{"title":"Delibes","description":"\u003cp\u003eLéo Delibes (1836-1891) was a French composer whose name is closely associated with ballet and opera. Born near Saint-Germain-du-Val, he studied at the Paris Conservatoire and worked in the theatre from an early age.\u003c\/p\u003e\u003cp\u003eHis best-known works include the ballets \u003cem\u003eCoppélia\u003c\/em\u003e and \u003cem\u003eSylvia\u003c\/em\u003e, and the opera \u003cem\u003eLakmé\u003c\/em\u003e, with its famous Flower Duet. These scores show his instinct for melody, stage colour and graceful movement.\u003c\/p\u003e\u003cp\u003eDelibes’s music is elegant, lucid and theatrically precise. His ballet scores helped raise French ballet music from functional accompaniment to a more richly characterised orchestral art.\u003c\/p\u003e\u003cp\u003eAdmired by later composers including Tchaikovsky, Delibes brought charm without triviality and colour without clutter. His best music still dances with the ease of something far more carefully made than it pretends.\u003c\/p\u003e","products":[{"product_id":"pasc216","title":"HERTZ Complete San Francisco Recordings Volume 3 (1925-28) - PASC216","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMusic by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eAUBER, DELIBES, GOUNOD, MASSENET\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded by Victor between 1925 and 1928\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 57:27 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSan Francisco Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eAlfred Hertz \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fTreat yourself — I guarantee you won’t regret it. 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis is the third and final installment in what \nhas proved to be a revelatory series, notable both for its high \nstandards of orchestral execution and interpretive individuality. It \ncovers Hertz’s recordings of French music (the first two volumes were \ndevoted to German repertoire from Beethoven to Wagner).  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Auber overture, recorded near the end of the \nacoustic period in January 1925, is played with great precision, \nrefinement, and Gallic esprit. Massenet’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePhèdre\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n was taken down at the same time, then remade electrically in 1928. \nAlthough the 1925 sessions are uncommonly vivid for acoustic recordings,\n the difference in three years is immense, and the 1928 recording \ncaptures the large orchestra with thrilling fidelity. The interpretation\n is elegant, fiery, and intensely dramatic, with playing of real sheen \nand polish—hear the improvisatory surge Hertz imparts to the second \ntheme, conjuring an amazing soloistic flexibility from the massed \nstrings, reminiscent of Mengelberg. The orchestra’s sonority is \nappropriately French rather than Germanic: organ-like, with sharply \ndifferentiated wind colors—in fact very recognizably the sharp, pungent \ntextures familiar from Monteux’s later tenure with the orchestra. \n(Monteux took over as music director in 1936, and one of the ear-opening\n surprises of this series has been the discovery that that distinctive \nSan Francisco sound was already fully developed in the Hertz years.) \nFortuitously, a live 1950 performance of the overture with the French \nmaestro exists (Music \u0026amp; Arts), and makes for a fascinating \ncomparison, the two versions strikingly similar in sound and detail, \nHertz a little more grandly spacious, Monteux more theatrically \nvolatile. The Delibes excerpts are ideally piquant and spicy, though \nthese earlier electricals from 1926 are notably less refined than the \n1928 sessions (in 1926 they still used tuba to reinforce the string \nbasses). Gounod’s satirical miniature makes a surprisingly indelible \nimpression, with acridly pungent wind contributions. Massenet’s ballet \nmusic is done with unforgettable color, vibrancy, and panache; the 1928 \nrecording is quite spectacular.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMark Obert-Thorn’s transfers are superb. If you \nknow the first two volumes, you’ll need no prompting from me. If you \ndon’t, I recommend you treat yourself to all three—I guarantee you won’t\n regret it. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eBoyd Pomeroy  \u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003eThis article originally appeared in Issue 34:2 (Nov\/Dec 2010) of Fanfare Magazine.\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC216.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eHertz in San Francisco, 1925-28: an all-French collection\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eThird of four volumes comprising the complete SFSO recordings\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThe present all-French collection offers examples of Hertz\/San Francisco recordings from each year that Victor sent its engineers out to California to record them. Indeed, the very first recording the orchestra made is here (\u003cem\u003eFra Diavolo\u003c\/em\u003e), as well as sides from their final session (\u003cem\u003eLe Cid\u003c\/em\u003e). It was during that first group of acoustic sessions that Hertz’s only still-unpublished recording with the orchestra was made: the Prelude to Le Deluge by Saint-Saëns, with the ensemble’s concertmaster (and Menuhin pedagogue) Louis Persinger as soloist. The tremendous advance made by the introduction of electrical recording is vividly illustrated by the two versions of the Phèdre Overture, made three years apart.\u003c\/p\u003e\n\u003cp\u003eThe sources for the transfers were American Victor copies – arch label (“bat-wing”) pressings for the acoustic items; “Z” pressings for the Gounod and Coppélia sides; pre-war “Gold” label pressings for the electric Massenet items; and wartime “Silver” label copies for the Sylvia items.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\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 class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eAUBER: \u003c\/strong\u003eFra Diavolo – \u003cem\u003eOverture\u003c\/em\u003e (7:45)\u003c\/span\u003e\u003cbr\u003e Recorded 19th January, 1925 in Oakland\u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003eMatrix nos: PC 55-4 and 56-3\u003cbr\u003e First issued on Victor 6506\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMASSENET\u003c\/strong\u003e: Phèdre\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003c\/strong\u003eOverture – \u003cem\u003eAcoustic recording\u003c\/em\u003e (9:17)\u003cbr\u003e Overture – \u003cem\u003eElectric recording\u003c\/em\u003e (9:09)\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e \u003cstrong\u003eAcoustic\u003c\/strong\u003e: Recorded 26th January and 2nd February, 1925 in Oakland\u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003eMatrix nos: PC 64-1 and 77-1\u003cbr\u003e First issued on Victor 6539\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e \u003cstrong\u003eElectric\u003c\/strong\u003e: Recorded 21st February, 1928 in the Scottish Rite Temple, Oakland\u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003eMatrix nos: PCVE 42012-2 and 42013-2\u003cbr\u003e First issued on Victor 7154 \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eDELIBES\u003c\/strong\u003e: Coppélia – \u003cem\u003eDance of the Automatons and Waltz\u003c\/em\u003e (4:08)\u003c\/span\u003e\u003cbr\u003e Recorded 21st April, 1926 in Oakland\u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003eMatrix no.: PCVE 171-4\u003cbr\u003e First issued on Victor 6586\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eDELIBES\u003c\/strong\u003e: Sylvia\u003cbr\u003e \u003cem\u003eIntermezzo and Valse Lente\u003c\/em\u003e (3:16)\u003cbr\u003e \u003cem\u003ePizzicati\u003c\/em\u003e (2:11)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e Recorded 24th April, 1926 in Oakland \u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003eMatrix nos.: PBVE 181-2 and 182-2\u003cbr\u003e First issued on Victor 1166\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGOUNOD\u003c\/strong\u003e: \u003cem\u003eFuneral March of a Marionette\u003c\/em\u003e (4:43)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e Recorded 15th April 1927 in the Columbia Theatre, San Francisco\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003eMatrix no: PCVE 253-2\u003cbr\u003e First issued on Victor 6639\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMASSENET\u003c\/strong\u003e: Le Cid – Ballet Music\u003cbr\u003e 1. \u003cem\u003eCastillane\u003c\/em\u003e (2:37)\u003cbr\u003e 2. \u003cem\u003eAndalouse\u003c\/em\u003e (2:20)\u003cbr\u003e 3. \u003cem\u003eAragonaise\u003c\/em\u003e (1:43)\u003cbr\u003e 4. \u003cem\u003eAubade\u003c\/em\u003e (1:00)\u003cbr\u003e 5. \u003cem\u003eCatalane\u003c\/em\u003e (3:02)\u003cbr\u003e 6. \u003cem\u003eMadrilene\u003c\/em\u003e (3:15)\u003cbr\u003e 7. \u003cem\u003eNavarraise\u003c\/em\u003e (3:01)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e Recorded 27th and 28th February, 1928 in the Scottish Rite Temple, Oakland\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003eMatrix nos.: PBVE 42033-42038, all second takes except 42035, Take 3\u003cbr\u003e First issued on Victor 1406 through 1408 in album M-56\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eSan Francisco Symphony Orchestra\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eAlfred Hertz \u003c\/b\u003e\u003cbr\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003e Cover artwork based on a photograph of Alfred Hertz\u003c\/span\u003e\u003cbr\u003e\nTotal duration: 57:27 \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\/PASC216.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC216.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":34437416781,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34437416845,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC216_756402dd-cb61-4d8c-86e1-aeb31f402d11.jpg?v=1490018100"},{"product_id":"pasc216-cd","title":"HERTZ Complete San Francisco Recordings Volume 3 (1925-28) - PASC216 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478197261,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478197325,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC216_d9790894-027c-4d01-a328-630c65b93107.jpg?v=1658244079"},{"product_id":"pasc185","title":"DRAGON conducts French and Italian Classics (1956\/57) - PASC185","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eFrench music \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eby Lisle, Debussy, Thomas, Delibes, Offenbach, Padilla, Gounod, Saint-Saëns\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eItalian music \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eby Denza, Mascagni, Paganini, Wolf-Ferrari, Tchaikovsky, Bohn, Curtis\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1956 and 1957\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 68:50 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Hollywood Bowl Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e The Capitol Symphony Orchestra \u003c\/span\u003e\u003cbr\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003earranged and conducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eCarmen Dragon\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC185.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eSuperb early Capitol stereo recordings remastered\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eMaster-arranger Carmen Dragon with members of the LA Phil (probably...)\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\n\u003cp class=\"body\"\u003eCapitol Records were, in the 1950s, one of the pioneers of stereo recordings, both in the popular and classical field, and for some time made entirely separate recordings of albums in both mono and stereo formats. This can be heard clearly in recordings by the likes of Frank Sinatra, where, for example a close-up multi-miking technique was employed for the mono recording of 'Come Dance With Me', resulting in both greater impact and intimace, whilst the stereo recording was made with two or three overhead microphones, capturing an entirely different perspective of the same recording.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAs such, some of these early Capitol stereo recordings are considered to have worked better in their mono format, whereas others fared better in stereo. The selections here, taken from two albums recorded in 1956 and 1957 and probably destined originally for reel-to-reel tape release prior to the commercial development of the stereo LP, almost certainly fall into the latter category. The sound is big and wide - an ideal way to show off one's new-fangled stereo 'hi-fi' equipment!\u003c\/p\u003e\n\u003cp class=\"body\"\u003eEdward Johnson's excellent LP transfers have been further enhanced by the use of XR remastering - as with many orchestral releases of this era there was a tendency to a certain shrill glassiness in the upper strings and a slight hole in the lower mid-range. With these relatively minor adjustments in place, together with a taming of a degree of bottom-end boom the recordings really came to life. We suspect that in both cases the orchestral players were probably an assortment of members from the LA Philharmonic and possibly some of the film studio orchestras. The fact that they're given two different names for the purposes of these two LPs doesn't rule out the strong possibility that they were largely the same outfit.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eEither way, this is an excellent 'fun' release, with Dragon's superb arrangements excellently played and recorded. If, in the words of Edward Johnson, our sample track \u003cem\u003eFuniculi Funicula \u003c\/em\u003edoesn't get you \"dancing around the kitchen table\" then either you have no kitchen, or your kitchen has no table...