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded 1953\u003cbr\u003eReleased in the UK as Nixa PLP 593\u003cbr\u003e Duration 44:47\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\n\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eJanos Starker, \u003c\/b\u003ecello\u003cb\u003e\u003cbr\u003eAbba Bogin, \u003c\/b\u003epiano\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\/PACM042.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM042.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":31463548237,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31463548365,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31463548429,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31463548493,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACM042.jpg?v=1721745249"},{"product_id":"pasc476","title":"STOKOWSKI Acoustic, Volume 4 (1919-24) - PASC476","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ. STRAUSS, DVOŘÁK, RIMSKY-KORSAKOV, SAINT-SAËNS, SIBELIUS, BRAHMS, SCHUBERT, MUSSORGSKY, R. STRAUSS, EICHHEIM, PUCCINI, HOFFSTETTER \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 data_liveedit_tagid=\"000000000D771840\"\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;\"\u003eAcoustic studio recordings, 1919-1924\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 64:44 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeopold Stokowski, \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\u003cdiv style=\"padding-left: 30px\"\u003e\n\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: MusicWeb International \u0026amp; Fanfare578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe Blue Danube is truncated to four-and-half-minutes what remains is still very appealing and well recorded for the date, May 1919578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis release is the fourth and final \ninstallment of Pristine’s series devoted to acoustic recordings made by \nLeopold Stokowski and members of the Philadelphia Orchestra. In \nreviewing Volume 3 for 40:2, I expressed some doubts regarding the value\n of acoustic orchestral recordings, since this primitive recording \nprocess was not capable of recording a full orchestra and had to make do\n with a few members of the orchestra clustered around a recording horn. \nThose reservations were only partially assuaged by the earlier disc, \nalthough I had no doubt that Pristine’s remasterings were probably \nbetter in sound than earlier efforts to resuscitate these recordings. \nThat release did contain one item of great historical importance, Sergei\n Rachmaninoff’s 1924 recording of his own Concerto No. 2. As was the \ncase with Volume 3, the selections on this release vary in sound quality\n and in the value of the performances, but there is nothing that matches\n the Rachmaninoff in significance. As before, a notable feature of \nPristine’s restorations is freedom from the wow and flutter that one \nexpects in material of this vintage. Even Pristine’s skilled \nministrations, however, cannot change the fundamental character of these\n early recordings, and it should be immediately clear to the listener \nthat they are acoustics, not electrical recordings. Most of the works on\n the new release are substantially abbreviated in order to fit onto one \nor two 78-rpm sides. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe 1920 Dvořák recording gives us a little more than one-third of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLargo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n movement. Although dynamic and frequency range are predictably limited,\n the sound is smooth and pleasing, and as full as one could hope. \nInstrumental details are clear. Stokowski recorded the complete “New \nWorld” with the Philadelphia in 1925, 1927, and 1934, with the All \nAmerican Youth Orchestra in 1940, with “His” Symphony Orchestra in 1947,\n and finally with the New Philharmonia Orchestra in 1973. The 1920 \nexcerpt is similar to the 1934 recording in its choice of tempo and \nrelative steadiness of tempo, although there is more of an acceleration \nin the minor-key central section in the earlier performance. The 1927 \nrecording is both quicker and more elastic, while the 1940 and 1973 \nreadings are considerably slower—truly glacial, in fact. (I don’t have \nthe 1925 and 1947 recordings.) In Pristine’s restoration of the 1920 \nrecording, one can appreciate the beauty of the playing and Stokowski’s \nexpressive but unexaggerated shaping, only to be disappointed when the \nselection comes to an abrupt end. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe 1921 excerpt from the third movement of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eScheherazade\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (“The Young Prince and the Young Princess”) gives us a bit less than \nhalf the movement. As it opens, it sounds like the sensuous main theme \nis being played by a solo violin rather than the full section. \nOtherwise, the treatment is straightforward, with only hints of \nportamento. When he recorded the complete work with the Philadelphians \nin 1934, Stokowski’s approach in this movement was a bit more mannered, \nwith more extravagant expressive gestures and more pronounced \nportamento. The 1919 “Festival in Baghdad” provides only about a third \nof the movement, skipping the solo violin passages at the beginning and \ncoming to an end well before the shipwreck. The performance is again \nstraightforward and in this case comparatively uneventful. The \ncorresponding passages of the 1934 recording are more exciting, due to \nstronger dynamic stresses and a more strongly projected rhythm. The \nlimited dynamic range of the acoustic recording may be partially \nresponsible for this contrast. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe 1921 recording of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePoco allegretto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n from Brahms’s Third Symphony, although less drastically cut than some \nof the other selections, is not very rewarding. The sound bears little \nresemblance to a full orchestra, and the performance seems prosaic. The \ngain in realism in Stokowski’s 1928 Philadelphia recording of the \ncomplete work (as reissued by Biddulph) is striking, and aside from \nissues of completeness and sound, the 1928 version is a better \nperformance, with more expressive playing and more convincing shaping. \nThe pacing is a bit quicker in the later recording, with elasticity that\n is more pronounced but not excessive. The choppy 1921 solo horn is \noutclassed by its later counterpart. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWith a timing of 7:32, Salome’s “Dance \nof the Seven Veils,” also recorded in 1921, is much less truncated than \nmany of the other selections on the disc, although the opening flourish \nis cut. As is true elsewhere in this collection, the recorded sound \ncomes off best in more heavily scored passages, where the thinness of \nthe ensemble is less evident. Stokowski’s rendition here is more urgent \nand purposeful than sensuous. In his 1959 recording for Everest, with \nthe Stadium Symphony Orchestra (a pseudonym, I believe, of the New York \nPhilharmonic), he employs a more flexible and dramatic approach. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWe get about half of the “Bacchanale” from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSamson et Dalila \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e(recorded 1920) and a bit less than that of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFinlandia\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (recorded 1921), but the performances are urgent and exciting, and the \nsound offers a more convincing image of a full orchestra than in some of\n the other selections. Stokowski performs his own transcription of the \nSchubert’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMoment musicale\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n in F Minor (recorded 1922). The playing here seems rather slack \ncompared to his 1927 Philadelphia remake, which has greater tension, \nalthough the tempos are not much different. Schubert’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGerman Dances\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n D 783 (recorded 1922), was originally a solo piano work, but the \ntranscriber is not named. The complete work manages to fit 16 dances \ninto an 11-minute span (in Alfred Brendel’s 1973 recording on Philips). \nStokowski provides not quite five minutes, and the playing is once again\n surprisingly slack. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOne would expect Stokowski to excel in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBlue Danube\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (recorded 1919), but in the roughly half of the piece he gives us his \nrendition strikes me as mainly brisk and efficient, without much \nshaping, and does not really capture the joyousness of the music. \nPerhaps he was constrained by the cumbersome recording process, although\n as with all of these recordings there were multiple takes in an effort \nto get it right. The eccentricity for which Stokowski was sometimes \nknown makes its appearance in the Brahms \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHungarian Dance\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (recorded 1920), where the main tempo, which is supposed to be \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro molto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n is outlandishly slow. It doesn’t work. Although Brahms himself \norchestrated this piece, Stokowski performs his own transcription, \npresumably from the four-hand piano original. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eKhovanshchina\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n excerpt, labeled here as an Entr’acte, is actually the prelude to act \nIV, scene 2. As it is playing, the disgraced Prince Golitsyn is being \nhauled away to exile. Here, too, Stokowski’s tempo strikes me as too \nslow, although not to the same degree. At this rate, Golitsyn’s journey \nto Siberia will be a very lengthy one. In terms of sound quality, \nthough, this recording is one of the better ones on the disc. This \nselection was recorded in 1922; Stokowski rerecorded the piece with the \nPhiladelphians in 1927 at a virtually identical tempo. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe last three items on the disc, by \nHenry Eichheim, Puccini, and Roman Hoffstetter, have never before been \nreleased, and according to Pristine Stokowski’s 1923 effort is the only \nknown recording of Eichheim’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eChinese Rhapsody\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, which is part of a suite entitled \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOriental Impressions.