\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cbr\u003e\u003ci\u003eAndrew Rose\u003c\/i\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\u003cul\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eFrom the LP \"La Belle France\"\u003c\/strong\u003e rec. 7-9 November 1957\u003c\/span\u003e\u003cbr\u003e \u003cstrong\u003eThe Capitol Symphony Orchestra, conducted by Carmen Dragon\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003eLa Marseillaise\u003c\/span\u003e - Rouget de Lisle (4:24)\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003ePremière Arabesque\u003c\/span\u003e - Debussy (4:18)\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003ePolonaise from Mignon\u003c\/span\u003e - Thomas (3:52)\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003eFrère Jacque\u003c\/span\u003es - Traditional (3:26)\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003eWaltz from Coppelia\u003c\/span\u003e - Delibes (3:09)\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003eCan-Can from Orpheus in the Underworld \u003c\/span\u003e- Offenbach (2:02)\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003eAlouette\u003c\/span\u003e - Traditional (2:25)\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003eParee! \u003c\/span\u003e- Padilla (3:43)\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003eSur le Pont d'Avignon\u003c\/span\u003e - Traditional (1:29)\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003eFaust Waltz\u003c\/span\u003e - Gounod (4:59)\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003eMy Heart At Thy Sweet Voice\u003c\/span\u003e - Saint-Saëns (4:26)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eFrom the LP \"L'Italia\"\u003c\/strong\u003e rec. 5-6 July 1956\u003c\/span\u003e\u003cbr\u003e \u003cstrong\u003eThe Hollywood Bowl Symphony Orchestra, conducted by Carmen Dragon\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003eFuniculi Funicula\u003c\/span\u003e - Denza (3:29)\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003eIntermezzo from Cavalleria Rusticana\u003c\/span\u003e - Mascagni (3:55)\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003eMoto Perpetuo \u003c\/span\u003e- Paganini (5:05)\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003eDance of the Camorristi\u003c\/span\u003e - Wolf-Ferrari (4:03)\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003eCapriccio Italien\u003c\/span\u003e - Tchaikovsky (5:20)\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003eTarantella\u003c\/span\u003e - Bohn (2:29)\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003eCome Back to Sorrento\u003c\/span\u003e\u003cspan class=\"body\"\u003e - De Curtis (6:16)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTransfer from Capitol SP8427 and SP8351 by Edward Johnson\u003cbr\u003e Restoration and XR remastering by Andrew Rose, August-September 2009\u003cbr\u003e Cover artwork based on a photograph of Carmen Dragon\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 68:50 \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\/PASC185.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC185.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":36095832013,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":55205577294158,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":55205577326926,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC185_d8ca569a-aaf0-4b49-b72a-44e4aa22fdc2.jpg?v=1492433242"},{"product_id":"pasc185-cd","title":"DRAGON conducts French and Italian Classics (1956\/57) - 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Strauss, Sibelius\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e and others\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1924-28\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration:  3hr 0:20 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Cleveland Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNikolai Sokoloff\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC524.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    This release celebrates the centenary of the Cleveland Orchestra by\n    presenting all of the early recordings made under its founding conductor,\n    Nikolai Sokoloff. While a few of them were reissued by the orchestra itself\n    a quarter century or more ago on limited edition LPs or CDs, the majority\n    are being made available here for the first time in over eighty years.\n\u003c\/p\u003e\n\u003cp\u003e\n    Nikolai Sokoloff was born in Kiev in 1886, and moved to New Haven,\n    Connecticut with his parents when he was 13 years old. Four years later, he\n    became a violinist with the Boston Symphony. He studied music at Yale, and\n    also privately with Charles Martin Loeffler. Following this, he went to\n    Paris to continue his studies with D’Indy, and conducted in Manchester.\n\u003c\/p\u003e\n\u003cp\u003e\n    Returning to America, he directed the San Francisco People’s Philharmonic\n    Orchestra (1916 - 1917), where he insisted on the then-unheard of practice\n    of hiring women players and paying them the same as men. He was approached\n    by Cleveland impresario Adella Prentiss Hughes with an offer to organize\n    musical education there. Sokoloff accepted with one condition: an orchestra\n    would need to be created that he would lead. On December 11th, 1918, the\n    Cleveland Orchestra gave its first performance. By 1922, Sokoloff felt the\n    ensemble was ready for its first Carnegie Hall appearance.\n\u003c\/p\u003e\n\u003cp\u003e\n    Two years later, Sokoloff and the orchestra began a series of recordings\n    for the Brunswick label, then a major player in the American market\n    alongside Victor and Columbia. Their recordings fall neatly into three\n    periods: acoustic discs, which, after a single New York session in January,\n    1924 that produced the \u003cem\u003e1812 Overture\u003c\/em\u003e, were made in Cleveland in\n    October of the same year; early electric “Light-Ray” recordings, also made\n    in Cleveland in May of 1926 in a warmly reverberant venue which was\n    probably the Masonic Auditorium, used by the orchestra before Severance\n    Hall was built in 1931; and a final group of electrics made back in New\n    York two years later, most likely in the Chapter Room of Carnegie Hall,\n    where Brunswick had previously recorded the New York Philharmonic under\n    Mengelberg and Toscanini.\n\u003c\/p\u003e\n\u003cp\u003e\n    While the sound of the acoustic recordings compares well with their\n    counterparts on Victor and Columbia, the early electrics were more\n    problematic. The “Light-Ray” method was developed by General Electric as an\n    offshoot of an early sound-on-film recording process, using photoelectric\n    cells to transmit sound optically to a disc cutting head, rather than the\n    electrical impulses used by the rival Western Electric system. At lower\nvolume levels, the results could be acceptable; however, anything    \u003cem\u003eforte\u003c\/em\u003e and above came out congested and harshly distorted. By the\n    time of the orchestra’s final sessions in 1928, Brunswick had abandoned\n    this system for Western Electric’s.\n\u003c\/p\u003e\n\u003cp\u003e\n    The repertoire chosen for the most part reflected the same kind of light\n    Classics that had been best sellers for other orchestras during the\n    acoustic and early electric eras, usually heavily abridged in order to fit\n    onto a single side or disc. Only with the final sessions in 1928 do we see\n    entire, uncut works being attempted. (The Schubert \u003cem\u003eUnfinished\u003c\/em\u003e even\n    features the first movement repeat, a rarity in those days.)\n\u003c\/p\u003e\n\u003cp\u003e\n\n\n        What we hear on these recordings is an ensemble that already sounds\n        superior to most of its European counterparts at the time, save perhaps\n        for Mengelberg’s Concertgebouw Orchestra. String portamento is used\n        surprisingly sparingly for the period, and reserved mainly for the\n        Russian Romantic repertoire. Ensemble playing is generally good, as are\n        the instrumental soloists, particularly Joseph Fuchs, the concertmaster\n        heard in the 1928 recordings. And Sokoloff is revealed as an energetic,\n        often imaginative interpreter (although some of the swift tempi - like\n        the mad dash through the “Presto ma non assai” section of the Brahms\n        Second Allegretto - seem more dictated by recording timing constraints\n        than interpretive choice).\n    \n\u003c\/p\u003e\n\u003cp\u003e\n    Far and away the most ambitious recording Sokoloff made with the orchestra\n    was the gramophonic première of the Rachmaninov Second Symphony. The\n    conductor had first approached Rachmaninov in 1919 about making cuts to the\n    nearly hour-long work in order to make it more palatable to audiences.\n    Rachmaninov agreed that he had been “more voluble” in his younger days, and\n    proceeded to craft what was intended to be a new performing edition.\n\u003c\/p\u003e\n\u003cp\u003e\n    Not only did the composer cut music he considered redundant, but he also\n    changed some harmonies and assigned a new tempo marking for the second\n    movement. The 1928 set presented here is the only recording of this\n    version. The next recording, made by Eugene Ormandy in Minneapolis in 1934,\n    cut even more out of the score, and became the \u003cem\u003ede facto\u003c\/em\u003e performing\n    version in the US and elsewhere until the 1960s.\n\u003c\/p\u003e\n\u003cp\u003e\n    After leaving Cleveland in 1932, Sokoloff was appointed director of the\n    Federal Music Project (1935 - 1939), a New Deal program created to employ\n    musicians and encourage music appreciation during the Depression. From 1938\n    through 1941, he was music director of the Seattle Symphony. In 1941, he\n    settled in La Jolla, California, where he organized the La Jolla Musical\n    Arts Festival Orchestra. With them, he made several LP recordings in the\n    early 1950s, featuring works by Rozsa and Lopatnikoff for the Concert Hall\n    label and by Dello Joio, Martinů and Britten for Alco Records. He died in\n    La Jolla in 1965.\n\u003c\/p\u003e\n\u003cp\u003e\n    Following the 1928 sessions, the Cleveland Orchestra would not stand before\n    the recording microphones for another eleven years, when it began a long\n    association with Columbia Records - first under Artur Rodziński, who had\n    been its music director since 1933, and then, briefly, with Erich Leinsdorf\n    before George Szell arrived for his long tenure (1946 - 1970). But the\n    seeds of the Cleveland Orchestra’s later international success were already\n    present in these recordings made within the first decade of its existence.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\u003cstrong\u003eCD 1 (60:58)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eThe Acoustic Recordings (1924)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. \u003cstrong\u003eTCHAIKOVSKY 1812 Overture, Op. 44\u003c\/strong\u003e (8:49)\u003cbr\u003eRecorded 23 January 1924 in New York City\u003cbr\u003eFirst issued on Brunswick 50047\n\u003c\/p\u003e\n\u003cp\u003e\n    2.\n    \u003cstrong\u003e\n        J. STRAUSS II On the Beautiful Blue Danube - Waltz, Op. 314\n    \u003c\/strong\u003e\n    (4:09)\u003cbr\u003eRecorded 2 October 1924 in Cleveland\u003cbr\u003eFirst issued on Brunswick 50052\n\u003c\/p\u003e\n\u003cp\u003e\n3.    \u003cstrong\u003eJ. STRAUSS II Tales from the Vienna Woods - Waltz, Op. 325\u003c\/strong\u003e\n    (4:25)\u003cbr\u003eRecorded 3 October 1924 in Cleveland\u003cbr\u003eFirst issued on Brunswick 50052\n\u003c\/p\u003e\n\u003cp\u003e\n    4. \u003cstrong\u003eSIBELIUS Valse Triste (from Kuolema, Op. 44)\u003c\/strong\u003e (2:45)\u003cbr\u003eRecorded 5 October 1924 in Cleveland\u003cbr\u003eFirst issued on Brunswick 15092\n\u003c\/p\u003e\n\u003cp\u003e\n    5. \u003cstrong\u003eSIBELIUS Finlandia - Symphonic Poem, Op 26\u003c\/strong\u003e (4:20)\u003cbr\u003eRecorded 2 October 1924 in Cleveland\u003cbr\u003eFirst issued on Brunswick 50053\n\u003c\/p\u003e\n\u003cp\u003e\n    6. \u003cstrong\u003eSCHUMANN Träumerei (Kinderszenen, Op. 15, No. 7)\u003c\/strong\u003e (3:33)\u003cbr\u003eRecorded 5 October 1924 in Cleveland\u003cbr\u003eFirst issued on Brunswick 15091\n\u003c\/p\u003e\n\u003cp\u003e\n    7. \u003cstrong\u003eDVOŘÁK Slavonic Dance in D major, Op. 46, No. 3\u003c\/strong\u003e (3:15)\u003cbr\u003eRecorded 4 October 1924 in Cleveland\u003cbr\u003eFirst issued on Brunswick 15091\n\u003c\/p\u003e\n\u003cp\u003e\n    8. \u003cstrong\u003eBRAHMS Hungarian Dance No. 5 in G minor\u003c\/strong\u003e (2:35)\u003cbr\u003eRecorded 5 October 1924 in Cleveland\u003cbr\u003eFirst issued on Brunswick 15092\n\u003c\/p\u003e\n\u003cp\u003e\n    9.\n    \u003cstrong\u003e\n        BRAHMS Symphony No. 2 in D major, Op 73 - 3rd Mvt. - Allegretto\n    \u003c\/strong\u003e\n    (4:19)\u003cbr\u003eRecorded 4 October 1924 in Cleveland\u003cbr\u003eFirst issued on Brunswick 50053\n\u003c\/p\u003e\n\u003cp\u003e\n    10. \u003cstrong\u003eWAGNER Lohengrin - Prelude to Act 3\u003c\/strong\u003e (3:07)\u003cbr\u003eRecorded 5 October 1924 in Cleveland\u003cbr\u003eFirst issued on Brunswick 15090\n\u003c\/p\u003e\n\u003cp\u003e\n    11. \u003cstrong\u003eWAGNER Lohengrin - Bridal Chorus (Act 3)\u003c\/strong\u003e (3:15)\u003cbr\u003eRecorded 5 October 1924 in Cleveland\u003cbr\u003eFirst issued on Brunswick 15090\n\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eThe “Light-Ray” Electrics (1926)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    12. \u003cstrong\u003eWAGNER Lohengrin - Prelude to Act 3\u003c\/strong\u003e (3:11)\u003cbr\u003eRecorded 1 May 1926 in Cleveland\u003cbr\u003eFirst issued on Brunswick 15121 (matrix E 19234)\n\u003c\/p\u003e\n\u003cp\u003e\n    13. \u003cstrong\u003eWAGNER Lohengrin - Bridal Chorus (Act 3)\u003c\/strong\u003e (3:18)\u003cbr\u003eRecorded 1 May 1926 in Cleveland\u003cbr\u003eFirst issued on Brunswick 15121 (matrix E 19237)\n\u003c\/p\u003e\n\u003cp\u003e\n    14. \u003cstrong\u003eTCHAIKOVSKY 1812 Overture, Op. 44\u003c\/strong\u003e (9:58)\u003cbr\u003eRecorded 1 and 3 May 1926 in Cleveland\u003cbr\u003eFirst issued on Brunswick 50090 (matrices XE 19243 \u0026amp; 19131)\n\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 2 (58:09)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eThe “Light-Ray” Electrics (1926) - continued\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. \u003cstrong\u003eTCHAIKOVSKY The Sleeping Beauty, Op. 20, No. 6 - Waltz\u003c\/strong\u003e\n    (4:09)\u003cbr\u003eRecorded 3 May 1926 in Cleveland\u003cbr\u003eFirst issued on Brunswick 15120 (matrix E 19134)\n\u003c\/p\u003e\n\u003cp\u003e\n    2.