\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Eichheim (1870–1942) was an American composer, conductor, and violinist\n who took an interest in the music of the Far East and included some \nelements of it in his compositions. This one sounds like it could be \nmusic for an early Hollywood film set in the Far East, and I don’t find \nit of much value. The recording appears to be incomplete, as it \nterminates abruptly. The 1924 excerpt from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMadama Butterfly\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n identified as “Act II: Prelude (Waiting Music),” is actually the \n“Humming Chorus” that ends act II, scene 1 (without, of course, the \nhumming). The Hoffstetter selection, also recorded in 1924, is a \nStokowski arrangement of the familiar \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante cantabile\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n from a string quartet once attributed to Joseph Haydn as his op. 3\/5. \nStokowski here maintains a firm and fairly brisk tempo, avoiding the \ndaintiness and saccharinity with which some musicians of this era \ntreated 18th-century music. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs is often the case with Pristine CD \nreleases, there are some issues with the accompanying printed matter. \nThere is a typo in “Festival at Baghdad” (the “l” in “Festival” is \nomitted). The insert states that previously unissued recordings are \nmarked with an asterisk, but no items are so marked. One must go to the \nPristine web site to discover that the Eichheim, Puccini, and \nHoffstetter pieces are first releases. While the insert for Volume 3 \nindicated the year when each item was recorded, for this release such \ninformation is available only from the web site. A common problem with \nPristine inserts is that the track numbers are very small and faint and \ndifficult for my elderly eyes to make out. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThere can be little doubt that Pristine\n has presented these ancient recordings in the best possible sound, and \nthey offer some listening pleasure, but it is equally clear that their \ninherent limitations in sonic accuracy cannot be completely overcome. \nThat fact, and the fact that most of the selections are heavily cut and \nsome do not show Stokowski at his best, probably limits the appeal of \nthis release to Stokowski completists and those with a strong interest \nin the history of recording. For those not completely committed but \nwishing to give it a try, I would recommend going for Volume 3, because \nof the truly historic Rachmaninoff performance.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDaniel Morrison\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 40:3 (Jan\/Feb 2017) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\nThe fourth and final volume documenting Stokowski’s acoustic legacy with\n the Philadelphia Orchestra delves back and forth between 1919 and 1924 \nand provides another raft of rare and stimulating music-making (reviews \nof \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2010\/Jan10\/Stokowski_pasc192.htm\"\u003eVolume 1\u003c\/a\u003e ~ \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2015\/Sep\/Stokowski_acoustic_v2_PASC441.htm\"\u003eVolume 2\u003c\/a\u003e ~ \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2016\/Sep\/Stokowski_acoustic_v3_PASC471.htm\"\u003eVolume 3\u003c\/a\u003e).\u003cbr\u003e \u003cbr\u003e\n Again, too, one mustn’t expect much by way of symphonic unity, if one \ncan put it thus. These are bleeding chunks, abridgements and the rare \nintact piece, all products of the recording horn in the days when one \nwas grateful for what one could get. So whilst the Blue Danube is \ntruncated to four-and-half-minutes what remains is still very appealing \nand well recorded for the date, May 1919. The Largo from the \u003cem\u003eNew World\u003c\/em\u003e\n serves to remind one that Stokowski recorded the whole work almost as \nsoon as electric recording appeared, in 1925 and – by one of those \nnow-familiar quirks (look at Albert Coates’ legacy, for instance, or \nHenry Wood’s) - he was to do so again in 1927. These two readings are \npreferable to the 1934 recording but the 1920 torso is revealing for the\n bass reinforcements, the sensitive portamenti and the rather abrupt \ncut-off.\u003cbr\u003e \u003cbr\u003e Thaddeus Rich was a long-serving Philadelphia \nconcertmaster, assuming the role in 1906 and relinquishing it two \ndecades later. Inveterate violin collectors may know he left behind a \nmeasly four solo 78rpm sides for Okeh, but one of them was of some \nFauré, so at least the A\u0026amp;R gurus at that small company showed some \ntaste. He takes the solo in one of the movements from \u003cem\u003eScheherazade.\u003c\/em\u003e\n Another eminent member of the orchestra was that elite player Marcel \nTabuteau whose oboe weaves its exotic and evocative spell in the \u003cem\u003eBacchanale\u003c\/em\u003e from \u003cem\u003eSamson and Dalila\u003c\/em\u003e. Whilst \u003cem\u003eFinlandia\u003c\/em\u003e was subject to the usual cuts it is notable for being the first American recording of the piece but with the \u003cem\u003eAllegretto\u003c\/em\u003e\n from Brahms’s Third Symphony, Stokowski went one better. This is the \nfirst recording of any movement from a Brahms Symphony: April 1921 was \nthe date. Later, as we know, Stokowski was to set down the first \nAmerican cycle of the complete Brahms symphonies.\u003cbr\u003e \u003cbr\u003e Recorded over a luxurious two sides Strauss’ \u003cem\u003eDance of the Seven Veils\u003c\/em\u003e\n offers plenty of opportunities for panache and colour. It’s known that \nthe Philadelphia’s complement in these sessions actually diminished over\n time, so by 1922 the Schubert German Dances was played by an orchestra \nlining up 7-4-3-3 with winds and including a saxophone and contrabassoon\n to get doubling or eking out that all important bass line. The \nperformance of the \u003cem\u003eEntr’acte\u003c\/em\u003e from \u003cem\u003eKhovanschina\u003c\/em\u003e \nactually features an audibly bigger band, and appropriately so, for this\n outstanding reading shows Stokowski’s Russophile antenna quivering with\n power.\u003cbr\u003e \u003cbr\u003e The final three items are all first releases. Both the \nPuccini and Hofstetter – then commonly attributed to Haydn – are very \nwelcome to the official discography but the standout piece is Henry \nEichheim’s \u003cem\u003eChinese Rhapsody\u003c\/em\u003e from his \u003cem\u003eOriental Impressions\u003c\/em\u003e.\n Eichheim was a violinist and had been in the Boston Symphony from \n1891-1912. The rich tapestry of the winds and the rather fearsome \npercussive outburst easily transcend the technology and are heard \nsplendidly in this restoration. Collectors will know that in the 1930s \nStoky recorded the same composer’s \u003cem\u003eBali\u003c\/em\u003e, which can be found in a fascinating \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2002\/Feb02\/Stokowski_PhiladelphiaRarities.htm\"\u003ePhiladelphia Rarities\u003c\/a\u003e disc on Cala.\u003cbr\u003e \u003cbr\u003e\n All good things must come to an end and that’s the case with this \nseries. It’s been well compiled and transferred and has provided \ninvaluable première recordings of rare material. Who could want for \nmore?\u003cbr\u003e \u003cbr\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJonathan Woolf\u003c\/b\u003e\u003cbr\u003eMusicWeb International\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC476.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFinal instalment completing all of Stokowski's extant Philadelphia Acoustic recordings\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"All\n good things must come to an end and that’s the case with this series. \nIt’s been well compiled and transferred and has provided invaluable \npremière recordings of rare material. Who could want for more?\" - \nMusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThis fourth and final volume completes our set of Stokowski's \ncomplete surviving acoustic recordings, and again I'm grateful to Edward\n Johnson, Mark Obert-Thorn and Ward Marston for their assistance in \nsourcing these often rare and, again here in three cases, previously \nunissued recordings. The use of new pitch stabilisation techniques, \nalong with careful re-equalisation and noise reduction, has once again \nmade great strides in bringing us closer to the sound of The \nPhiladelphia Orchestra at the time of its earliest recordings, and \ndespite the massive limitations of the acoustic horn recording process, \nthis is a delightful listen from start to finish.\u003c\/p\u003e\u003cp\u003eOne final bonus: Henry Eichheim's \u003cem\u003eChinese Rhapsody\u003c\/em\u003e, never previously issued in the 93 years since it was recorded, appears here to be a world première release.\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\u003cb\u003eJohann STRAUSS II (1825-1899)\u003c\/b\u003e\u003cbr\u003e 1. On the Beautiful Blue Danube (An der schönen, blauen Donau, arr. Stokowski), Op. 314 [4:35]\u003cbr\u003e Recorded May 10, 1919\u003cbr\u003eVictor 74627, matrix: C-22825-4\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eAntonin DVOŘÁK (1841-1904)\u003c\/b\u003e\u003cbr\u003e 2. Symphony No. 9 in E minor, Op. 95 \"From the New World\" - 2nd mvt - largo [4:39]\u003cbr\u003e Recorded May 21, 1920\u003cbr\u003eVictor 74631, matrix: C-24128-4\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eNikolai RIMSKY-KORSAKOV (1844-1908)\u003c\/b\u003e\u003cbr\u003e 3. Scheherazade, Op. 35 - Young Prince and Young Princess [3:45]\u003cbr\u003e Recorded March 25, 1921\u003cbr\u003eVictor 74691, matrix: C-24629-10\u003cbr\u003e 4. Scheherazade, Op. 35 - Festival at Baghdad [4:14]\u003cbr\u003e Recorded May 9, 1919\u003cbr\u003eVictor 74593, matrix: Victor C-22810-4\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eCamille SAINT-SAËNS (1835-1921)\u003c\/b\u003e\u003cbr\u003e 5. Samson et Dalila, Op. 47: Act 3 - Bacchanale [4:16]\u003cbr\u003e Recorded December 6, 1920\u003cbr\u003eVictor 74671, matrix: C-24630-5\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eJean SIBELIUS (1865-1957) \u003c\/b\u003e\u003cbr\u003e 6. Finlandia, Op. 26 [3:52]\u003cbr\u003e Recorded April 18, 1921\u003cbr\u003e Victor 74698, matrix: C-24988-4\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eJohannes BRAHMS (1833-1897)\u003c\/b\u003e\u003cbr\u003e 7. Hungarian Dance No. 1 in G minor transc. Stokowski [3:37]\u003cbr\u003e Recorded May 21, 1920\u003cbr\u003eVictor 1113, matrix: B-24130-3\u003cbr\u003e 8. Symphony No. 3 in F, Op. 90, 3rd mvt. - Poco allegretto [4:16]\u003cbr\u003e Recorded April 18, 1921 \u003cbr\u003eVictor 74722, matrix: C-24125-8\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eRichard STRAUSS (1864-1949) \u003c\/b\u003e\u003cbr\u003e 9. Salome, Op. 54 - Dance of the Seven Veils [7:32]\u003cbr\u003e Recorded December 5, 1921\u003cbr\u003eVictor 74729, 74730, matrices: C-25788-3, C-25789-2\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eFranz SCHUBERT (1797-1828)\u003c\/b\u003e\u003cbr\u003e 10. Moment Musical No. 3 in F minor, D.780 transc. Stokowski [2:18]\u003cbr\u003e Recorded January 28, 1922\u003cbr\u003eVictor 66098, matrix: B-25941-6\u003cbr\u003e 11. German Dances, D.783 [4:42]\u003cbr\u003e Recorded December 4, 1922\u003cbr\u003eVictor 74814, matrix: C-27012-7\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eModest MUSSORGSKY (1839-1881)\u003c\/b\u003e\u003cbr\u003e 12. Khovanshchina - Entr'acte [3:54]\u003cbr\u003e Recorded December 12, 1922\u003cbr\u003eVictor 74803, matrix: C-27069-4\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eHENRY EICHHEIM (1870-1942)\u003c\/b\u003e\u003cbr\u003e *13. Oriental Impressions - 5. Chinese Rhapsody (arr. Stokowski) [5:49]\u003cbr\u003e Recorded May 1, 1923\u003cbr\u003eUnissued, Matrix Nos. B-27909-1\/B-27910-1\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eGiacomo PUCCINI (1858-1921)\u003c\/b\u003e\u003cbr\u003e *14. Madama Butterfly - Act II: Prelude (Waiting music) [3:02]\u003cbr\u003e Recorded 22 December, 1924\u003cbr\u003eUnissued, Matrix No. B-31398-1 or 2\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eRomanus HOFFSTETTER\u003c\/b\u003e (attrib. Haydn, arr. Stokowski)\u003cbr\u003e *15. Quartet in F, Op. 3, No. 5 2nd mvt. - Andante Cantabile    arr. Stokowski [3:03]\u003cbr\u003e Recorded December 31, 1924\u003cbr\u003eUnissued, Matrix No. B-31624-1 or 2\u003cbr\u003e\u003cbr\u003e Recorded at Camden Church Studio (Victor Building no 22), Camden NJ, USA \u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e*Previously unissued\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLeopold Stokowski, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eThe Philadelphia Orchestra\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\/PASC476.