\n    \u003cstrong\u003e\n        RIMSKY-KORSAKOV (arr. Victor Herbert) Sadko - Song of India\n    \u003c\/strong\u003e\n    (3:13)\u003cbr\u003eRecorded 1 May 1926 in Cleveland\u003cbr\u003eFirst issued on Brunswick 15120 (matrix E 19238)\n\u003c\/p\u003e\n\u003cp\u003e\n    3. \u003cstrong\u003eRACHMANINOV Prelude in C-sharp minor, Op. 3, No. 2\u003c\/strong\u003e\n    (3:54)\u003cbr\u003eRecorded 3 May 1926 in Cleveland\u003cbr\u003eFirst issued on Brunswick 15189 (matrix E 19147)\n\u003c\/p\u003e\n\u003cp\u003e\n    4. \u003cstrong\u003eNICOLAI The Merry Wives of Windsor - Overture\u003c\/strong\u003e (4:25)\u003cbr\u003eRecorded 3 May 1926 in Cleveland\u003cbr\u003eFirst issued on Brunswick 50089 (matrix XE 19138)\n\u003c\/p\u003e\n\u003cp\u003e\n    5. \u003cstrong\u003eSAINT-SAËNS Danse Macabre, Op. 40\u003c\/strong\u003e (4:44)\u003cbr\u003eRecorded 3 May 1926 in Cleveland\u003cbr\u003eFirst issued on Brunswick 50089 (matrix XE 19135)\n\u003c\/p\u003e\n\u003cp\u003e\n    6. \u003cstrong\u003eHALVORSEN Entry March of the Boyars\u003c\/strong\u003e (5:31)\u003cbr\u003eRecorded 3 May 1926 in Cleveland\u003cbr\u003eFirst issued on Brunswick 50149 (matrix XE 19145)\n\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eThe Final Electrics (1928)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eSCHUBERT Symphony No. 8 in B minor, D759, ‘Unfinished’\u003c\/strong\u003e\u003cbr\u003e7. 1st Mvt.: Allegro moderato (12:29)\u003cbr\u003e8. 2nd Mvt.: Andante con moto (12:05)\n\u003c\/p\u003e\n\u003cp\u003e\n    Recorded on 8\/9 May 1928 in New York City\u003cbr\u003eFirst issued on Brunswick 50150\/2 (matrices XE 27505\/9 \u0026amp; 27520)\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e9. \u003cstrong\u003eDELIBES Coppelia - Entr’acte and Valse\u003c\/strong\u003e (3:14)\u003cbr\u003eRecorded on 7 May 1928 in New York City\u003cbr\u003eFirst issued on Brunswick 15189 (matrix E 27482)\n\n\u003c\/p\u003e\u003cp\u003e\n    10.\n    \u003cstrong\u003e\n        PIERNÉ Cydalise et le Chêvre-Pied - Entrance of the Little Fauns\n    \u003c\/strong\u003e\n    (2:08)\u003cbr\u003eRecorded 9 May 1928 in New York City\u003cbr\u003eFirst issued on Brunswick 15181 (matrix E 27527)\n\u003c\/p\u003e\n\u003cp\u003e\n    11. \n\n\u003cstrong\u003eGRAINGER Shepherd’s Hey (A Morris Dance)\u003c\/strong\u003e\n\n    (2:15)\u003cbr\u003eRecorded 9 May 1928 in New York City\u003cbr\u003eFirst issued on Brunswick 15181 (matrix E 27522)\n\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 3 (61:18)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eThe Final Electrics (1928) - continued\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. \u003cstrong\u003eSIBELIUS Valse Triste (from Kuolema, Op. 44)\u003c\/strong\u003e (3:42)\u003cbr\u003eRecorded 9 May 1928 in New York City\u003cbr\u003eFirst issued on Brunswick 50149 (matrix XE 27521)\n\u003c\/p\u003e\n\u003cp\u003e\n    2. \u003cstrong\u003eBORODIN Polovtsian Dances (from Prince Igor, Act 2)\u003c\/strong\u003e\n    (11:19)\u003cbr\u003eRecorded 9 May 1928 in New York City\u003cbr\u003eFirst issued on Brunswick 15184\/5 (matrices E 27523\/6)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cbr\u003eRACHMANINOV Symphony No. 2 in E minor, Op. 27\u003c\/strong\u003e\u003cbr\u003e3. 1st Mvt. Largo (15:33)\u003cbr\u003e4. 2nd Mvt. Allegro molto (8:11)\u003cbr\u003e5. 3rd Mvt. Adagio (12:27)\u003cbr\u003e6. 4th Mvt. Allegro vivace\n    (10:05)\n\u003c\/p\u003e\n\u003cp\u003e\n    Recorded 7\/8 May 1928 in New York City\u003cbr\u003eFirst issued on Brunswick 50143\/8 (matrices XE 27483\/9, 27499 \u0026amp;\n    27500\/3)\n\n\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eNikolai Sokoloff ∙ The Cleveland Orchestra\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eProducer and Audio Restoration Engineer \u003cb\u003eMark Obert-Thorn\n\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\n\n\n        Special thanks to Nathan Brown, Jim Cartwright’s Immortal Performances,\n        Inc., Frederick P. Fellers, Michael Gartz, the collection of the late\n        Bob Hunter, Richard Kaplan, and Charles Niss for providing source\n        material\n    \n\u003c\/p\u003e\n\u003cp\u003e\n\u003cem\u003e\u003cu\u003eNote\u003c\/u\u003e\u003c\/em\u003e\n    Matrix numbers were not shown on the original acoustic discs. Since during\n    this period a different matrix number was used for each take, the actual\n    matrix used could be one of several numbers. As a result, they have not\n    been listed here, although they are shown for the electrical recordings.\n\u003c\/p\u003e\u003cp\u003eCover artwork based on a photograph of \u003cb\u003eNikolai Sokoloff\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eTotal duration:  3hr 0:20 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC524.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC524.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":7173870878781,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205548392782,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC524_cba6f86e-f4d6-4dda-9566-65dc60a3b5e9.jpg?v=1521823080"},{"product_id":"pasc524-cd","title":"NIKOLAI SOKOLOFF And The Cleveland Orchestra - Complete Recordings (1924-28) - PASC524 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC524.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"3 CDs with case \u0026 artwork (+MP3)","offer_id":3592703246362,"sku":null,"price":50.0,"currency_code":"EUR","in_stock":false},{"title":"3 CDs only in plastic sleeve (+MP3)","offer_id":55205548360014,"sku":null,"price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC524_9344eab5-6d0d-44d3-959b-64d37744493b.jpg?v=1658745190"},{"product_id":"pasc667","title":"ORMANDY Complete Minneapolis Symphony, Vol. 2 (1934) - PASC667","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLe Nozze di Figaro - Overture\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eEight German Dances\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUMANN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 4\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSMETANA \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThree Dances from The Bartered Bride\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDELIBES \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eMusic from Sylvia \u0026amp; La Source\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eKREISLER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eKreiserliana\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHOENBERG \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eVerklärte Nacht\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003emusic by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRavel, Tchaikovsky, Strauss, Dvořák, Drigo\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1934\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 32:37\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMinneapolis Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eEugene Ormandy\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC667.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    This volume is the second in a series presenting the complete recordings of\n    Eugene Ormandy and the Minneapolis Symphony Orchestra (now the Minnesota\n    Orchestra) that were issued on 78 rpm discs, originally made for the Victor\n    label in 1934 and 1935 and never before re-released in their entirety. It\n    includes many disc premières, including the Schoenberg work featured in the\n    present release.\n\u003c\/p\u003e\n\u003cp\u003e\n    Our second volume, rounding out his 1934 sessions, begins as the first one\n    did with Mozart. While Ormandy’s \u003cem\u003eEine Kleine Nachtmusik\u003c\/em\u003e presented\n    earlier was found by some critics to be somewhat brusque and aggressive,\n    the overture to \u003cem\u003eLe nozze di Figaro\u003c\/em\u003e here is appropriately\n    effervescent, and his sequence of German Dances idiomatically charming and\n    characterful.\n\u003c\/p\u003e\n\u003cp\u003e\n    During his long career, Ormandy made only two Schumann symphony recordings\n    – the Fourth presented here, and the Second which he recorded in\n    Philadelphia three years later (Pristine PASC 578). The Fourth has a\n    single-minded forward momentum which contrasts with the languid arrangement\n    of the composer’s \u003cem\u003eTräumerei\u003c\/em\u003e which follows it. With the Smetana and\n    Dvořák works, we enter prime repertoire for this Middle European-born\n    conductor; and the Minneapolis players convey the music’s infectious high\n    spirits with impressive ensemble.\n\u003c\/p\u003e\n\u003cp\u003e\nAnother composer central to Ormandy was Tchaikovsky, and the    \u003cem\u003eAndante cantabile\u003c\/em\u003e from his first string quartet was a favorite\n    encore which the conductor went on to record twice more in Philadelphia.\n    Italian-born Riccardo Drigo spent much of his career in St. Petersburg\n    during the same period that Tchaikovsky was active, composing and\nconducting his own ballet scores, from which the once-popular    \u003cem\u003eValse bluette\u003c\/em\u003e derives. This is the only work of his that Ormandy recorded.\n\u003c\/p\u003e\n\u003cp\u003e\n    The ballet thread continues with excerpts from two Delibes’ scores. While\n    Ormandy would go on to revisit the \u003cem\u003eSylvia\u003c\/em\u003e excerpts on disc with\n    the Philadelphia, this was his only recording of music from the\n    lesser-known \u003cem\u003eLa Source\u003c\/em\u003e. The famous \u003cem\u003ePizzicato Polka\u003c\/em\u003e by the\n    Strauss brothers was another favorite Ormandy encore on disc, and serves as\n    a bridge between Delibes’ “Pizzicato” in \u003cem\u003eSylvia\u003c\/em\u003e and the Viennese\n    works which follow.\n\u003c\/p\u003e\n\u003cp\u003e\n    As a violinist himself, Ormandy was particularly suited to appreciate the\n    compositions of Fritz Kreisler, and he orchestrated several of the most\n    popular ones for an album whose name cheekily alluded to Schumann’s famous\n    piano suite. Presented here is the only recording he made of the grouping,\n    although he did later return to \u003cem\u003eLiebesfreud\u003c\/em\u003e on disc with the\n    Philadelphia in a different arrangement.\n\u003c\/p\u003e\n\u003cp\u003e\n    Although active in Vienna at the same time as Kreisler, one could hardly\n    think of a composer more distant from him in style than the rigorous\ndodecaphonian, Arnold Schoenberg. Yet, his early works like    \u003cem\u003eGurrelieder\u003c\/em\u003e and \u003cem\u003eVerklärte Nacht\u003c\/em\u003e were the apotheosis of\n    the high Romanticism initiated by Wagner’s \u003cem\u003eTristan und Isolde\u003c\/em\u003e.\n    While \u003cem\u003eVerklärte Nacht\u003c\/em\u003e had been recorded once before in its\n    original chamber music guise, Ormandy’s Minneapolis set was the first\n    issued version of the string orchestra arrangement. He would go on to\n    re-record it once more in Philadelphia in 1950, with both performances\n    marked by expansive tempi.\n\u003c\/p\u003e\n\u003cp\u003e\n    Our program concludes with Ravel’s \u003cem\u003eAlborada del Gracioso\u003c\/em\u003e, in which\n    the Minneapolitans play like a virtuoso orchestra, with stunning precision\n    and high energy, led by a 34-year-old who was clearly destined for a highly\n    successful career.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003eEugene Ormandy and the Minneapolis Symphony  \u003c\/span\u003e\u003c\/strong\u003e\u003ci\u003e\u003cspan style=\"font-size: 24px;\"\u003eComplete Recordings ∙ Volume 2\u003c\/span\u003e\u003c\/i\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\u003cbr\u003e\u003cdiv\u003e\n    \u003cp\u003e\n        \u003cstrong\u003e \u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003e \u003c\/strong\u003e\n    \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n    \u003cstrong\u003eCD 1 (75:50)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. \u003cstrong\u003eMOZART Le nozze di Figaro, K. 492 – Overture\u003c\/strong\u003e (3:56)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 23 January 1934 ∙ Matrix: CVE 81581-1A ∙ First issued on Victor\n    8458 in album M-238\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eMOZART Eight German Dances\u003c\/strong\u003e\u003cbr\u003e2. K. 600, No. 1 in C major – Im Ländler Tempo (1:38)\u003cbr\u003e3. K. 600, No. 2 in F major – Poco più moderato (1:42)\u003cbr\u003e4. K. 600, No. 3 in B flat major – Un poco più allegro (1:40)\u003cbr\u003e5. K. 600, No. 4 in E flat major – Allegro moderato (1:39)\u003cbr\u003e6. K. 600, No. 5 in G major – Trio: The Canary (1:34)\u003cbr\u003e7. K. 602, No. 3 in C major– Trio: The Organ-Grinder (1:45)\u003cbr\u003e8. K. 605, No. 2 in G major – Allegretto (1:24)\u003cbr\u003e9. K. 605, No. 3 in C major– Trio: The Sleigh-ride - Coda (2:09)    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 23 January 1934 ∙ Matrices: BVE 81577-1, 81578-1, 81579-1 \u0026amp;\n    81580-1A ∙ First issued on Victor 1722\/3\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eSCHUMANN Symphony No. 4 in D minor, Op. 120\u003c\/strong\u003e\u003cbr\u003e10. 1st Mvt. – Ziemlich langsam – Lebhaft (8:35)\u003cbr\u003e11. 2nd Mvt. – Romanze (Ziemlich langsam) (4:02)\u003cbr\u003e12. 3rd Mvt. – Scherzo (Lebhaft) \u0026amp; Trio (4:21)\u003cbr\u003e13. 4th Mvt. – Langsam – Lebhaft (7:18)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 22 January 1934 ∙ Matrices: CVE 81569-1, 81570-1A, 81571-1,\n    81572-1, 81573-1A \u0026amp; 81574-1 ∙ First issued on Victor 7982\/4 in album\n    M-201\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e14. \u003cstrong\u003eSCHUMANN (arr. B. Godard) Träumerei, Op. 15, No. 7 \u003c\/strong\u003e\n    (4:30)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 19 January 1934 ∙ Matrix: CVE 81550-1 ∙ First issued on Victor\n    8285 in album M-211\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eSMETANA (arr. H. Riesenfeld) Three Dances from The Bartered Bride\u003c\/strong\u003e\u003cbr\u003e15. Polka (Moderato) (4:24)\u003cbr\u003e16. Furiant (Allegro energico) (2:03)\u003cbr\u003e17. Dance of the Comedians (Vivace) (4:00)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 19 January 1934 ∙ Matrices: CVE 81549-1, BVE 81548-1 \u0026amp; CVE\n    81547-1A ∙ First issued on Victor 8694 \u0026amp; 1761\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e18. \u003cstrong\u003eDVOŘÁK Scherzo Capriccioso, Op. 66 \u003c\/strong\u003e(8:57)    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 22 January 1934 ∙ Matrix: CVE 81575-2 \u0026amp; 81576-1 ∙ First\n    issued on Victor 8418\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e19.