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC476.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":37143706765,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37143706829,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37143706893,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC476_283438c4-475d-4418-be44-24688697eea9.jpg?v=1494336908"},{"product_id":"paco050","title":"TOSCANINI Brahms: Ein Deutsches Requiem (1943) - PACO050","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;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e \u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eEin Deutsches Requiem, Op. 45\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\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;\"\u003eBroadcast of January 24th 1943\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 73:46\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eVivian della Chiesa, \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\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\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eHerbert Janssen, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003ebaritone\u003c\/span\u003e\u003c\/span\u003e\u003cb\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\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Westminster Choir\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\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\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\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\u003cb\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Arturo Toscanini\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e\u003cbr\u003e\u003cp data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 30px\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis broadcast provides a stunning walk into history and a prime example of Toscanini’s giving new life and meaning to work that was often thought to be depressingly dreary578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThis release offers Toscanini’s only NBC performance of Brahms’s \u003c\/span\u003e\u003cem\u003e\u003cspan class=\"TIMESi\"\u003eGerman Requiem\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"TIMES\"\u003e\n and constitutes its second CD appearance, coming six years after an \nimpressive one released by Guild (2290). Neither in sound nor in content\n are they identical. Differences in the latter are minor, the Guild disc\n offering more of the announcements that frame this broadcast \nperformance, which is sung in English. But although both releases \napparently draw upon a prime source, the sound of this new one is \nbrighter and more forward, a virtue that proves especially welcome in \nthe choral sections. Usually the Westminster Choir, when under John \nFinley Williamson’s direction (as it is in this performance), produced a\n rounded, blended sonority, which, although pleasing, often caused a \nblurring of texture and text. Evidently Toscanini would have none of it,\n the choir here projecting a clarity that comes far closer to what the \nRobert Shaw Chorale produced for the Maestro—textural transparency with a\n clear delineation of the choral lines. Musically, the reading may well \nsurprise those accustomed to hearing the music in another performance. \nFast sections are sometimes slower than usual, traditionally slow ones \nsometimes faster. Although some of the solo singing is not up to the \nhighest standards, it remains adequate. What may surprise many is the \nexceptionally fine sound of Studio 8H, as heard here. Granted, it \nremains dry, but with a presence, clarity, and dynamic range never \nmatched in studio recordings of the period. In short, this broadcast \nprovides a stunning walk into history and a prime example of Toscanini’s\n giving new life and meaning to work that was often thought to be \ndepressingly dreary. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eMortimer H. Frank \u003c\/b\u003e\u003cbr\u003eThis article originally appeared in Issue 34:4 (Mar\/Apr 2011) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO050.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eToscanini's only recording of A German Requiem\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eAstounding sound quality from this 1943 radio broadcast\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eIt is unfortunate for students of Toscanini this is the only recorded performance of Brahms' \u003cem\u003eA German Requiem\u003c\/em\u003e under his baton, as Mortimer H. Frank rightly comments in \u003cem\u003eArturo Toscanini - The NBC Years\u003c\/em\u003e:\n “Not that it is an inferior account; on the contrary, it is \nmagnificent.” The question remains as to whether this would have been \nToscanini's interpretation a decade later, or a decade earlier, prone as\n he was to the constant revision and reinterpretation of his readings.\u003c\/p\u003e\u003cp class=\"body\"\u003eCertainly this is one of those great performances which \ngoes contrary to the received wisdom that Toscanini was often too \ninclined to faster tempi – Frank again: “some of his tempos here are \nconsiderably slower than the norm. The effect of this approach is to \nstrip away the halo of Victorian sobriety that have hung over many \naccounts of this score...”. He also notes the fact that the performance \nis in English and wonders whether this was due to wartime anti-German \nsentiment.\u003c\/p\u003e\u003cp class=\"body\"\u003eAs the sole recording from Toscanini it is no great \nsurprise that this specially-extended broadcast, the last in a \nsix-programme Brahms season for NBC, has been made available on a number\n of issues, and one might question the need for another. I was strongly \ninfluenced in my decision to at least investigate this recording by the \nincredible quality of the original transfer supplied to me. For a 1943 \nbroadcast it was exceptionally clean, clear and had a wonderfully \nextended frequency and dynamic range. It would appear that the \ntranscription was a straight and high-quality dub of near-mint \noriginals, with no interference whatsoever – even the side joins \nremained undone. In my experience it has been rare to have such strong \nsource material to work on from this period.\u003c\/p\u003e\u003cp class=\"body\"\u003eBut the fact remains that others may have started with \nsimilar sources. Thus I decided that it was worth going a step further \nthan I might otherwise do. Naturally the recording received a full XR \nremastering; this performed wonders on the already clear sound quality, \nremoving perhaps a decade or two from the perceived age of the \nrecording. Then we come, inevitably, to the sound of NBC's Studio 8H. At\n the time it had recently been overhauled to try and improve the \nacoustic, and NBC's engineers were busy trying various microphone \nset-ups to bring out the best in it. But the recording here was rendered\n nearly dead by an acoustic as dry as the desert.\u003c\/p\u003e\u003cp class=\"body\"\u003eThis is where convolution reverberation comes in, \nsomething I've written extensively about before. By effectively placing \nthe recording in the acoustic of a real hall (as opposed to the \nartificial sound of generic digital reverb), it acquired a new and \nentirely natural life that was totally sympathetic to the recording. \nIndeed, I suggest that only the listener used to – and conditioned to – \nthe dryness of 8H would even think for a moment that this is not what \nthe audience experienced on the day (as indeed they might have - \ndepending on how the microphones were hung we may have little real idea \nas to the actual sound as heard by those attending these concerts.)\u003c\/p\u003e\u003cp class=\"body\"\u003eThe result is for me a particularly satisfying \nachievement, and one which allows me to be further absorbed in the music\n than before, when subject to the constant irritant of the original \nsound and the way it to often made certain sections of the music sound \nraw and almost amateur in delivery. In short, I believe this is closer \nto how this performance would have sounded in a real concert hall than \nhas ever been heard before, and is all the better for it.\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\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 \u003cspan\u003eEin Deutsches Requiem, Op. 45\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of January 24th 1943\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e Transfers from the private collection of Christophe Pizzutti \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e XR remastering by Andrew Rose at Pristine Audio, September 2010\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e Cover artwork based on a photograph of Arturo Toscanini\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 73:46\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003eVivian della Chiesa, \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003esoprano\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e Herbert Janssen, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003ebaritone\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e The Westminster Choir\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodymidarial\" style=\"font-size: 14px;\"\u003eDirector: John Finlay Williamson\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e NBC Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003econductor\u003c\/span\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003e\u003cb\u003e Arturo Toscanini\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\/PACO050.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO050.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":32417920717,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32417920909,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32417921165,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":32417921421,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO050_7cf0c428-b682-4e1a-a216-da14ea68d011.jpg?v=1487682698"},{"product_id":"pacm067","title":"TRIO SANTOLIQUIDO Brahms: Piano Quartets (1958) - PACM067","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Quartet No. 1 in G minor, Op. 25\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Quartet No. 2  in A major, Op. 26\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 4-9 August 1958, Beethovensaal, Hannover\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:53\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eTrio Santoliquido\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ewith \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBruno Giuranna, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviola\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM067.