\n    \u003cstrong\u003e\n        TCHAIKOVSKY Andante cantabile from String Quartet No. 1 in D major, Op.\n        11\n    \u003c\/strong\u003e\n    (7:15)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 January 1934 ∙ Matrices: BVE 81567-1 \u0026amp; 81568-1A ∙ First\n    issued on Victor 1719\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e20.\n    \u003cstrong\u003e\n        DRIGO (arr. L. Auer) Valse bluette from Les Millions d’Arlequin\n    \u003c\/strong\u003e\n    (2:48)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 January 1934 ∙ Matrix: BVE 81562-1A ∙ First issued on Victor\n    1757\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eCD 2 (76:46)\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\u003eDELIBES (arr. R. Jungnickel) Sylvia\u003c\/strong\u003e\u003cbr\u003e1. Cortège de Bacchus (5:39)\u003cbr\u003e2. Pizzicato (2:16)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 19 \u0026amp; 20 January 1934 ∙ Matrices: BVE 81560-1, 81561-1 \u0026amp;\n    81559-1A ∙ First issued on Victor 1669\/70 in album M-220\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDELIBES (arr. R. Jungnickel) La Source\u003c\/strong\u003e\u003cbr\u003e3. Pas des écharpes (Allegro – Allegretto) (2:34)\u003cbr\u003e4. Scène d’amour (Andante sostenuto) (2:09)\u003cbr\u003e5. Variations (Moderato – Allegro moderato) (0:51)\u003cbr\u003e6. Scherzo-Polka (Allegro moderato) (2:22)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 19 January 1934 ∙ Matrices: BVE 81556-1, 81557-1 \u0026amp; 81558-1 ∙\n    First issued on Victor 1670\/1 in album M-220\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e7. \u003cstrong\u003eJOHANN STRAUSS II AND JOSEF STRAUSS Pizzicato Polka \u003c\/strong\u003e\n    (3:10)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 January 1934 ∙ Matrix: BVE 81565-1 ∙ First issued on Victor\n    1757\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eKREISLER (arr. Ormandy) Kreisleriana\u003c\/strong\u003e\u003cbr\u003e8. Caprice viennois, Op. 2* (4:41)\u003cbr\u003e9. Tambourin chinois, Op. 3 (4:01)\u003cbr\u003e10. Liebesfreud (3:53)\u003cbr\u003e11. Liebesleid (3:20)\u003cbr\u003e12. Schön Rosmarin (1:59)\u003cbr\u003e*\u003cb\u003eHarold Ayres\u003c\/b\u003e (violin)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 19 January 1934 ∙ Matrices: CVE 81552-1, 81551-1 \u0026amp; 81554-1A;\n    BVE 81553-1A \u0026amp; 81555-1 ∙ First issued on Victor 8284\/5 \u0026amp; 1659 in\n    album M-211\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eSCHOENBERG Verklärte Nacht, Op. 4\u003c\/strong\u003e\u003cbr\u003e13. Sehr langsam (2:44)\u003cbr\u003e14. Etwas bewegter (11:24)\u003cbr\u003e15. Schwer betont (2:40)\u003cbr\u003e16. Sehr breit und langsam (10:37)\u003cbr\u003e17. Sehr ruhig (5:09)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 24 January 1934 ∙ Matrices: CVE 81508-2, 81509-2A, 81510-2,\n    81511-2, 81512-2A, 81513-3, 81514-2A \u0026amp; 81515-3A ∙ First issued on\n    Victor 8266\/9 in album M-207\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e18. \u003cstrong\u003eRAVEL Alborada del gracioso \u003c\/strong\u003e(7:09)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 23 January 1934 ∙ Matrices: CVE 81583-1A \u0026amp; 81584-1 ∙ First\n    issued on Victor 8552\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eEugene Ormandy ∙ Minneapolis Symphony Orchestra\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Producer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown, Frederick P. Fellers, Richard A. Kaplan and\n    Charles Niss for providing source material\u003cbr\u003eAll recordings made in the Cyrus Northrop Memorial Auditorium, University\n    of Minnesota, Minneapolis\n\u003c\/p\u003e\u003cp\u003e\u003cb\u003eTotal duration: 2hr 32:37\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC667.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC667.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":40082798051389,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205520900430,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC667.jpg?v=1658463305"},{"product_id":"pasc667-cd","title":"ORMANDY Complete Minneapolis Symphony, Vol. 2 (1934) - PASC667 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC667.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CD (+MP3)","offer_id":40187339898941,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205520867662,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC667_6c64fd1a-91ba-4af4-ae94-8631e27e05d9.jpg?v=1661342830"},{"product_id":"pasc680","title":"SEVITZKY and the Indianapolis Symphony, Volume 6 - Delibes \u0026 Khachaturian (1941-53) - PASC680","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDELIBES \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eCoppélia - Suite\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDELIBES \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSylvia - Suite\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eKHACHATURIAN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eMasquerade - Suite\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003emusic by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eKreisler, Sgambati, Weber, J. Strauss II\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1941-1953\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 71:43\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eIndianapolis Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFabien Sevitzky\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC680.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    For this final volume in our series of Fabien Sevitzky’s complete\n    recordings with the Indianapolis Symphony, we present a program largely\n    devoted to dance music (three ballet suites, a minuet and two waltzes).\n    None of the works have ever received an “official” CD release, and the\n    Kreisler, Sgambati, Weber and Strauss pieces never even appeared on LP.\n\u003c\/p\u003e\n\u003cp\u003e\n    Our program begins with two works featuring Romantic era composers dabbling\n    in the forms of earlier times. Fritz Kreisler wrote a number of pieces for\n    violin in Baroque and early Classical styles, ascribing them to then\n    little-known composers such as Gaetano Pugnani. When his hoax was revealed\n    in 1935, some critics who had been taken in were apoplectic. Nonetheless,\nsome of the pieces have stayed in the repertoire, including his 1905    \u003cem\u003ePraeludium and Allegro\u003c\/em\u003e, which Sevitzky transcribed for full\n    orchestra in much the same “big band” manner that his conducting\n    contemporaries like Stokowski, Henry Wood and Barbirolli were then using to\n    orchestrate Bach, Handel and Purcell.\n\u003c\/p\u003e\n\u003cp\u003e\n    Giovanni Sgambati wrote his \u003cem\u003eVecchio Minuetto\u003c\/em\u003e in 1885 for solo\n    piano, looking back to the 18th Century dance that Haydn and Mozart\n    incorporated into many of their orchestral works. Appropriately, Sevitzky’s\n    performance was originally issued as the filler side to his recording of\n    Haydn’s Symphony No. 73 (reissued on Pristine \u003ci\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc650\" target=\"_blank\"\u003ePASC 650\u003c\/a\u003e\u003c\/i\u003e). Both this and the\n    next work, a Weber waltz, were orchestrated by Russian-American composer\n    Arcady Dubensky, who in the latter case took Weber’s original piano solo in\n    B-flat and transcribed it in D. Sevitzky recorded several of Dubensky’s\n    compositions, both with the Indianapolis Symphony (\u003ci\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc509\" target=\"_blank\"\u003ePASC 509\u003c\/a\u003e\u003c\/i\u003e) and earlier\n    with his Philadelphia Chamber String Simfonietta (\u003ci\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc375\" target=\"_blank\"\u003ePASC 375\u003c\/a\u003e\u003c\/i\u003e).\n\u003c\/p\u003e\n\u003cp\u003e\n    Could it be a coincidence that the only Johann Strauss waltz that Sevitzky\n    ever recorded, \u003cem\u003eFr\u003c\/em\u003e\u003cem\u003eü\u003c\/em\u003e\u003cem\u003ehlingsstimmen\u003c\/em\u003e, was also one of\n    only two that his more famous uncle Serge Koussevitzky had set down 13\n    years earlier for the same label? In the event, Sevitzky proves himself to\n    be an entirely idiomatic interpreter, even though he had to drop a repeated\n    phrase and speed up a bit toward the end to get his reading to fit onto one\n    78 rpm side. It is a performance to make one wish he had recorded more of\n    this repertoire.\n\u003c\/p\u003e\n\u003cp\u003e\n    The two Delibes ballet suites were recorded at Sevitzky’s last session for\n    Victor in 1946, although they were kept “in the can” for three years before\n    being issued. In transferring these from their original LP issue (LM-1032,\nreleased in 1950), I was surprised to find that the “Czardas” from\u003cem\u003e Copp\u003c\/em\u003e\u003cem\u003eé\u003c\/em\u003e\u003cem\u003elia\u003c\/em\u003e had been moved to the beginning of the    \u003cem\u003eSylvia\u003c\/em\u003e Suite. Evidently, no one noticed the mistake, and it was\n    never corrected during the disc’s relatively brief life in the catalog\n    before it was replaced by a Monteux\/Boston LP featuring the same suites in\n    a somewhat different selection and ordering of excerpts. (Its position has\n    been corrected here.)\n\u003c\/p\u003e\n\u003cp\u003e\n    The Khachaturian was one of only two LPs Sevitzky taped for Capitol at his\n    final recording sessions in 1953. Two years later, he left the Indianapolis\n    Symphony to teach at the University of Miami and guest conduct\n    internationally. During one such appearance, he died in Athens in 1967.\n\u003c\/p\u003e\n\u003cp\u003e\n    According to the Sevitzky\/Indianapolis discography compiled by Frederick P.\n    Fellers, of the 43 titles which Sevitzky recorded with the Indianapolis\n    Symphony, no fewer than 12 were never issued. Most of these works were by\n    American composers, whom Sevitzky particularly championed by including one\n    on every program he conducted; but there were others by Bach, Berlioz,\n    Mozart and Verdi which were bypassed for release, as well. It is hoped that\n    someday, these will join the works on the six CDs of the present series,\n    and expand the known performances of this dynamic conductor.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eSEVITZKY \u003c\/b\u003eand the Indianapolis Symphony, Volume 6\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e1.\n    \u003cstrong\u003e\n\u003cspan style=\"font-size: 18px;\"\u003eKREISLER (orch. Sevitzky) Praeludium and Allegro (in the Style of\n        Pugnani)\u003c\/span\u003e\n\u003c\/strong\u003e\n    (6:39)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 27 January 1942 ∙ Matrices: CS 071328-1 \u0026amp; 071329-2 ∙ First\n    issued on Victor 11-8439\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e2. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eSGAMBATI (orch. Dubensky) Vecchio Minuetto\u003c\/span\u003e \u003c\/strong\u003e(4:41)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 9 February 1945 ∙ Matrix: D5-RC-825-1 ∙ First issued on Victor\n    12-0954 in album M-1312\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e3.    \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eWEBER (orch. Dubensky) Waltz (No. 5 from Favoritenwalzer)\u003c\/span\u003e \u003c\/strong\u003e\n    (2:15)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 January 1941 ∙ Matrix: CS 057596-1 ∙ First issued on Victor\n    11-8609\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e4. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ. STRAUSS II Voices of Spring (\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003eFr\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eü\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003ehlingsstimmen\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003e) – Waltz, Op. 410\u003c\/span\u003e \u003c\/strong\u003e(5:01)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 January 1941 ∙ Matrix: CS 057590-1 ∙ First issued on Victor\n    11-8609\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eDELIBES Copp\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eélia – Suite\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e5. Thème slave varié (5:07)\u003cbr\u003e6. Danse fête (1:21)\u003cbr\u003e7. Valse des heures (3:33)\u003cbr\u003e8. Nocturne (3:09)\u003cbr\u003e9. Danse des automates et Valse (4:55)\u003cbr\u003e10. Czardas (3:28)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 March 1946 ∙ Matrices: D6-RC-5260-2A, 5261-1, 5262-1A, 5263-1A,\n    5264-2A \u0026amp; 5265-1 ∙ First issued on RCA Victor 12-0909\/11 in album\n    M-1305\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eDELIBES Sylvia\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003e – Suite\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e11. Prélude et Les Chasseresses (4:30)\u003cbr\u003e12. Intermezzo et Valse lente (2:53)\u003cbr\u003e13. Pizzicati (1:48)\u003cbr\u003e14. Cortège de Bacchus (5:19)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 March 1946 ∙ Matrices: D6-RC-5266-2, 5267-2A, 5268-1 \u0026amp;\n    5269-1 ∙ First issued on RCA Victor 12-0912\/13 in album M-1305\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eKHACHATURIAN Masquerade – Suite\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e15. Waltz (4:12)\u003cbr\u003e16. Nocturne (4:18)\u003cbr\u003e17. Mazurka (2:18)\u003cbr\u003e18. Romance (3:27)\u003cbr\u003e19. Galop (2:41)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 22-23 January 1953 ∙ First issued on Capitol P-8223\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eIndianapolis Symphony Orchestra ∙ Fabien Sevitzky\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 \u003c\/strong\u003e\n\n\u003c\/p\u003e\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown, Frederick P. Fellers and Charles Niss for\n    providing source material\u003cbr\u003eAll works recorded in the Murat Theatre, Indianapolis, Indiana\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003eTotal Timing: 71:43\n\u003c\/b\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC680.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC680.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":40424973107261,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205518868814,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC680_62171ed5-7612-44d5-a8c0-5f405e4b93f8.jpg?v=1671167705"},{"product_id":"pasc680-cd","title":"SEVITZKY and the Indianapolis Symphony, Volume 6 - Delibes \u0026 Khachaturian (1941-53) - PASC680 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed 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style=\"font-size: 18px;\"\u003eFrom the Middle Ages\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eDUBENSKY \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eStephen Foster – Theme, Variations and Finale \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eDUBENSKY \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eFugue for 18\n        Violins\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eCESANA \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eNegro Heaven\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eGERSHWIN-BENNETT\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Porgy and Bess: A Symphonic Picture\n\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eKHATCHATURIAN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eGayaneh – Ballet Suite \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eENESCU \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e2 Romanian Rhapsodies\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eDVOŘÁK \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e4 Slavonic Dances\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e3 Hungarian Dances\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 1, 'Winter Dreams'\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eKALINNIKOV \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 1\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eL’Isola Disabitata – Overture\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 73, “La Chasse”\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eGRIEG \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSigurd Jorsalfar – Suite\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eGRIEG \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003ePeer Gynt – Suite No. 2\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eGRIEG \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphonic Dances\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eDELIBES \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eCoppélia - Suite\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eDELIBES \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSylvia - Suite\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eKHACHATURIAN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMasquerade - Suite\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003emusic by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eKreisler, Sgambati, Weber, J. Strauss II\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1941-53\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eIndianapolis Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFabien Sevitzky\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC680.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand note:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 1 (1941-46) - PASC479\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFabien Sevitzky conducts the Indianapolis Symphony\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"An excellent conductor, eminently deserving of renewed attention\" - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003eFabien Sevitzky was born in Vishny Volochyok, Russia on 29 \nSeptember 1891 (not 1893, as other sources list).  A nephew of Serge \nKoussevitzky’s, his original last name was the same, but later shortened\n at his uncle’s request to avoid confusion.  Like him, Sevitzky took up \nthe double bass in order to win a conservatory scholarship.  After \nplaying in orchestras in Russia and Poland, Sevitzky joined Stokowski’s \nPhiladelphia Orchestra in 1923.  Two years later, he organized members \nof the ensemble’s string section into the Philadelphia Chamber String \nSimfonietta.  (Their complete recordings have been reissued on Pristine \nPASC 375.)  He left the Philadelphia Orchestra in 1930, although he \ncontinued to conduct the chamber ensemble until 1941.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSevitzky was appointed conductor of the Indianapolis Symphony \nOrchestra in 1937, a post he held until 1955.  He retired to Florida, \nwhere he became a faculty member at the University of Miami, leading the\n school’s orchestra and continuing to guest conduct internationally.  It\n was during one such appearance in Athens that Sevitzky died on 3 \nFebruary 1967.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBetween 1941 and 1946, Sevitzky and the Indianapolis Symphony \nmade a series of 78 rpm recordings for RCA Victor.  His final recordings\n were made for Capitol LPs in 1953.  The present program is the first in\n a series which aims to reissue them all, some for the first time since \ntheir initial release.  None of them have ever received an “official” CD\n reissue.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe first two selections come from Sevitzky’s earliest Indianapolis sessions.  The \u003cem\u003eRusslan\u003c\/em\u003e\n Overture comes on like gangbusters, showing off the exuberance and \nvirtuosity of the ensemble and conductor in sound that was \nstate-of-the-art for its time; and its discmate, Rimsky’s setting of the\n revolutionary folksong “Dubinushka”, builds to a tremendous climax.  It\n is worth noting that Sevitzky studied under both Rimsky and Liadov at \nthe St. Petersburg Conservatory; and in the latter’s \u003cem\u003eBaba Yaga\u003c\/em\u003e,\n he paints a vivid tonal characterization of the same mythical witch who\n inspired “The Hut on Fowl’s Legs” section of Mussorgky’s \u003cem\u003ePictures\u003c\/em\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSevitzky’s recording of the Tchaikovsky \u003cem\u003eManfred\u003c\/em\u003e \nSymphony was the first complete version made of the work (Albert Coates \nhad previously recorded the second movement alone), and would remain the\n only one until Toscanini’s 1949 recording, with a cut of some 100 bars \nin the finale, appeared on LP.  It is dramatically paced, with much \nexcitement in the faster sections.  However, some parts are played much \nmore slowly than we are used to.  The third movement’s “Andante con \nmoto” is here more of an “Adagio molto”; and the second movement’s trio \nis not “l’istesso tempo” as marked by Tchaikovsky, but something \nconsiderably slower.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEven more curious is Sevitzky’s substitution of a snare drum \n(side drum) for the tambourine in the bacchanal which opens the fourth \nmovement.  The conductor could have interpreted the “tamb.” marked in \nthe score as referring to a “tamburo piccolo” or snare drum.  However, \nthe first page of the score spells out “tambourine”, so there should \nhave been no confusion.  Its presence here remains a mysterious \nprecedent that no other known conductor has followed.  (I am indebted to\n writer Edward Johnson for pointing this out.)\u003c\/span\u003e\u003cspan\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe sources for the transfers were American Victor 78 rpm \nshellacs:  late pre-war “Gold” label pressings for the Glinka and Rimsky\n items; postwar copies for the Liadov and \u003cem\u003eOnegin\u003c\/em\u003e Waltz; and “Silver” label wartime pressings for the \u003cem\u003eManfred\u003c\/em\u003e.  Multiple copies of the records were sourced, with the best sides from each used.  Some portions of the \u003cem\u003eManfred\u003c\/em\u003e were problematic, owing to suboptimal wartime shellac and processing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 2 (1941-45) - PASC509\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    This second volume of Pristine’s survey of Fabien Sevitzky’s complete\n    Indianapolis Symphony recordings couples a late Romantic Russian work with\n    the works of several American composers of (mainly) Russian extraction.\n    Sevitzky studied under Glazunov at the St. Petersburg Conservatory, and his\n    set of the suite \u003cem\u003eFrom the Middle Ages\u003c\/em\u003e was the first and only\n    complete recording of the work during the 78 rpm era. Oddly, when RCA\n    reissued the album on LP on their Bluebird label in the 1950s, the Scherzo\n    was omitted, even though the entire work could have easily fit on one side.\n    It receives its first reissue here.\n\u003c\/p\u003e\n\u003cp\u003e\n    Sevitzky’s commitment to the music of his adopted land was second to none\n    among prominent conductors in the USA at the time, and he tried to include\n    a composition by an American composer in each of his concerts. His Victor\n    discography lists works by Roy Harris, Harl McDonald, Leo Sowerby, David\n    Van Vactor and Robert L. Sanders which remain unreleased. All of his issued\n    recordings of works by American composers are included in the present\n    program.\n\u003c\/p\u003e\n\u003cp\u003e\n    Arcady Dubensky (1890 – 1966) was a Russian-born American composer,\n    arranger and violinist, who played in the New York Symphony and New York\n    Philharmonic from 1922 to 1953. During that time, he was a prolific\n    composer whose works were recorded by Leopold Stokowski as well as\n    Sevitzky. His \u003cem\u003eFugue for 18 Violins\u003c\/em\u003e was played in Philadelphia\n    during Sevitzky’s tenure as leader of that city’s Chamber String\n    Simfonietta, and his \u003cem\u003eStephen Foster\u003c\/em\u003e was premièred by Sevitzky in\n    1941. The theme is taken from “Old Folks at Home (Swanee River)”, which in\n    the finale is joined by “Oh, Susanna” and “Beautiful Dreamer”. Like\n    Dohnanyi’s \u003cem\u003eVariations on a Nursery Tune\u003c\/em\u003e, some of the variations\n    are done in the style of other composers (Richard Strauss, Tchaikovsky, et\n    al.)\n\u003c\/p\u003e\n\u003cp\u003e\n    Otto Cesana (1899 – 1980) was a composer, conductor, jazz musician and\n    arranger who emigrated from Italy to the United States as a child, and was\n    later to lead a series of “easy listening” LPs in the 1950s. The\n    unfortunate title of his tone poem has guaranteed that it will never be\n    revived, which is a pity, given that the work itself is tuneful and\n    exuberant. Cesana wrote that his intent in the work was to illustrate the\n    changing moods of the African-American man, “now gay, now sad, always\n    however migrating toward carefreeness and abandon.”\n\u003c\/p\u003e\n\u003cp\u003e\nGeorge Gershwin had arranged his own suite from his opera,    \u003cem\u003ePorgy and Bess\u003c\/em\u003e, but it was little-performed when conductor Fritz\n    Reiner commissioned American arranger Robert Russell Bennett to produce the\n    “symphonic picture” heard here. Reiner chose the excerpts, suggested their\n    order and even some of the key transpositions. Although Alfred Wallenstein\n    recorded a cut version in 1944, Sevitzky became the first conductor to\n    record it complete, beating Reiner’s Pittsburgh set by seven weeks.\n\u003c\/p\u003e\n\u003cp\u003e\n    Like Sevitzky’s substitution of the snare drum for the tambourine in the\n    last movement of Tchaikovsky’s \u003cem\u003eManfred\u003c\/em\u003e Symphony (on Pristine \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc479\" target=\"_blank\"\u003ePASC    479\u003c\/a\u003e), there is another odd-sounding replacement here, as a bassoon “sings”\n    Porgy’s part in “I got plenty o’ nuttin”, rather than the customary banjo.\n    (Where was the banjoist from the Dubensky \u003cem\u003eStephen Foster\u003c\/em\u003e finale?)\n    Nonetheless, Sevitzky gives a highly idiomatic performance, as he did with\n    the other American music presented here.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 3 (1942\/53) - PASC520\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    The present release brings together several works inspired by folk dances\n    of various European and Asian peoples, in some of the earliest and latest\n    recordings made by the Indianapolis Symphony under Fabien Sevitzky. The\n    Brahms disc has not been reissued since its original 78 rpm release, while\n    the remaining recordings, first released on LP, have not been available for\n    over half a century.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Brahms Hungarian Dances date from 1942, a year after Sevitzky began\n    recording in Indianapolis for the Victor label. No orchestrator credits\n    were given on the original disc, but comparisons reveal them to be Brahms’\n    own transcriptions for Nos. 1 and 3 and Martin Schmeling’s transposed\n    arrangement for No. 7, with some emendations, most likely by the conductor\n    himself (\u003cem\u003ee.g.\u003c\/em\u003e the solo celesta ending for No. 3). The performances\n    have a tremendous verve and swagger which seems to leap off the grooves.\n\u003c\/p\u003e\n\u003cp\u003e\n    Sevitzky made his final recordings for Victor in 1946, although some were\n    not first released until 1949. In 1953, the fledgling Capitol label signed\n    Sevitzky and the orchestra to record the Dvořák, Enescu and Khatchaturian\n    works on our program, along with the latter’s \u003cem\u003eMasquerade\u003c\/em\u003e Suite\n    (which will be included on a future volume in this series). Capitol’s\n    engineering philosophy was markedly different from that which Sevitzky had\n    been given by Victor, with the new label favoring a brilliant sound\n    emphasizing the wider frequency range now allowed by tape-based recording,\n    but with less depth to the bass and what sounds like the addition of\n    artificial reverberation.