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eExcellent Brahms from Trio Santoliquido (plus one)\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eTwo superb early stereo recordings from DGG\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003eThe first two of Brahms' \u003cem\u003ePiano Quartets\u003c\/em\u003e rarely feature together on a single disc due to their length. However, the omission of a repeat in the first movement of the \u003cem\u003eSecond Quartet\u003c\/em\u003e\n reduces the duration considerably. Even so, having re-pitched these \nrecordings to concert A440 I found them to be nearly 90 second too long \nto fit onto a single disc. However, a clear and exact 50Hz tone which \nran through the second LP led me to believe that the original pitching, \nwhen replayed at an accurate 33 1\/3rpm, most probably did represent the \npitch the ensemble had tuned to, which was somewhat sharp of standard \nconcert pitch. With the quartets' original pitches were restored, which \nhad the effect of speeding the recordings up, I was relieved to discover\n I could squeeze both onto an eighty-minute CD with seconds to spare.\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cbr\u003eBoth recordings responded well to XR remastering \ntechniques, which served both to lift the very top end and also to round\n out what was a somewhat thin lower midrange in the originals. The \nnear-mint first LP disc exhibited a curious if very mild peak distortion\n through the first minute of both sides, which quickly subsided. The \nsecond disc, a slightly later pressing, was immaculate in every respect.\n Both recordings are amongst the very earliest examples of stereo \nrecordings from \u003cem\u003eDeutsche Grammophon Gesellschaft\u003c\/em\u003e.\u003c\/span\u003e\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\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\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003ePiano Quartet No. 1 in G minor, Op. 25\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003ePiano Quartet No. 2  in A major, Op. 26\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003eRecorded 4-9 August 1958, Beethovensaal, Hannover\u003cbr\u003eReleased as Deustche Grammophon SLPM 138014 \u0026amp; 138015\u003cbr\u003e Transfers and XR remastering by Andrew Rose at Pristine Audio, October - November 2009\u003cbr\u003eTotal duration: 79:53\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eTrio Santoliquido:\u003cbr\u003eOrnella Puliti Santoliquido, \u003c\/b\u003epiano\u003cbr\u003e\u003cp\u003e\u003cb\u003eArrigo Pelliccia, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eMassimo Amfitheatrof, \u003c\/b\u003ecello\u003cb\u003e\u003cbr\u003e\u003c\/b\u003ewith \u003cb\u003eBruno Giuranna, \u003c\/b\u003eviola\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\/PACM067.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM067.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":31976051405,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":31976051469,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":31976051533,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM067_8f167701-0e98-4612-8850-abbe7d3a6468.jpg?v=1487682727"},{"product_id":"pasc485","title":"WALTER conducts Brahms, Volume 1 (1947-54) - PASC485","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 1 - Symphony No. 2 - Double Concerto - Song of Destiny - Tragic Overture - Hungarian Dance No. 17\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\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 recordings, 1947-54\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 25:42 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eB\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eruno Walter, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eJohn Corigliano, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeonard Rose\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, cello\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;\"\u003eHugo Strelitzer Choir\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eHollywood Bowl Symphony Orchestra \u003c\/span\u003e\u003cbr\u003e\u003c\/b\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_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC485.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBruno Walter's 1951 Brahms Cycle with the NY Philharmonic - and more!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"These\n concerts apparently find Mr. Walter at the very zenith of his powers, \nabsorbed in a task which is especially dear to him\" - NY Times\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cbr\u003e\u003cp\u003eThis series is based around what survives of Bruno Walter's fabulous \n1951 series of Brahms concerts with the New York Philharmonic, together \nwith other live performances which either fill gaps in the 1951 \nrecordings or, in the case of the \u003cem\u003eGerman Requiem\u003c\/em\u003e (Vol. 3), add \nto the 1951 programme. A number of major recordings, including two of \nthe symphonies, have never been issued before; in other cases we have \ngained access to sonically superior sources to those used in previous \nreleases.\u003c\/p\u003e\n\u003cp\u003eThere is some variation in sound quality across the recordings, some \nof which have required extensive repair and restoration. What shines \nthroughout is the fabulous musicality of these truly historic concert \naccounts of Brahms' music, as given by Walter and the New York \nPhilharmonic. \u003c\/p\u003e\n\u003cp\u003eOne of the highlights of this first of three 2-CD volumes is a previously-unissued recording of the \u003cem\u003eFirst Symphony\u003c\/em\u003e. This was original played alongside the \u003cem\u003eTragic Overture\u003c\/em\u003e and the \u003cem\u003eViolin Concerto\u003c\/em\u003e,\n neither of which has apparently survived in usable recorded form (a \ncorrespondent reports \"a horrible transfer to a defective private LP\" of\n the \u003cem\u003eViolin Concerto\u003c\/em\u003e with Francescatti); here we've replaced the \u003cem\u003eOverture\u003c\/em\u003e with a later New York performance, a later disc will include a 1953 NY recording of the \u003cem\u003eViolin Concerto\u003c\/em\u003e. The \u003cem\u003eSong of Destiny\u003c\/em\u003e\n which completes the first disc was not performed at the New York \nconcerts - the present recording is taken from a 1947 Hollywood Bowl \nconcert, conducted in the open air by Walter to the (occasional) gentle \naccompaniment of crickets chirruping in the background.\u003c\/p\u003e\n\u003cp\u003eThe second disc here offers the third concert programme in full. Of the recordings it is the \u003cem\u003eDouble Concerto\u003c\/em\u003e\n which is perhaps of greatest interest to collectors - previous outings \non various dubious Italian labels have offered badly muffled, congested \nand inferior sound. By comparison it is clean and clear here, as are the\n other two recordings. I had to deal with occasional peak distortion in \nthe first movement of the \u003cem\u003eSecond Symphony\u003c\/em\u003e where it was \noriginally recorded at levels which overloaded during the loudest \nsections, something I've endeavoured to bring under control here.\u003c\/p\u003e\n\u003cp\u003eVolume Two in this series will complete the symphonies, accompanied \nby two concertos, whilst the final volume will include a previously \nunissued recording of the \u003cem\u003ePiano Concerto No. 1\u003c\/em\u003e from the 1951 New York series, together with a later performance of \u003cem\u003eA German Requiem\u003c\/em\u003e and other works.\u003c\/p\u003e\n\u003cem\u003eAndrew Rose\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 align=\"center\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cdiv\u003e\n\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS Schicksalslied\u003c\/b\u003e (Song of Destiny), Op. 54\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #888888;\"\u003e\u003cb\u003eHugo Strelitzer Choir, Hollywood Bowl Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cdiv\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS Tragic Overture\u003c\/b\u003e, Op. 81\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cdiv\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS Symphony No. 1\u003c\/b\u003e in C minor, Op. 68\u003cspan style=\"font-size: small; color: #000080;\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cdiv\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 Hungarian Dance No. 17\u003c\/b\u003e in F-sharp minor \u003cspan style=\"color: #000080; font-size: small;\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cdiv\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS  Double Concerto\u003c\/b\u003e for violin and cello in A minor, Op. 102\u003cspan style=\"font-size: small; color: #000080;\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"color: #888888;\"\u003eJohn Corigliano, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"color: #888888;\"\u003eviolin\u003cb\u003e\u003cbr\u003eLeonard Rose, \u003c\/b\u003ecello\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cdiv\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS  Symphony No. 2\u003c\/b\u003e in D major, Op. 73\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cb style=\"font-size: medium;\"\u003e\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb style=\"font-size: medium;\"\u003e\u003cbr\u003eBruno Walter\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e, conductor \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003ePERFORMANCE DATES\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003e*Schicksalslied: 7 October 1947\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eTragic Overture: 19 December 1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eSymphony No. 1: 21 January 1951\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eHungarian Dance: 4 February 1951\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eDouble Concerto: 4 February 1951\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eSymphony No. 2: 28 January 1951\u003c\/span\u003e\n\u003c\/div\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\u003cspan style=\"font-size: x-small;\"\u003eAll performed at Carnegie Hall, New York \u003cbr\u003eexcept *Hollywood Bowl, Los Angeles\u003c\/span\u003e\u003c\/div\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\/PASC485.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC485.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fNY Times, 1951578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eNew York Times, 1951:\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eWALTER LAUNCHES HIS BRAHMS CYCLE\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003eHe Conducts Philharmonic in Concert of Master’s Works\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003cdiv\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eBruno\n Walter began his Brahms cycle with the Philharmonic-Symphony last night\n in Carnegie Hall, and gave us a wonderful concert. He played Brahms \nwithout the slightest affectation or mannerism, with all his heart, and a\n simplicity and nobility of spirit which matched the music.