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Dvořák dances are in the same fiery vein as the Brahms from a decade\n    earlier; while in the First Romanian Rhapsody, Sevitzky holds back the\n    faster tempos until later than some other conductors in order to maximize\n    their impact toward the end. For the Khatchaturian, whose score includes\n    Armenian folk melodies and Kurdish, Georgian and Ukrainian dances, Sevitzky\n    rearranged the order of the eight movements of the first ballet suite,\n    which at the time had placed the ubiquitous “Sabre Dance” at the beginning.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Capitol recordings were to be the last Sevitzky made, as he left the\n    orchestra in 1955. He continued to teach and guest conduct until his death\n    in 1967.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 4 (1941\/46) - PASC560\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    With this fourth volume in our series of the complete recordings of Fabien\n    Sevitzky and the Indianapolis Symphony Orchestra, we return to the Romantic\n    Russian repertoire for which he was particularly esteemed. Our focus here\n    is on two First Symphonies, both in G minor, separated in composition by\n    nearly three decades. For one composer, it was the start of a brilliant\n    career as a symphonist; while for the other, it was a success not to be\n    duplicated during the remainder of his short life.\n\u003c\/p\u003e\n\u003cp\u003e\n    Tchaikovsky began work on his first symphony in March of 1866, shortly\n    before his twenty-sixth birthday. It quickly became a trial for him due to\n    his desire to earn the approval of two of his teachers, Anton Rubinstein\n    and Nikolai Zaremba, musical conservatives whose ideals were centered on\n    Classical and early Romantic-era German models. They insisted on changes\n    before they would agree to a performance. The composer obliged, and the two\n    middle movements were presented in St. Petersburg in February of the\n    following year to little acclaim.\n\u003c\/p\u003e\n\u003cp\u003e\n    Tchaikovsky then went back, for the most part, to his original version,\n    which his friend Nikolai Rubinstein (Anton’s brother) was eager to perform.\n    The Scherzo alone was played at a Moscow concert in December of 1867, again\n    without much success. It was not until a complete performance the following\n    February that audiences finally warmed to the work. Tchaikovsky would go on\n    to revise the score in 1874, and would ultimately look back on this early\n    composition with great pride. (In this recording, Sevitzky performs the\n    last two movements without a pause.)\n\u003c\/p\u003e\n\u003cp\u003e\n    Vasily Kalinnikov was born in 1866, the same year that Tchaikovsky’s First\n    Symphony was written. He had worked as a choral conductor and an\n    instrumentalist in theater orchestras when Tchaikovsky himself recommended\n    him for two opera house conducting posts in 1892. Kalinnikov’s worsening\n    tuberculosis caused him to resign after a short while in order to move to\n    the more hospitable climate of Yalta on the Baltic Sea. He spent the rest\n    of his life there composing before his death in 1901, shortly before his\n    thirty-fifth birthday. His First Symphony, which dates from this period,\n    was premièred in Kiev in 1897 and quickly traveled to the musical capitals\n    of the world. It remains the work by which he is best known.\n\u003c\/p\u003e\n\u003cp\u003e\n    Like his recording of Tchaikovsky’s \u003cem\u003eManfred\u003c\/em\u003e Symphony (reissued on\n    Volume 1 of this series, \u003ca href=\"https:\/\/www.pristineclassical.com\/collections\/artist-fabien-sevitzky\/products\/pasc479\" target=\"_blank\"\u003ePristine PASC 479\u003c\/a\u003e), the present works were\n    phonographic premières, and Sevitzky presents both colorful scores with\n    great enthusiasm and obvious affection. The sources for the transfers were\n    first edition American Victor pressings – postwar discs for the\n    Tchaikovsky, and wartime “silver” label copies for the Kalinnikov.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 5 - Haydn \u0026amp; Grieg (1941-45) - PASC650\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    For this fifth and penultimate volume in our series of Fabien Sevitzky’s\n    complete recordings with the Indianapolis Symphony, we present all the\n    repertoire by Haydn and Grieg the conductor set down on disc with this\n    ensemble.\n\u003c\/p\u003e\n\u003cp\u003e\n    Haydn’s opera, \u003cem\u003eL’isola disabitata\u003c\/em\u003e (The Uninhabited Island) was\n    long known only by its overture, as the complete opera did not see print\n    until 1976. Sevitzky’s performance emphasizes the extremes of uneasy repose\n    and violent agitation in the music, in an intense performance that calls to\n    mind the final movement of “Winter” in Vivaldi’s \u003cem\u003eFour Seasons\u003c\/em\u003e.\n\u003c\/p\u003e\n\u003cp\u003e\n    Haydn had previously used the final movement of his Symphony No. 73 as the\n    overture to his opera, \u003cem\u003eLa fedeltà premiata\u003c\/em\u003e (Fidelity Rewarded).\n    This in turn utilized a hunting theme that had figured in earlier works by\n    other composers, and thus the symphony gained the appellation “La chasse”\n    (the hunt). Sevitzky brings an energy and momentum to his reading that\n    belies the big orchestra approach of the time.\n\u003c\/p\u003e\n\u003cp\u003e\n    Like the better-known \u003cem\u003ePeer Gynt\u003c\/em\u003e, Grieg’s \u003cem\u003eSigurd Jorsalfar\u003c\/em\u003e\n    was written as incidental music to accompany a play, this one by Bjørnson\n    concerning King Sigurd I of Norway. Of the nine numbers he wrote, Grieg\n    chose three to organize into a concert suite. Sevitzky’s recording on a\n    single disc pairs only the first two excerpts, with the last (the “Homage\n    March”) left unrecorded.\n\u003c\/p\u003e\n\u003cp\u003e\nThe second suite of music Grieg had written to accompany Ibsen’s    \u003cem\u003ePeer Gynt\u003c\/em\u003e is the lesser-performed of the two the composer\n    arranged, even though it contains the lovely and popular “Solvejg’s Song”.\n    When this was recorded in the 1940s, the Victor label sometimes divided\n    works which would seem to go together naturally between two orchestras and\n    conductors. For example, Ormandy and the Philadelphia got to record\n    Enescu’s Romanian Rhapsody No. 1 while Hans Kindler and the National\n    Symphony did the honors for No. 2. Similarly, Eugene Goossens and the\n    Cincinnati Symphony set down on disc the first \u003cem\u003ePeer Gynt\u003c\/em\u003e suite,\n    with Sevitzky allotted the second. Sevitzky makes the most of the varied\n    moods of the four movements, aided by what was superb engineering for its\n    day, with the “Arabian Dance” a particular standout.\n\u003c\/p\u003e\n\u003cp\u003e\n    Recording activities largely halted during the Petrillo Ban (a musician’s\n    union action) from 1942 through 1944. When sessions resumed, Victor began\n    recording with a noticeable amount of compression, giving the sense (to\n    paraphrase critic Rob Cowan’s description) of a sound so massive the\n    grooves could scarcely contain it. While this approach gives a great deal\n    of presence to Grieg’s four \u003cem\u003eSymphonic Dances\u003c\/em\u003e, it also makes the\n    sound a bit unrealistic, as well as relentlessly aggressive. Still,\n    Sevitzky’s winning way with colorful, dance-based compositions carries the\n    day in these works inspired by Ludvig Mathias Lindeman’s collections of\n    Norwegian folk tunes.\n\u003c\/p\u003e\n\u003cp\u003e\nThe sources for these transfers were wartime 78 rpm shellac discs for\u003cem\u003eSigurd Jorsalfar\u003c\/em\u003e and \u003cem\u003ePeer Gynt\u003c\/em\u003e; postwar shellacs for    \u003cem\u003eL’isola disabitata\u003c\/em\u003e and the \u003cem\u003eSymphonic Dances\u003c\/em\u003e; and 45 rpm\n    vinyls dubbed from Victor lacquer backup masters for the Haydn 73rd. None\n    of the works have ever seen an “official” CD reissue, and the Haydn\n    overture and \u003cem\u003eSigurd Jorsalfar\u003c\/em\u003e excerpts have not even previously\n    appeared on LP.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 6 - Delibes \u0026amp; Khachaturian (1941-53) - PASC680\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    For this final volume in our series of Fabien Sevitzky’s complete\n    recordings with the Indianapolis Symphony, we present a program largely\n    devoted to dance music (three ballet suites, a minuet and two waltzes).\n    None of the works have ever received an “official” CD release, and the\n    Kreisler, Sgambati, Weber and Strauss pieces never even appeared on LP.\n\u003c\/p\u003e\n\u003cp\u003e\n    Our program begins with two works featuring Romantic era composers dabbling\n    in the forms of earlier times. Fritz Kreisler wrote a number of pieces for\n    violin in Baroque and early Classical styles, ascribing them to then\n    little-known composers such as Gaetano Pugnani. When his hoax was revealed\n    in 1935, some critics who had been taken in were apoplectic. Nonetheless,\nsome of the pieces have stayed in the repertoire, including his 1905    \u003cem\u003ePraeludium and Allegro\u003c\/em\u003e, which Sevitzky transcribed for full\n    orchestra in much the same “big band” manner that his conducting\n    contemporaries like Stokowski, Henry Wood and Barbirolli were then using to\n    orchestrate Bach, Handel and Purcell.\n\u003c\/p\u003e\n\u003cp\u003e\n    Giovanni Sgambati wrote his \u003cem\u003eVecchio Minuetto\u003c\/em\u003e in 1885 for solo\n    piano, looking back to the 18th Century dance that Haydn and Mozart\n    incorporated into many of their orchestral works. Appropriately, Sevitzky’s\n    performance was originally issued as the filler side to his recording of\n    Haydn’s Symphony No. 73 (reissued on Pristine \u003ci\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc650\" target=\"_blank\"\u003ePASC 650\u003c\/a\u003e\u003c\/i\u003e). Both this and the\n    next work, a Weber waltz, were orchestrated by Russian-American composer\n    Arcady Dubensky, who in the latter case took Weber’s original piano solo in\n    B-flat and transcribed it in D. Sevitzky recorded several of Dubensky’s\n    compositions, both with the Indianapolis Symphony (\u003ci\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc509\" target=\"_blank\"\u003ePASC 509\u003c\/a\u003e\u003c\/i\u003e) and earlier\n    with his Philadelphia Chamber String Simfonietta (\u003ci\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc375\" target=\"_blank\"\u003ePASC 375\u003c\/a\u003e\u003c\/i\u003e).\n\u003c\/p\u003e\n\u003cp\u003e\n    Could it be a coincidence that the only Johann Strauss waltz that Sevitzky\n    ever recorded, \u003cem\u003eFr\u003c\/em\u003e\u003cem\u003eü\u003c\/em\u003e\u003cem\u003ehlingsstimmen\u003c\/em\u003e, was also one of\n    only two that his more famous uncle Serge Koussevitzky had set down 13\n    years earlier for the same label? In the event, Sevitzky proves himself to\n    be an entirely idiomatic interpreter, even though he had to drop a repeated\n    phrase and speed up a bit toward the end to get his reading to fit onto one\n    78 rpm side. It is a performance to make one wish he had recorded more of\n    this repertoire.\n\u003c\/p\u003e\n\u003cp\u003e\n    The two Delibes ballet suites were recorded at Sevitzky’s last session for\n    Victor in 1946, although they were kept “in the can” for three years before\n    being issued. In transferring these from their original LP issue (LM-1032,\nreleased in 1950), I was surprised to find that the “Czardas” from\u003cem\u003e Copp\u003c\/em\u003e\u003cem\u003eé\u003c\/em\u003e\u003cem\u003elia\u003c\/em\u003e had been moved to the beginning of the    \u003cem\u003eSylvia\u003c\/em\u003e Suite. Evidently, no one noticed the mistake, and it was\n    never corrected during the disc’s relatively brief life in the catalog\n    before it was replaced by a Monteux\/Boston LP featuring the same suites in\n    a somewhat different selection and ordering of excerpts. (Its position has\n    been corrected here.)\n\u003c\/p\u003e\n\u003cp\u003e\n    The Khachaturian was one of only two LPs Sevitzky taped for Capitol at his\n    final recording sessions in 1953. Two years later, he left the Indianapolis\n    Symphony to teach at the University of Miami and guest conduct\n    internationally. During one such appearance, he died in Athens in 1967.\n\u003c\/p\u003e\n\u003cp\u003e\n    According to the Sevitzky\/Indianapolis discography compiled by Frederick P.\n    Fellers, of the 43 titles which Sevitzky recorded with the Indianapolis\n    Symphony, no fewer than 12 were never issued. Most of these works were by\n    American composers, whom Sevitzky particularly championed by including one\n    on every program he conducted; but there were others by Bach, Berlioz,\n    Mozart and Verdi which were bypassed for release, as well. It is hoped that\n    someday, these will join the works on the six CDs of the present series,\n    and expand the known performances of this dynamic conductor.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand track listing:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 1 (1941-46) - PASC479\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan\u003eGLINKA:  \u003cem\u003eRusslan and Ludmilla\u003c\/em\u003e – Overture \u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eRecorded 8 January 1941 \u003cbr\u003eMatrix No. CS 057573-2 \u003cbr\u003eVictor 17731\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eRIMSKY-KORSAKOV:  \u003cem\u003eDubinushka\u003c\/em\u003e, Op. 69\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eRecorded 7 January 1941\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eMatrix No. CS 057574-1\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eVictor 17731\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eLIADOV: \u003cem\u003eBaba Yaga\u003c\/em\u003e, Op. 56\u003c\/b\u003e \u003cbr\u003e Recorded 9 February 1945 \u003cbr\u003eMatrix No. D5-RC-827-1\u003cbr\u003eRCA Victor 11-9247 in album M-1066\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eTCHAIKOVSKY:  Waltz from \u003cem\u003eEugene Onegin\u003c\/em\u003e\u003c\/b\u003e                                                    Recorded 19 March 1946\u003cbr\u003eMatrix No. D6-RC-5259-1A\u003cbr\u003eRCA Victor 12-0044 in album M-1189\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cspan\u003e\u003cb\u003eTCHAIKOVSKY:  \u003cem\u003eManfred\u003c\/em\u003e, Op. 58\u003c\/b\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRecorded 27-28 January 1942\u003cbr\u003eMatrix Nos. CS 071331-1, \n071332-1A, 071333-2, 071334-2, 071335-1, 071336-1, 071337-1, 071338-1, \n071339-1A, 071340-1, 071341-1, 071342-1, 071343-1A \u0026amp; 071344-1\u003cbr\u003eVictor 11-8331\/7 in album M-940\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan\u003eIndianapolis Symphony Orchestra  ∙  Fabien Sevitzky\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAll works recorded in the Murat Theatre, Indianapolis, Indiana\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 2 (1941-45) - PASC509\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eGLAZUNOV: From the Middle Ages – Suite, Op. 79\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. Prelude (7:18)\u003cbr\u003e2. Scherzo (4:02)\u003cbr\u003e3. Serenade of the Troubadour (4:18)\u003cbr\u003e4. The Crusaders (9:12)\n\n\u003c\/p\u003e\n\u003cp\u003e\n    Recorded 8 and 9 February 1945\u003cbr\u003eMatrix nos.: D5-RC-800-2, 801-1, 802-1, 803-2A , 804-2 , 805-2\u003cbr\u003eFirst issued on RCA Victor 12-0328\/30 in album M-1222\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cspan style=\"font-size: 17px;\"\u003e5. \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eDUBENSKY: Fugue for 18 Violins\u003c\/span\u003e\u003c\/strong\u003e(4:25)\n\u003c\/p\u003e\n\u003cp\u003e\n    Recorded 29 January 1942\u003cbr\u003eMatrix no.: CS 071362-1\u003cbr\u003eFirst issued on Victor 11-8366 in album M-912\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cspan style=\"font-size: 17px;\"\u003e6. \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eDUBENSKY: Stephen Foster – Theme, Variations and Finale\u003c\/span\u003e\u003c\/strong\u003e\n    (12:16)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eLeon Zawisza, \u003cem\u003esolo violin\u003c\/em\u003e\u003c\/strong\u003e\n\u003c\/p\u003eRecorded 28 and 29 January 1942\n\n\u003cp\u003e\n    Matrix nos.: CS 071351-2, 071352-1 and 071353-1\u003cbr\u003eFirst issued on Victor 11-8365\/6 in album M-912\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cspan style=\"font-size: 17px;\"\u003e7. \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eCESANA: Negro Heaven\u003c\/span\u003e\u003c\/strong\u003e (7:52)\n\u003c\/p\u003e\n\u003cp\u003e\n    Recorded 8 January 1941\u003cbr\u003eMatrix nos.: CS 05786-1A and 05787-1A\u003cbr\u003eFirst issued on Victor 18070\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cspan style=\"font-size: 17px;\"\u003e8. \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eGERSHWIN-BENNETT: Porgy and Bess: A Symphonic Picture\u003c\/span\u003e\u003c\/strong\u003e\n    (19:46)\n\u003c\/p\u003e\n\u003cp\u003e\n    Recorded 8 February 1945\u003cbr\u003eMatrix nos.: D5-RC-811-1A, 812-1A, 813-1, 814-1A, 815-1 and 816-1\u003cbr\u003eFirst issued on RCA Victor 11-8789\/91 in album M-999\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eIndianapolis Symphony Orchestra ∙ Fabien Sevitzky\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\u003cbr\u003eSpecial thanks to Nathan Brown, Frederick P. Fellers and Charles Niss for\n    providing source material\n\u003c\/p\u003e\n\u003cp\u003e\n    All works recorded in the Murat Theatre, Indianapolis, Indiana\n\u003c\/p\u003e\n\u003cp\u003e\n    Total Timing: 69:11\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 3 (1942\/53) - PASC520\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n\u003cstrong\u003eBRAHMS Hungarian Dances, WoO 1\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1 No. 1 in G minor (3:41)\n\u003c\/p\u003e\n\u003cp\u003e\n    2 No. 3 in F major (2:34)\n\u003c\/p\u003e\n\u003cp\u003e\n    3 No. 7 in A major (F major for orchestral version) (1:26)\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eDVOŘÁK Slavonic Dances, Op. 46\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    4 No. 8 in G minor (3:55)\n\u003c\/p\u003e\n\u003cp\u003e\n    5 No. 2 in E minor (4:28)\n\u003c\/p\u003e\n\u003cp\u003e\n    6 No. 4 in F major (7:11)\n\u003c\/p\u003e\n\u003cp\u003e\n    7 No. 1 in C major (3:32)\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eENESCU Romanian Rhapsodies, Op. 11\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    8 No. 1 in A major (11:44)\n\u003c\/p\u003e\n\u003cp\u003e\n    9 No. 2 in D major (10:51)\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eKHATCHATURIAN Gayaneh – Ballet Suite\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    10 Introduction and Dance of the Rose Maidens (4:44)\n\u003c\/p\u003e\n\u003cp\u003e\n    11 Awakening and Dance of Aysha (6:57)\n\u003c\/p\u003e\n\u003cp\u003e\n    12 Dance of the Mountaineers (1:39)\n\u003c\/p\u003e\n\u003cp\u003e\n    13 Lullaby (5:17)\n\u003c\/p\u003e\n\u003cp\u003e\n    14 Sabre Dance (2:28)\n\u003c\/p\u003e\n\u003cp\u003e\n    15 Armen’s Variation (1:51)\n\u003c\/p\u003e\n\u003cp\u003e\n    16 Dance of the Young Kurds (3:26)\n\u003c\/p\u003e\n\u003cp\u003e\n    17 Lezghinka (3:12)\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eFabien Sevitzky ∙ Indianapolis Symphony Orchestra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Producer and Audio Restoration Engineer Mark Obert-Thorn\n\u003c\/p\u003e\n\u003cp\u003eArtwork based on a photograph of Fabien Sevitzky\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    Brahms recorded 29 January 1942 on matrices CS 071357-1 and 071358-2. First\n    issued on Victor 11-8223.\n\u003c\/p\u003e\n\u003cp\u003e\n    Dvořák, Enescu and Khatchaturian recorded on 22 – 23 January 1953 and first\n    issued on Capitol H-8211 (Dvořák), H-8210 (Enescu) and P-8223\n    (Khatchaturian).\n\u003c\/p\u003e\n\u003cp\u003e\n    All recordings made in the Murat Theatre, Indianapolis.\n\u003c\/p\u003e\n\u003cp\u003e\n    Total Timing 78:57\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 4 (1941\/46) - PASC560\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eFABIEN SEVITZKY and the INDIANAPOLIS SYMPHONY, Volume 4\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cstrong\u003eVictor Studio Recordings ∙ 1941 \u0026amp; 1946\u003c\/strong\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\n\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTCHAIKOVSKY Symphony No. 1 in G minor, Op. 13 “Winter Dreams” (1866)\u003c\/strong\u003e\u003cbr\u003e1. 1st Mvt.: Allegro tranquillo (“Dreams of a Winter Journey”) (11:13)\u003cbr\u003e2. 2nd Mvt.: Adagio cantabile ma non tanto (“Land of Desolation, Land of\n    Mists”) (10:29)\u003cbr\u003e3. 3rd Mvt.: Scherzo: Allegro scherzando giocoso (6:13)\u003cbr\u003e4. 4th Mvt.: Finale: Andante lugubre – Allegro maestoso (11:54)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eRecorded 19 March 1946\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eMatrix nos.: D6-RC-5250-2A, 5251-2, 5252-1C, 5253-1, 5254-2, 5255-1C,\n    5256-2A, 5257-2C \u0026amp; 5258-2\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eFirst issued on RCA Victor 12-0040\/4 in album M-1189\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKALINNIKOV: Symphony No. 1 in G minor (1894-95)\u003c\/strong\u003e\u003cbr\u003e5. 1st Mvt.: Allegro moderato (9:40)\u003cbr\u003e6. 2nd Mvt.: Andante commodamente (8:52)\u003cbr\u003e7. 3rd Mvt.: Scherzo: Allegro non troppo – Moderato assai (7:32)\u003cbr\u003e8. 4th Mvt.: Finale: Allegro moderato (9:28)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eRecorded 7 \u0026amp; 8 January 1941\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: CS 057576-1, 057577-1A, 057578-1, 057579-2, 057580-1,\n    057581-2, 057582-1 \u0026amp; 057583-1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on Victor 18187\/90 in album M-827\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eIndianapolis Symphony Orchestra ∙ Fabien Sevitzky\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\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source\n    material\u003cbr\u003eAll works recorded in the Murat Theatre, Indianapolis, Indiana\n\u003c\/p\u003e\n\u003cp\u003e\n    Total Timing: 75:20\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 5 - Haydn \u0026amp; Grieg (1941-45) - PASC650\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eSEVITZKY \u003c\/b\u003eand the Indianapolis Symphony, Volume 5\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    1. \u003cstrong\u003eHAYDN L’isola disabitata, Hob. XXVIII:9 – Overture \u003c\/strong\u003e\n    (7:55)\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eRecorded 29 January 1942 ∙ Matrices: CS 071360-1 \u0026amp; 071361-1 ∙ First\n    issued on Victor 11-8487\n\u003c\/span\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eHAYDN Symphony No. 73 in D major, Hob. I:73 “La chasse”\u003c\/strong\u003e\u003cbr\u003e2. 1st Mvt.: Adagio – Allegro (5:13)\u003cbr\u003e3. 2nd Mvt.: Andante (6:18)\u003cbr\u003e4. 3rd Mvt.: Menuetto (3:01)\u003cbr\u003e5. 4th Mvt.: Presto (3:46)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 February 1945 ∙ Matrices: D5-RC-806-1B, 807-1A, 808-1, 809-1A\n    \u0026amp; 810-2A ∙ First issued on RCA Victor 12-0952\/4 in album M-1312\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGRIEG Sigurd Jorsalfar – Suite, Op. 56\u003c\/strong\u003e\u003cbr\u003e6. Prelude (In the King’s Hall) (4:04)\u003cbr\u003e7. Intermezzo (Borghild’s Dream) (4:05)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 January 1941 ∙ Matrices: CS 057584-3A \u0026amp; 057585-2A ∙ First\n    issued on Victor 18291\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGRIEG Peer Gynt – Suite No. 2 , Op. 55\u003c\/strong\u003e\u003cbr\u003e8. Ingrid’s Lament (4:11)\u003cbr\u003e9. Arabian Dance (4:50)\u003cbr\u003e10. Return of Peer Gynt (2:30)\u003cbr\u003e11. Solvejg’s Song (5:00)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 28 January 1942 ∙ Matrices: CS 071347-1, 071348-1, 071349-1 \u0026amp;\n    071350-1 ∙ First issued on Victor 11-8163\/4 in album M-902\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGRIEG Symphonic Dances, Op. 64\u003c\/strong\u003e\u003cbr\u003e12. No. 1 in G major – Allegro moderato e marcato (4:51)\u003cbr\u003e13. No. 2 in A major – Allegretto grazioso (4:42)\u003cbr\u003e14. No. 3 in D major – Allegro giocoso (4:49)\u003cbr\u003e15. No. 4 in A minor – Andante – Allegro molto e risoluto (8:05)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 9 February 1945 ∙ Matrices: D5-RC-817-1, 818-1A, 819-1, 820-2\n    \u0026amp; 821-1 ∙ First issued on RCA Victor 11-9245\/7 in album M-1066\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIndianapolis Symphony Orchestra ∙ Fabien Sevitzky\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\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source\n    material\u003cbr\u003eAll works recorded in the Murat Theatre, Indianapolis, Indiana\n\u003c\/p\u003e\n\u003cp\u003e\n    Total Timing: 73:28\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 6 - Delibes \u0026amp; Khachaturian (1941-53) - PASC680\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eSEVITZKY \u003c\/b\u003eand the Indianapolis Symphony, Volume 6\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1.\n    \u003cstrong\u003e\n\u003cspan style=\"font-size: 18px;\"\u003eKREISLER (orch. Sevitzky) Praeludium and Allegro (in the Style of\n        Pugnani)\u003c\/span\u003e\n\u003c\/strong\u003e\n    (6:39)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 27 January 1942 ∙ Matrices: CS 071328-1 \u0026amp; 071329-2 ∙ First\n    issued on Victor 11-8439\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e2. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eSGAMBATI (orch. Dubensky) Vecchio Minuetto\u003c\/span\u003e \u003c\/strong\u003e(4:41)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 9 February 1945 ∙ Matrix: D5-RC-825-1 ∙ First issued on Victor\n    12-0954 in album M-1312\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e3.    \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eWEBER (orch. Dubensky) Waltz (No. 5 from Favoritenwalzer)\u003c\/span\u003e \u003c\/strong\u003e\n    (2:15)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 January 1941 ∙ Matrix: CS 057596-1 ∙ First issued on Victor\n    11-8609\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e4. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ. STRAUSS II Voices of Spring (\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003eFr\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eü\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003ehlingsstimmen\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003e) – Waltz, Op. 410\u003c\/span\u003e \u003c\/strong\u003e(5:01)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 January 1941 ∙ Matrix: CS 057590-1 ∙ First issued on Victor\n    11-8609\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eDELIBES Copp\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eélia – Suite\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e5. Thème slave varié (5:07)\u003cbr\u003e6. Danse fête (1:21)\u003cbr\u003e7. Valse des heures (3:33)\u003cbr\u003e8. Nocturne (3:09)\u003cbr\u003e9. Danse des automates et Valse (4:55)\u003cbr\u003e10. Czardas (3:28)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 March 1946 ∙ Matrices: D6-RC-5260-2A, 5261-1, 5262-1A, 5263-1A,\n    5264-2A \u0026amp; 5265-1 ∙ First issued on RCA Victor 12-0909\/11 in album\n    M-1305\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eDELIBES Sylvia\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003e – Suite\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e11. Prélude et Les Chasseresses (4:30)\u003cbr\u003e12. Intermezzo et Valse lente (2:53)\u003cbr\u003e13. Pizzicati (1:48)\u003cbr\u003e14. Cortège de Bacchus (5:19)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 March 1946 ∙ Matrices: D6-RC-5266-2, 5267-2A, 5268-1 \u0026amp;\n    5269-1 ∙ First issued on RCA Victor 12-0912\/13 in album M-1305\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eKHACHATURIAN Masquerade – Suite\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e15. Waltz (4:12)\u003cbr\u003e16. Nocturne (4:18)\u003cbr\u003e17. Mazurka (2:18)\u003cbr\u003e18. Romance (3:27)\u003cbr\u003e19. Galop (2:41)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 22-23 January 1953 ∙ First issued on Capitol P-8223\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eIndianapolis Symphony Orchestra ∙ Fabien Sevitzky\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 \u003c\/strong\u003e\n\n\u003c\/p\u003e\n\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown, Frederick P. Fellers and Charles Niss for\n    providing source material\u003cbr\u003eAll works recorded in the Murat Theatre, Indianapolis, Indiana\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003eTotal Timing: 71:43\n\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":40425144844349,"sku":null,"price":66.