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eIt \nwas a great pleasure to hear the scores played without any attempt to \nmodify or beautify them. The rugged and melodic Brahms, whose \norchestration is quite often stringy and unsilky or glistening, fell \nupon our ears, “echt” Deutch and “echt” Brahms. Perhaps this is too \nprovincial a way to put it. The universality of the music rather frowns \nupon that.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eOn \nthe other hand, the very grandeur and universality of this immortal \nmusic comes from its soil and from the consciousness of an artist who \nwas profoundly German in his consciousness and his devotion to the \ntraditions of the German symphonic art.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eMr. Walter, in arranging and \u003c\/span\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003efinding\n the almost ideal tempi and inflection for this music, pointed out \nsomething else to us, which is that Brahms, popularly conceived as the \nneo-classic master of his period—and ours too, for that matter—is not \nonly a romantic composer, but, in the appropriate circumstances, is to \nbe interpreted as such.\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cem\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eContrast in Interpretation\u003c\/span\u003e\u003c\/em\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eThis\n refers especially to the reading of the C minor symphony, which ended \nthe program, and the contrast between its interpretation and that of the\n “Tragic” overture which opened it. In the “Tragic” overture Brahms is \ncompletely a classicist. There is mysteriously communicated, in this \nmusic, the tragedy of human existence, and the grandeur of destiny. The \nstyle is singularly austere, impersonal, like destiny. There is no \nself-pity, no caterwauling at fate. Wherefore, Brahms is here a \nclassicist not only in form and workmanship,\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eThe form\n of the great C minor symphony is also classic. The symphonic methods \nare those of the classical masters of composition in whose footsteps \nBrahms was both proud of and also diffident about treading. But \nactually, in this work, he is a wild-eyed romanticist\u003c\/span\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003e—as was Beethoven in a certain other C minor symphony. And Mr. Walter read the music in the flaming romantic spirit—“sturm und \u003c\/span\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003edrang”—with\n all sorts of grand rhetoric. He did not hesitate for an instant to \nretard or accelerate, or entirely differentiate the contrasting phrases \nof the introduction, in the instance of the lyric phrases which \nimmediately follow the initial motive, heard over the pounding drums.\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eLater\n on, the way in which he maintained the pace of the choral melody which \nopens the finale, after the prelude with a horn-call, was a \nmaster-stroke of classic architecture. And this finale was tonal drama \nof the most thrilling kind; We need not particularize farther. The \ntranscending value of this concert was the conviction, the rugged \nstrength and unfeverish, unmodern, absolutely real faith and emotion \nwhich vibrated in every measure.\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003eOlin Downes \u003c\/b\u003eThe New York Times, 19 January 1951\u003c\/p\u003e\n\u003c\/div\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":31976073357,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31976073421,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31976073485,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC485_c140bea6-0a25-4a5a-bada-9758d6544d08.jpg?v=1487682747"},{"product_id":"pasc489","title":"WALTER conducts Brahms, Volume 2 (1951\/53) - PASC489","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 3 - Symphony No. 4\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 Piano Concerto No. 2 - Violin Concerto\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\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 recordings, 1951\/53\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 35:06 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eB\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eruno Walter, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eErica Morini, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\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;\"\u003e, piano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/span\u003e\u003cbr\u003e\u003c\/b\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_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC489.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBruno Walter's 1951 Brahms Cycle with the NY Philharmonic continues\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eRare and previously unissued live Brahms recordings from Carnegie Hall\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eThis series continues here with what survives of Bruno Walter's fabulous\n 1951 series of Brahms concerts with the New York Philharmonic, together\n with a later live performance of the Violin Concerto which fills the \ngap in the 1951 recordings left by the apparent loss of a performance \nwith Zino Francescatti.\u003cbr\u003e\u003cli\u003e\n\u003cbr\u003ePreparing this release has required some major technical \ninnovation, both in the Symphony No. 3, previously unissued, and the \nViolin Concerto. As outlined in the quoted review in our CD liner notes \nof a previous issue of the latter, things went wrong during the first \nmovement, culminating in a momentary silence from the soloist - the \nresult of a broken string. Morini quickly borrowed the violin offered by\n the orchestra's leader, John Corigliano and carried on playing while he\n replaced her broken string.That gap here is filled by the seamless \nmixing in of Morini's 1956 studio recording for Westminster at around 11\n minutes to patch the gap whilst instruments were exchanged.\u003cbr\u003e\u003cbr\u003eMore challenging was the Symphony No. 3, where two source \nrecordings were used for several sections of the recording. One was \ndamaged in upper frequencies, the other in the lower frequencies. \nFollowing digital pitch and tempo stabilisation and synchronisation I \nwas able to digitally copy and paste good upper frequencies over good \nlower frequencies to produce a perfectly matched and utterly convincing \nnew whole, a technique I believe may never have been successfully \nattempted before, and which restores what would otherwise have been \nunusable sources to their full glory. \u003cem\u003e\u003c\/em\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\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\u003cdiv\u003e\n\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003ePiano Concerto No. 2 in B-flat major, Op. 83\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cdiv\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 3 in F major, Op. 90\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cdiv\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eViolin Concerto in D major, Op. 77\u003cspan style=\"font-size: small; color: #000080;\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cdiv\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\u003eBRAHMS \u003c\/b\u003eSymphony No. 4 in E minor, Op. 98 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cb style=\"font-size: medium;\"\u003e\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003e\u003cb\u003eErica Morini, \u003c\/b\u003eviolin\u003cbr\u003e\u003cb\u003eMyra Hess\u003c\/b\u003e, piano\u003c\/p\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 style=\"font-size: medium;\"\u003eBruno Walter\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e, conductor \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\u003cp\u003e\n\n\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003ePERFORMANCE DATES\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003ePiano Concerto No. 2: 28 January 1951\u003cbr\u003eSymphony No. 3: 28 January 1951\u003cbr\u003eViolin Concerto: 20 December 1953\u003cbr\u003eSymphony No. 4: 11 February 1951\u003cbr\u003e\u003cbr\u003eAll performed at Carnegie Hall, New York \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\/PASC489.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC489.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":31976073549,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31976073613,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31976073677,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC489.jpg?v=1487682750"},{"product_id":"pasc452","title":"WALTER Rarities: American Columbia Recordings (1941-55) - PASC452","description":"overviewfb55cd020f0643f08418183279e63a5f\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;\"\u003eSCHUBERT \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 5\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUBERT \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 8, ‘Unfinished’\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ. STRAUSS II\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Emperor Waltz\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 Song of Destiny\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDVOŘÁK \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 8\u003c\/span\u003e\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 data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\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;\"\u003eTotal duration: 2hr 18:46\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Philadelphia Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eColumbia Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBruno Walter,\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e conductor\u003c\/span\u003e\u003c\/p\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 best is saved for last here, in the form of an absolutely crackerjack performance of the Dvořák Eighth Symphony578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOnce again, doughty Pristine Audio \nbravely steps into the breach to fill in a gaping hole in the \ndiscography of famous performances that the holders of the original \nrecordings have failed to address. In this case, we are provided with \nsuperior transfers of wartime and post-war Columbias by Bruno Walter \nthat did not make it into either Sony’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBruno Walter Edition\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n or any of its other domestic issues of Walter recordings. Foreign \nreleases of these renditions have been spotty or non-existent; indeed, \ntwo items (the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCosì fan tutte \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture\n and the Schubert Fifth Symphony) make their debuts on CD here. Since \nWalter rerecorded all of these works except for the Mendelssohn \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMSND\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e Scherzo in stereo (the omission of that from the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBW Edition\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n being a strange oversight), reissuance of these recordings was \nevidently not seen by Sony as either a necessity or a priority. Also, \nwith one very significant exception, Walter made superior recordings of \nthe four symphonies included in this set, and so there has not been a \npent-up demand among collectors (apart from die-hard Walterians such as \nmyself) for their renewed availability either. Pristine Audio is \ntherefore all the more to be commended for its intrepid endeavors to \nrestore worthwhile materials to a limited audience. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAmong Mozart’s last six symphonies, the\n Symphony No. 41 is unique in Walter’s discography in two ways: Of the \nlast four, it is the only one of which he made four rather than three \nstudio recordings, and it is the only one of the six for which there is \nno surviving live performance for comparison. This 1945 recording, the \nsecond of the quartet, was dropped from Columbia’s catalog once Walter \nre-waxed the work with the New York Philharmonic in 1956; it did appear \non a long out-of-print CD on the defunct Lys label (LYS 338), along with\n the Mendelssohn \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMSND\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Scherzo likewise included in this set. It is also the briskest of the \nfour, being marginally faster than his 1938 account with the Vienna \nPhilharmonic, most notably in the finale. The 1956 version is slower by a\n good half-minute in each movement but the Minuet, and the 1960 stereo \nversion with the Columbia Symphony adds about another half-minute more \nto all four movements. Consequently, this earlier performance (which \nalso sounds as if it may have used a reduced string section), while \nhardly HIP influenced, is more in line with current tastes for leaner, \nmore lithe Mozart and is of not inconsiderable interest. I would still \nrank it behind Walter’s other efforts, however. The New York \nPhilharmonic in 1945 does not have the lovely tonal sheen of the (very \nwell recorded) Vienna Philharmonic, though it outpoints the Europeans in\n the fugal finale; the 1956 performance (my overall first choice) has \nfar better recorded sound and more stylishly crisp and powerful playing;\n while the 1960 studio account, if somewhat slow and beefy by today’s \nstandards, has a stupendous account of the finale that makes it a \nmust-have. This transfer is far superior to the previous Lys issue, \nhaving much greater body and warmth. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCosì fan tutte \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture\n was a filler side in the original 78-rpm issue of the “Jupiter”; it \nalso briefly appeared in an extremely rare three-disc 45-rpm set as a \nfiller to Walter’s 1950 recording of Beethoven’s Fifth Symphony. Again, \nthere are three other studio accounts—a 1924 Berlin acoustic, a 1954 \nremake with the New York Philharmonic, and a 1961 stereo version with \nthe Columbia Symphony—plus a live 1954 New York Philharmonic broadcast. \nLeaving aside the sonically outdated acoustic rendition and the (as \nalways) somewhat slower stereo account, the middle three recordings are \ninterpretively almost identical, with the 1954 studio version having the\n edge sonically. But, no matter which recording one chooses of either \nthe symphony or the overture, one is treated to Walter’s uniquely \nwinsome and humane way with Mozart, with its nonpareil combination of \nwarm lyricism, vigorous heft, and good humor. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs noted above, this is the first \nappearance on CD of this 1955 account of the Schubert Fifth, a work \nWalter recorded in stereo with the West Coast version of the Columbia \nSymphony in 1960, as distinct from this earlier East Coast ensemble \ncomprised mostly of a stripped-down New York Philharmonic. (There is \nalso a live 1940 broadcast with the NBC Symphony in dry, constricted \nStudio 8-H sound.) Walter’s Schubert was of a piece with his Mozart in \nits unapologetic, full-blooded Romanticism that never fell prey to \ndistensions of the melodic line or gauche ritardandos. The two studio \nversions are virtually identical in the first three movements, with the \nstereo version having the edge for its warmer, richer sound; however, \nthe finale of the monaural account is appreciatively faster (5:54 vs. \n6:21), whereas the later stereo version comes off as a bit sluggish. If \nbetween the two the stereo account still gets the nod overall, the \nrestoration of the earlier account is a valuable corrective and \nsupplement to that version that fully warrants its return to the active \ncatalog. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe evergreen\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Kaiserwaltz\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n of Johann Strauss, Jr., my absolute favorite of all his waltzes, was \napparently Walter’s favorite as well, for it is the only Strauss waltz \nof which he made three studio recordings (there are also hat tricks for \nthe Overtures to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDie Fledermaus\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Der Zigeunerbaron\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e),\n supplemented by a 1944 New York Philharmonic broadcast account. This \none-off effort from 1942 was previously issued on a Smithsonian \nCollection CD (RD 103-7 \/ A-24739). If Walter’s final studio version \nfrom 1956 again holds the sonic edge, this is arguably a superior \naccount interpretively, with all the Viennese lilt one could possibly \ndesire. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe second disc opens with Walter’s \n1947 recording of the Schubert “Unfinished.” Of the works featured in \nthis set, this has by far the most generous representation in Walter’s \ndiscography: three studio recordings, with the Vienna Philharmonic \n(1936), the Philadelphia Orchestra (1947), and the New York Philharmonic\n (1960), plus live broadcasts with the New York Philharmonic (1942, \n1945, and 1960, the first two circulating privately and the third issued\n on Wing WCD27 in Japan and long out of print), the Bavarian State \nOrchestra (1950, released by Orfeo), the Chicago Symphony (1958, issued \nby that orchestra in a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCollector’s Choice\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n edition), and the Vienna Philharmonic (1960, on Music \u0026amp; Arts). The \n1947 rendition released here by Pristine—along with an account of \nBeethoven’s “Pastorale,” one of only two commercial recordings Walter \nmade with the “fabulous Philadelphians”—was issued by Sony, but only in \nFrance (5081742), in a pairing with the Dvořák Eighth Symphony also \nincluded here. As usual, the late performances, postdating Walter’s \nMarch 1957 heart attack, are significantly broader in their tempos—e.g.,\n 10:21 \/ 12:07 vs. 10:57 \/ 13:53 for the two movements of the 1947 and \n1960 studio accounts, respectively. For a balance between interpretive \nand sonic factors, the three most desirable accounts are these two later\n studio versions and the unusually taut (for Walter) 1950 Munich \nperformance. As all three are excellent, and captured in good sound for \ntheir respective dates, a choice between them is largely subjective: The\n Munich account offers incisive drama and the New York one beautifully \nsustained autumnal songfulness, with that from Philadelphia occupying a \nhappy medium. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs noted above, the Mendelssohn Scherzo\n is unique to Walter’s studio discography, though a 1948 New York \nPhilharmonic broadcast account has also been released on LP and CD by \nthe NYP and Music \u0026amp; Arts. It was originally a filler side to the \n78-rpm release of the fabled recording of the Mendelssohn Violin \nConcerto that Walter made with Nathan Milstein, which enjoyed the signal\n honor of being the first recording ever to be issued on LP. (In 1998 \nSony issued a special promotional reproduction of that LP on CD: SSK \n5770.) The performance is a delight, and as with the aforementioned \n“Jupiter” Symphony once again this Pristine transfer is far superior to \nits CD predecessor from Lys. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Brahms \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSong of Destiny\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e—sung in English, hence that title rather than the original German \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSchicksalslied\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e—is\n a particular Walter rarity for an unusual reason. Originally recorded \non December 15, 1941—with pointed symbolic reference to the attack on \nPearl Harbor eight days before—it was issued on LP (numbered SL 156) as a\n filler to Walter’s first studio recording of the Beethoven Ninth, on \nthe flip side of the disc containing the finale. However, Walter was \ndissatisfied with the finale of the Beethoven, and seized an opportunity\n to rerecord just that movement in 1953. Columbia then offered to \nexchange the new version of the Ninth (numbered SL 186), paired instead \nwith Walter’s 1942 recording of Beethoven’s Eighth Symphony, for free to\n anyone who sent back in his or her copy of the old version, and so \nsignificantly fewer copies of the Brahms have survived as a result. In \nhis NYP discography, fellow \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n critic James H. North notes a previous ultra-scarce Japanese Sony issue\n (SRCR-8733), of which I can find no other trace, so presumably that is \nlong out of print and this is the only available issue. The \nEnglish-language text is available on Pristine’s web site. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe best is saved for last here, in the\n form of an absolutely crackerjack performance of the Dvořák Eighth \nSymphony. While Walter would go on to record a warmly genial, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003egemütlich\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n account in stereo in 1961, many listeners may be surprised at this 1947\n performance, which positively bristles with the kind of restless, \nfebrile energy and energetic thrust associated instead with Toscanini. \nMarried as that is to Walter’s trademark lyricism of the singing line \nand robust, full-bodied orchestral palette, the result is a singularly \nstriking and compelling rendition that stays long in the memory. (There \nis also a superlative broadcast account with the New York Philharmonic \ndating from February 1948, two months after this studio recording. \nInterpretively it is perhaps my favorite of Walter’s three renditions; \nit is preserved from acetate discs in tolerable sound, but sonically it \ndoes not compete with either of the two studio versions.) \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs with the Schubert “Unfinished” \ndiscmate that was also on the French Sony issue, restoration engineer \nMark Obert-Thorn has left in more LP surface noise in the Dvořák than \ndid Sony. A choice between the two transfers is a matter of taste; while\n I welcome the quieter background and less prominent treble of the Sony \nrelease, I also find on repeated hearings that Obert-Thorn’s approach \nhas left in more instrumental color, which gives the Schubert in \nparticular a greater sense of drama and animation. Much the same careful\n and intelligent approach has been taken to the other transfers \nthroughout, always to the benefit of the performances. Pristine’s cover \nart for this issue is exceptionally striking and attractive. While the \nprimary appeal of this set may indeed be to committed Walterians, all \ncollectors of great historic performances owe it to themselves to \nacquire this set for the Dvořák in particular; highly recommended.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames A. Altena  \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003eThis article originally appeared in Issue 39:4 (Mar\/Apr 2016) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC452.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eA double-CD collection of some of Bruno Walter's rarest recordings\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"All\n collectors of great historic performances owe it to themselves to \nacquire this set for the Dvořák in particular; highly recommended\" - \nFanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cspan\u003eThis collection brings together eight recordings by Bruno \nWalter which have seen scant, if any, availability in the CD era.  All \nstem from studio sessions for US Columbia, and range from among his \nearliest recordings in America (Brahms) to one of his last of the \npre-stereo era (Schubert 5th).  Some have seen limited CD reissue by \nSony in France and Japan (Schubert 8th, Dvořák) or Japan only (Brahms), \nwhile the remainder have never had an “official” CD release.  Two of the\n recordings (Schubert 5th, \u003cem\u003eCosì\u003c\/em\u003e Overture) have apparently never even had an \u003cem\u003eun\u003c\/em\u003eofficial CD release on independent labels.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe reasons for the unavailability of these recordings generally involve remakes in improved sound.  The Mozart \u003cem\u003eJupiter\u003c\/em\u003e and \u003cem\u003eCosì\u003c\/em\u003e\n Overture, both stemming from the same 1945 session, are a case in \npoint.  This was the second of four commercial recordings Walter would \nmake of the symphony; he had previously recorded it with the Vienna \nPhilharmonic, and would go on to remake it with the New York \nPhilharmonic on tape in 1956, and with the (West Coast) Columbia \nSymphony Orchestra in stereo in 1960.  While the latter two have stayed \nintermittently in the catalog, this earlier version was forgotten.  This\n recording of the \u003cem\u003eCosì\u003c\/em\u003e Overture was Walter’s first, but he \nwould go on to remake it in mono with the East Coast CoSO in 1954, then \nwith their West Coast counterpart in stereo in 1960.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eSimilarly, the mono 1955 Schubert Fifth with the East Coast \nCoSO, another first Walter recording, was replaced five years later with\n a stereo West Coast version.  The Strauss waltz was one more item which\n Walter had previously recorded in Vienna.  He would go on to remake it \nyet again with the New York CoSO in 1956, and that has been the one \nreissued ever since.\u003c\/span\u003e\u003cspan\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe Schubert \u003cem\u003eUnfinished\u003c\/em\u003e is one of only two commercial recordings Walter made with the Philadelphia Orchestra.  (The other, Beethoven’s \u003cem\u003ePastoral\u003c\/em\u003e,\n is available on Pristine PASC 067.)  Another item originally recorded \nin Vienna, it was remade with the New York Philharmonic in stereo in \n1958.  The Mendelssohn Scherzo is the only item on the program which \nonly exists in a single recording.  It was made at the same session as \nthe Mendelssohn Violin Concerto with Milstein and Walter as the set’s \nfiller side.  \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe Brahms \u003cem\u003eSchicksalslied\u003c\/em\u003e, sung here in English, was \nrecorded at Walter’s third session with the Philharmonic held during the\n first year he recorded with them, 1941.  Its dour message (“[W]e have \nbeen fated\/To find no rest here on earth\/They vanish, they falter\/Our \nsuffering brothers”) may have been programmed by Walter in sympathy with\n the innocent victims caught up in the wars raging in Europe and Asia; \nbut it found a new resonance at this session, held eight days after the \nattack on Pearl Harbor.  Walter would remake the work in stereo in Los \nAngeles in 1961.\u003c\/span\u003e\u003cspan\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe final recording was Walter’s first of two versions of the \nDvořák Eighth.  He would go on to remake it in stereo with the West \nCoast CoSO in 1961, but would not eclipse the tremendous vitality of \nthis electrifying version.\u003c\/span\u003e\u003c\/p\u003e\u003cp\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\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan\u003eMOZART:  Symphony No. 41 in C major, K.551 ‘Jupiter’\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e           \u003cbr\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cbr\u003eRecorded 23 January 1945 in Carnegie Hall, New York\u003cbr\u003eMatrix nos.:  XCO-34181\/7\u003cbr\u003eFirst issued on Columbia 12070\/3-D in album M-565\u003c\/span\u003e\u003c\/p\u003e\n\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eMOZART:  Così fan tutte, K.588 – Overture\u003c\/b\u003e \u003cbr\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003eRecorded 23 January 1945 in Carnegie Hall, New York\u003cbr\u003eMatrix nos.:  XCO-34188\u003cbr\u003eFirst issued on Columbia 12073-D in album M-565\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan\u003e\u003cb\u003eSCHUBERT:  Symphony No. 5 in B flat, D.485\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003eColumbia Symphony Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eRecorded 5, 6 \u0026amp; 8 October 1955 in the Columbia 30th Street Studios, New York\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eFirst issued on Columbia ML-5156\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eJ. STRAUSS II:  Emperor Waltz, Op. 437\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan\u003eRecorded 18 April 1942 in Liederkranz Hall, New York\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMatrix nos.:  XCO-32733\/4\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eFirst issued on Columbia 11854-D\u003c\/span\u003e\n\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e\u003cspan\u003eSCHUBERT:  Symphony No. 8 in B minor, D.759 ‘Unfinished’\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eRecorded 2 March 1947 in the Academy of Music, Philadelphia\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMatrix nos.:  XCO-37428\/33\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eFirst issued on Columbia 12639\/41-D in album MM-699\u003c\/span\u003e\n\u003cp\u003e\u003cbr\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eMENDELSSOHN:  \u003cem\u003eA Midsummer Night’s Dream\u003c\/em\u003e, Op. 61 – Scherzo\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cbr\u003eRecorded 16 May 1945 in Carnegie Hall, New York\u003cbr\u003eMatrix no.:  XCO-34746\u003cbr\u003e First issued on Columbia 12145-D in album M-577\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan\u003e\u003cb\u003eBRAHMS:  Song of Destiny (\u003cem\u003eSchicksalslied\u003c\/em\u003e), Op. 54\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003eWestminster Choir\u003c\/span\u003e\u003c\/b\u003e (John Finley Williamson, director)\n\u003cp\u003e\u003cb\u003e\u003cspan\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eRecorded 15 December 1941 in Liederkranz Hall, New York\u003cbr\u003eMatrix nos.:  XCO-32178\/90\u003cbr\u003eFirst issued on Columbia 11801\/2-D in album X-223\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eDVOŘÁK:  Symphony No. 8 in G major, Op. 88\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cbr\u003e Recorded 28 November 1947 in Carnegie Hall, New York\u003cbr\u003eMatrix nos.:  XCO-39465\/72\u003cbr\u003eFirst issued on Columbia 12883\/6-D in album M-770\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eBruno Walter (conductor)\u003c\/b\u003e\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\/PASC452.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC452.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fLibretto578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eSchicksalslied\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eIhr wandelt droben im Licht\u003cbr\u003e \u003cspan\u003eAuf weichem Boden, selige Genien!\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eGlänzende Götterlüfte\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eRühren euch leicht,\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eWie die Finger der Künstlerin\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eHeilige Saiten.\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e Schicksallos, wie der schlafende\u003cbr\u003e \u003cspan\u003eSäugling, atmen die Himmlischen;\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eKeusch bewahrt\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eIn bescheidener Knospe,\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eBlühet ewig\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eIhnen der Geist,\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eUnd die seligen Augen\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eBlicken in stiller\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eEwiger Klarheit.\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e Doch uns ist gegeben,\u003cbr\u003e \u003cspan\u003eAuf keiner Stätte zu ruhn,\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eEs schwinden, es fallen\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eDie leidenden Menschen\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eBlindlings von einer\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eStunde zur andern,\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eWie Wasser von Klippe\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eZu Klippe geworfen,\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eJahr lang ins Ungewisse hinab.