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205518803278,"sku":null,"price":54.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC680.jpg?v=1769530008"},{"product_id":"pabx040-cd","title":"SEVITZKY and the Indianapolis Symphony, Complete: Volumes 1-6 (1941-53) - PABX040 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC680.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"6 CDs only in plastic sleeve (+MP3)","offer_id":40425143304253,"sku":null,"price":75.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC680_ad38cef7-f350-4482-81be-25eead22deb9.jpg?v=1670862102"},{"product_id":"paco239","title":"MARIA CALLAS Arias, Vol. 2: Lyric \u0026 Coloratura (1954, 1955) - PACO239","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eLYRIC ARIAS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eSuor Angelica, Adriana Lecouvreur, Andrea Chénier, La Wally, Mefistofele\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\r\n\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eCOLORATURA ARIAS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eIl barbiere di Siviglia, Dinorah, Lakmé, I vespri siciliani\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\r\n\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eLA SCALA SCENES\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eMedea, La sonnambula\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1954 \u0026amp; 1955\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e\r\nTotal duration: 79:15\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMaria Callas\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, soprano\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\r\n\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePhilharmonia Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\r\n\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrchestra del Teatro alla Scala, Milan\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\r\nconducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eTullio Serafin\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO239.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eMaria Callas’s great recital discs were never merely collections of attractive arias. They were demonstrations of range, character and dramatic imagination, assembled at a moment when her voice could move from lyric tenderness to florid brilliance and tragic declamation with extraordinary speed. This second volume brings together three such strands: a single Puccini aria from the September 1954 sessions, the complete programme of her celebrated \u003cem\u003eLyric and Coloratura\u003c\/em\u003e recital, and three La Scala scenes recorded the following year. Originally issued across separate Columbia recital LPs, they now form a coherent portrait of Callas moving between intimacy, virtuosity and full operatic tragedy.\u003c\/p\u003e\n\n\u003cp\u003e“Senza mamma” finds Callas at her most inward. The line is restrained, the grief concentrated, and the emotion allowed to emerge through the shape of the phrase rather than through external display. That same ability to create a person within a few minutes governs the Cilea, Giordano and Catalani arias that follow. In Adriana’s entrance aria, Callas catches both the actress’s professional poise and the vulnerability beneath it; in “Poveri fiori” the lament is darker and more private. “La mamma morta” and “Ebben? ne andrò lontana” reveal the breadth of her lyric manner, where the voice may not always possess conventional smoothness, but the words are never neutral and the musical line is never merely decorative.\u003c\/p\u003e\n\n\u003cp\u003eA 1955 review in \u003cem\u003eThe Gramophone\u003c\/em\u003e of the original recital recognised precisely this tension. Its critic heard occasional heaviness, strain and awkwardness, yet also “great tenderness and simplicity, deep emotion” and an exceptional command of vocal characterisation. The review admired the distraught Margherita of \u003cem\u003eMefistofele\u003c\/em\u003e, the chromatic control of Lakmé’s “Dov’è l’indiana bruna?”, and the sheer versatility of a programme that moves from \u003cem\u003everismo\u003c\/em\u003e intensity to Rossinian and Meyerbeerian display.\u003c\/p\u003e\n\n\u003cp\u003eThat versatility remains the album’s central fascination. “Una voce poco fa” is less a polite showpiece than a portrait of intelligence sharpening into resolve; “Ombra leggera” tests agility and lightness; the Verdi bolero demands ease, brilliance and rhythmic buoyancy. Callas does not approach these arias as a sequence of technical hurdles. Each becomes a miniature drama.\u003c\/p\u003e\n\n\u003cp\u003eTullio Serafin is crucial to the effect. With the Philharmonia Orchestra in Watford and the Orchestra del Teatro alla Scala in Milan, he gives Callas room to colour a phrase without allowing the pulse to slacken. The accompaniments are alert, flexible and notably free of theatrical exaggeration. Serafin knew her voice intimately and understood that its most compelling effects often came not from forcing the drama forward, but from creating the space in which a word, a pause or a sudden change of colour could register fully.\u003c\/p\u003e\n\n\u003cp\u003eThe final three tracks deepen that dramatic concentration. “Dei tuoi figli” from \u003cem\u003eMedea\u003c\/em\u003e is not simply an aria but an eruption of maternal anguish and moral terror, shaped with the authority that made the role one of Callas’s most formidable stage creations. The two extended scenes from \u003cem\u003eLa sonnambula\u003c\/em\u003e show another side of her art. In “Come per me sereno” the innocence is never insipid, while “Ah! non credea mirarti” is spun with a fragile inwardness that makes the cabaletta’s release all the more exhilarating.\u003c\/p\u003e\n\n\u003cp\u003eWhen \u003cem\u003eThe Gramophone\u003c\/em\u003e reviewed the La Scala LP in June 1958, it described \u003cem\u003eMedea\u003c\/em\u003e as “a great Callas showpiece” and judged this excerpt “certainly exciting”, finding Callas “at the top of her form”. That verdict catches the authority of the performance: even in a short extract, the role seems fully present, with the vocal line carrying both supplication and threat.\u003c\/p\u003e\n\n\u003cp\u003eThat balance of reservation and admiration now reads less like equivocation than accuracy. Callas’s greatness did not depend upon an immaculate surface. It lay in her ability to make every phrase carry intention, to turn ornament into psychology and vocal colour into theatre. These recordings preserve that art at full stretch. They reveal a singer capable of tenderness, fury, brilliance, melancholy and madness, often within the space of a single side. The voice may occasionally show effort; the imagination never does.\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size:24px;\"\u003e\u003cb\u003eMARIA CALLAS\u003c\/b\u003e Arias, Volume 2\u003c\/p\u003e\n\n\u003cp\u003e\u003cem\u003eLyric and Coloratura Arias\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e\n\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003cem\u003eSuor Angelica\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:14px;\"\u003e01.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eSenza mamma\u003c\/span\u003e \u003cspan style=\"font-size:12px;\"\u003e(5:36)\u003c\/span\u003e\n\u003c\/p\u003e\n\n\u003cp\u003e\n\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003eCILEA \u003c\/b\u003e\u003cem\u003eAdriana Lecouvreur\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:14px;\"\u003e02.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eEcco: respiro appena... Io son l’umile ancella\u003c\/span\u003e \u003cspan style=\"font-size:12px;\"\u003e(3:49)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:14px;\"\u003e03.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003ePoveri fiori\u003c\/span\u003e \u003cspan style=\"font-size:12px;\"\u003e(3:13)\u003c\/span\u003e\n\u003c\/p\u003e\n\n\u003cp\u003e\n\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003eGIORDANO \u003c\/b\u003e\u003cem\u003eAndrea Chénier\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:14px;\"\u003e04.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eLa mamma morta\u003c\/span\u003e \u003cspan style=\"font-size:12px;\"\u003e(4:53)\u003c\/span\u003e\n\u003c\/p\u003e\n\n\u003cp\u003e\n\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003eCATALANI \u003c\/b\u003e\u003cem\u003eLa Wally\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:14px;\"\u003e05.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eEbben? Ne andrò lontana\u003c\/span\u003e \u003cspan style=\"font-size:12px;\"\u003e(4:52)\u003c\/span\u003e\n\u003c\/p\u003e\n\n\u003cp\u003e\n\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003eBOITO \u003c\/b\u003e\u003cem\u003eMefistofele\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:14px;\"\u003e06.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eL’altra notte in fondo al mare\u003c\/span\u003e \u003cspan style=\"font-size:12px;\"\u003e(7:29)\u003c\/span\u003e\n\u003c\/p\u003e\n\n\u003cp\u003e\n\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003eROSSINI \u003c\/b\u003e\u003cem\u003eIl barbiere di Siviglia\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:14px;\"\u003e07.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eUna voce poco fa\u003c\/span\u003e \u003cspan style=\"font-size:12px;\"\u003e(6:53)\u003c\/span\u003e\n\u003c\/p\u003e\n\n\u003cp\u003e\n\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003eMEYERBEER \u003c\/b\u003e\u003cem\u003eDinorah\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:14px;\"\u003e08.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eOmbra leggera\u003c\/span\u003e \u003cspan style=\"font-size:12px;\"\u003e(5:42)\u003c\/span\u003e\n\u003c\/p\u003e\n\n\u003cp\u003e\n\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003eDELIBES \u003c\/b\u003e\u003cem\u003eLakmé\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:14px;\"\u003e09.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eDov’è l’indiana bruna?\u003c\/span\u003e \u003cspan style=\"font-size:12px;\"\u003e(8:06)\u003c\/span\u003e\n\u003c\/p\u003e\n\n\u003cp\u003e\n\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003e\u003cem\u003eI vespri siciliani\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eMercè, dilette amiche\u003c\/span\u003e \u003cspan style=\"font-size:12px;\"\u003e(4:01)\u003c\/span\u003e\n\u003c\/p\u003e\n\n\u003cp\u003e\n\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003eCHERUBINI \u003c\/b\u003e\u003cem\u003eMedea\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eDei tuoi figli\u003c\/span\u003e \u003cspan style=\"font-size:12px;\"\u003e(4:55)\u003c\/span\u003e\n\u003c\/p\u003e\n\n\u003cp\u003e\n\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003eBELLINI \u003c\/b\u003e\u003cem\u003eLa sonnambula\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eCompagne, teneri amici... Come per me sereno\u003c\/span\u003e \u003cspan style=\"font-size:12px;\"\u003e(5:49)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eOh! se una volta sola... Ah! non credea mirarti... Ah! non giunge\u003c\/span\u003e \u003cspan style=\"font-size:12px;\"\u003e(13:57)\u003c\/span\u003e\n\u003c\/p\u003e\n\n\u003cp style=\"font-size:16px;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:14px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 20px;\"\u003eMaria Callas\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 20px;\"\u003e, soprano\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/p\u003e\n\n\u003cp style=\"font-size:16px;\"\u003e\n\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e \u003cspan style=\"font-size:14px;\"\u003e(tracks 1-10)\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003eOrchestra del Teatro alla Scala, Milan\u003c\/b\u003e \u003cspan style=\"font-size:14px;\"\u003e(tracks 11-13)\u003c\/span\u003e\u003cbr\u003e\nconducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\n\u003c\/p\u003e\n\n\u003cp style=\"font-size:16px;\"\u003e\u003cspan style=\"font-size:14px;\"\u003e\nTracks 1-10 recorded 15-21 September 1954\u003cbr\u003e\nWatford Town Hall\u003cbr\u003e\u003cbr\u003e\nTracks 11-13 recorded 9-12 June 1955\u003cbr\u003e\nTeatro alla Scala, Milan\u003cbr\u003e\u003cbr\u003e\nXR remastering by Andrew Rose\u003cbr\u003e\nCover artwork based on a photograph of Maria Callas\n\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size:16px;\"\u003e\u003cspan style=\"font-size:14px;\"\u003e\n\u003cb\u003eTotal duration: 79:15\u003c\/b\u003e\n\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\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\/PACO239.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO239.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":60092994322766,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":60092994355534,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":60092994388302,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO239.jpg?v=1786060808"},{"product_id":"paco239-cd","title":"MARIA CALLAS Arias, Vol. 2: Lyric \u0026 Coloratura (1954, 1955) - 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