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eFriedrich Hölderlin\u003c\/b\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":"Mono 16-bit FLAC","offer_id":31976076365,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31976076429,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC452_4fc371e8-44d1-49ba-ada0-bae3a4e6e0a6.jpg?v=1487682756"},{"product_id":"pasc307","title":"ZIMBALIST Brahms \u0026 Sibelius: Violin Concertos (1944\/46) - PASC307","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;\"\u003eBRAHMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Violin Concerto\u003c\/span\u003e\u003cbr\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\u003cspan style=\"font-size: 18px;\"\u003eSIBELIUS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eViolin Concerto\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\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: 18px;\"\u003eLive broadcasts: Boston,1946 and Cleveland, 1944\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 77:33\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;\"\u003eEfrem Zimbalist, \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\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBoston Symphony Orchestra \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e Serge Koussevitzky\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Cleveland Orchestra \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e Rudolf Ringwall\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fZimbalist plays magisterially here578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cli\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAlthough Efrem Zimbalist Senior left, \nas Mark Obert-Thorn states in his note, only one commercial concerto \nrecording—of Johann Sebastian Bach’s Double Concerto with Fritz \nKreisler—later in life, Kreisler considered that recording one of his \nfavorite few. Zimbalist’s broadcast recording of Johannes Brahms’s \nViolin Concerto has been issued and reissued (it appears in somewhat \nless rich recorded sound on Doremi DHR-7739, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n 22:5). Obert-Thorn took as his source a CD-R—from a tape—of the \noriginal acetates. Reviewing the performance itself in Doremi’s \nincarnation, I reflected that Zimbalist might simply have been a victim \nof Jascha Heifetz’s mystique, concluding that, at the very least, \nZimbalist’s “technical bravura and breadth of musicianship … would \neasily make him an emperor among current performers” with “ample and \nluxurious phrasing, but no less … willingness to take risks, virtually \nall of which paid off.” Still, repeated listenings reveal a roughness in\n the declamatory double-stopped passages (compare Albert Spalding’s from\n a similar period in the violinists’ lives) that the overall musical and\n technical command nevertheless tends to overshadow (in both first and \nthird movements). I also noted the “incandescent” second movement, and \nin Pristine’s transfer, listeners can hear Koussevitsky’s “bravo” at the\n end. The remarkably good recorded sound reveals the beauty of \nZimbalist’s tone in all registers and the commanding crackle of his bow \nstroke in the rugged \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003edétaché\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n so plentiful in the concerto’s first movement. I remarked that in the \nfinale, “his technical facility provides many pleasant surprises.” I \nmight have paid more ample tribute to Serge Koussevitzky and the Boston \nSymphony Orchestra for the monumental accompaniment (the same forces had\n supported Heifetz so admirably in his recording of the same concerto in\n 1939, available, though apparently not in the United States, on Naxos \n8.110936). Whatever the merits of Obert-Thorn’s engineering, the \nsweeping and richly characterized performance itself carries the day—a \nperhaps surprisingly vibrant reading from an Auer student who left few \ndocuments of an orchestral soloist’s career that established a \nreputation that’s unfortunately dimmed over the years. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eObert-Thorn suggests that the \nopportunity to release his transfer of Jean Sibelius’s Concerto from \nopen-reel tape of the original acetates trumped the difficulties the \nmaterial presents, including echoes delayed by a full eight seconds. \nMany will find the effect of that echo deeply disturbing, but it lasts \nonly through the first four-odd minutes (it may be hard not to watch the\n clock for these to expire). \u003cem\u003e[NB. An alternative source without this echo defect was found and inserted into our masters after this review was published.]\u003c\/em\u003e\n But Zimbalist plays magisterially here, if not so crisply as Heifetz in\n 1959 or as terrifyingly (one of my students’ adverbs) as Heifetz in \n1935. Obert-Thorn claims to have attempted pitch correction, but some \nimprecision remains. In the first movement, Rudolf Ringwall and the \nCleveland Orchestra spread the mists thickly for Zimbalist to penetrate,\n and the violinist doesn’t linger indulgently in the rhapsodic \nlandscape. Nevertheless, he isn’t so incisive as Heifetz, and doesn’t \ngenerate the same voltage in the solo passages—though he doesn’t \nstruggle in them either, although it sometimes sounds as though he \nstrains to produce a rounded tone in the higher positions on the middle \nstrings. He slows down to enhance the effect of the haunting \ndouble-stopped ruminations near the movement’s end before plunging into a\n bracing account of the final passage with its treacherous glassy \noctaves. Zimbalist doesn’t throb in the slow movement’s opening; his \nvibrato seems too restricted and too slow for that. And most violinists \nwould eschew the portamentos with which he adorns the statement of the \ntheme. Once again, some wayward intonation, suspicious perhaps because \nit occurs in the upper positions on the lower strings, may not actually \nbe Zimbalist’s fault. But slowing down almost to immobility before and \nafter the impassioned middle section and, to some extent, in that \npassage itself, results from an artistic choice. In the finale, some of \nthe rushing passages sound insecure, although it’s hard to believe that \nage could have been responsible; Heifetz made his crackling second \nrecording at the age of 58. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eFor those who admire Zimbalist and \nhonor his accomplishments, this disc may seem a somewhat mixed tribute, \nwith a knowing reading of Brahms’s Concerto paired with one of \nSibelius’s Concerto they’re likely to find at the same time illuminating\n and disappointing. For those who admire the performance of Brahms’s \nConcerto, Pristine’s release seems mandatory, as arguably the most \nlife-like remastering. A recommendation, therefore, of the Sibelius \nmerely for its documentary value, but strongly and absolutely for its \ndiscmate. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eRobert Maxham\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 35:4 (Mar\/Apr 2012) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC307.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003e\u003cem\u003eZimbalist - two concertos from one of the all-time greats\u003c\/em\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"The sweeping and richly characterized performance carries the day. A recommendation, strongly and absolutely\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cli\u003e\n\u003cp class=\"body\"\u003eFor all his importance in the musical world as a \nviolinist, composer and head of Philadelphia’s Curtis Institute of \nMusic, it is remarkable that Efrem Zimbalist left only a single \ncommercial recording of any violin concerto – an acoustic Bach Double \nwith Kreisler, backed by a string quartet. We are particularly \nfortunate, then, that these two broadcast recordings exist. While the \nBrahms has been issued before on LP and CD, the Sibelius appears here \nfor the first time in a commercial release.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe source for the Brahms was a CD-R copied from a tape \ntransfer of the original broadcast acetates. Although there are some \nintermittent problems, the basic sound quality is notably above average \nfor broadcast transcriptions of that era. There is a wealth of audible \ndetail, including Koussevitzky’s spoken “Bravo” at the end of \nZimbalist’s sublime performance of the second movement.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eUPDATED 10 FEBRUARY 2012:\u003c\/p\u003e\n\u003cp class=\"body\"\u003eMost of the Sibelius was taken from an open-reel tape \ncontaining rough, unjoined transfers of eight 78 rpm acetate sides. Due \nto a defect in this source, however, the first side (up to 4:07 on Track\n 5) came from a CD-R copy of a tape transfer of another set of acetates.\n I have tried to match the sound on the two sources the best I could, \nand have also attempted to correct the severe pitch fluctuations which \nplagued both sets of originals.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\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 class=\"bodybigblue\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Violin Concerto in D major, Op. 77 \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e(\u003cem\u003eCadenza: Kreisler\/Zimbalist\u003c\/em\u003e) \u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded from the broadcast of 30th March 1946 in Symphony Hall, Boston\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eBoston Symphony Orchestra \u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003econductor\u003cb\u003e Serge Koussevitzky\u003c\/b\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSIBELIUS \u003c\/b\u003eViolin Concerto in D minor, Op. 47\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded from the broadcast of 9th January 1944 in Severance Hall, Cleveland\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eThe Cleveland Orchestra\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003econductor\u003cb\u003e Rudolf Ringwall\u003c\/b\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003eEfrem Zimbalist\u003c\/b\u003e violin\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eAdditional noise reduction by Andrew Rose \u003cbr\u003eCover artwork based on a photograph of Efrem Zimblast\u003cbr\u003eSpecial thanks to Nathan Brown, Langdon F. Lombard and James H. 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However, they come at the end of the era of \ndirect-to-disc recording - tape was introduced the following year - and \nat a time when EMI's engineers had managed to successfully extend the \nfrequency range of their recordings by a considerable degree.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eDespite having to battle with quite a \ndegree of background noise, as well as quite a lot of swish, the results\n obtained here have proved very satisfactory. A small chamber music \ngroup such as this can be exceptionally unforgiving in an audio \nrestoration, and I've aimed to preserve every nuance of playing possible\n whilst minimising noise. The sample here, of the final movement, is \nperhaps the most successful section of the recording from a remastering \npoint of view as there was considerable variation across the discs. \nThroughout the recording, the use of XR remastering has ensured a full \nand vivid rendition of this excellent performance.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\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\u003eBRAHMS \u003c\/b\u003ePiano Trio No. 3 in C minor, Op. 101\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 in June 1947, issued as three UK HMV 78s C.3624-6\u003cbr\u003e Matrix nos. 2EA.12104-12106 and 2EA.12119-12121\u003cbr\u003e Takes 4, 3, 1, 2, 1, 1\u003cbr\u003e Duration 22:01\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cb\u003eRenato Zanettovich, \u003c\/b\u003eviolin\u003cb\u003e \u003cbr\u003e Dario di Rosa, \u003c\/b\u003epiano\u003cbr\u003e\u003cb\u003eLibero Lana\u003c\/b\u003e, 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