{"title":"Dvořák","description":"Antonín Leopold Dvořák (8 September 1841 – 1 May 1904) was a Czech composer. After Bedřich Smetana, he was the second Czech composer to achieve worldwide recognition. Following Smetana's nationalist example, Dvořák frequently employed aspects, specifically rhythms, of the folk music of Moravia and his native Bohemia. Dvořák’s own style has been described as ‘the fullest recreation of a national idiom with that of the symphonic tradition, absorbing folk influences and finding effective ways of using them’.\u003cbr\u003e\u003cbr\u003eDvořák displayed his musical gifts at an early age, being an apt violin student from age six. The first public performances of his works were in Prague in 1872 and, with special success, in 1873, when he was aged 31. Seeking recognition beyond the Prague area, he first submitted a score of his First Symphony to a prize competition in Germany, but he did not win, and the manuscript, not returned, was lost until rediscovered many decades later. Then in 1874 he first made a submission for the Austrian State Prize for Composition, including scores of two further symphonies and other works. Johannes Brahms, unbeknownst to Dvořák, was the leading member of the jury and was highly impressed. The prize was awarded to Dvořák for 1874[a] and again in 1876 and in 1877, when Brahms and the prominent critic Eduard Hanslick, also a member of the jury, made themselves known to him. Brahms recommended Dvořák to his publisher, Simrock, who soon afterward commissioned what became the Slavonic Dances, Op. 46. These were highly praised by the Berlin music critic Louis Ehlert in 1878, the sheet music (of the original piano 4-hands version) had excellent sales, and Dvořák’s international reputation at last was launched.\u003cbr\u003e\u003cbr\u003eDvořák’s first piece of a religious nature, his setting of Stabat Mater, was premiered in Prague in 1880. It was very successfully performed in London in 1883, leading to many other performances in the United Kingdom and United States. In his career, Dvořák made nine invited visits to England, often conducting performances of his own works. His Seventh Symphony was written for London. Visiting Russia in March 1890, he conducted concerts of his own music in Moscow and Saint Petersburg. In 1891 Dvořák was appointed as a professor at the Prague Conservatory. In 1890–91, he wrote his Dumky Trio, one of his most successful chamber music pieces. In 1892, Dvořák moved to the United States and became the director of the National Conservatory of Music of America in New York City. While in the United States, Dvořák wrote his two most successful orchestral works. The Symphony From the New World spread his reputation worldwide. His Cello Concerto is one of the most highly regarded of all cello concerti. Also, he wrote his American String Quartet, his most appreciated piece of chamber music. But shortfalls in payment of his salary, along with increasing recognition in Europe and an onset of homesickness, led him to leave the United States in 1895 and return to Bohemia.\u003cbr\u003e\u003cbr\u003eDvořák’s nine operas other than his first, Alfred, have librettos in Czech and were intended to convey Czech national spirit, as were some of his choral works. By far the most successful of the operas is Rusalka. Among his smaller works, the seventh Humoresque and the song \"Songs My Mother Taught Me\" are also widely performed and recorded. He has been described as \"arguably the most versatile... composer of his time\".","products":[{"product_id":"pasc321","title":"ROSTROPOVICH Dvořák and Miaskovsky: Cello Concertos (1952\/56) - PASC321","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDVORAK \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eCello Concerto\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMIASKOVSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Cello Concerto\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\" style=\"font-size: 10px;\"\u003eRecorded in 1952 \u0026amp; 1956\u003c\/span\u003e\u003cspan style=\"font-size: 10px;\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 67:38\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cspan class=\"body\"\u003e\u003cb\u003eMstislav \u003c\/b\u003e\u003c\/span\u003e\u003cb\u003eRostropovich\u003cbr\u003eCzech Philharmonic Orchestra \u003cbr\u003eVáclav Talich, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003ePhilharmonia Orchestra \u003cbr\u003eSir Malcolm Sargent, \u003c\/b\u003econductor \u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fNone has approached Rostropovich for the depth and range of his expressive gestures578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eGiven the large number of reissues of these two concerto performances, it seems superfluous to talk up their musical virtues. Rostropovich left behind many studio recordings of the Dvořák and listeners will doubtless have their favorites. Mine happen to be this 1952 Václav Talich and the later Adrian Boult (reviewed in Fanfare 20:6). Others laud the Karajan, still others the Giulini (reviewed in 25:4 and 26:2). Live survivors include the Evgeny Svetlanov (BBC, reviewed in 26:6) and Boris Khaikin on Revelation (reviewed in 22:2). \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eI’m not sure how well known is the story of the genesis of this Talich recording but it’s worth the retelling. In the wake of the cellist’s prize-winning performance at the International Cello Competition in Prague, Supraphon saw an opportunity to record Rostropovich in the concerto to anticipate, and then celebrate, the half-centenary of Dvořák’s death. The cellist was aware of Talich’s reputation: Mravinsky had told him that the Czech conductor was the “best in the world.” He was also aware of Talich’s political situation, and the fact that the authorities would allow a recording but not a concert. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe cellist spoke often of Talich’s influence and help in this work. One thing is especially notable, and that is the nature of the rubati that we can be fairly sure—because Rostropovich mentioned this element—Talich passed on to the cellist. Note, in this respect, phrasally the slow return to the original tempo; how Talich encouraged Rostropovich to pay back time with beautifully calibrated control throughout. The lyrical and rich expression that are displayed owe as much to the lead of the conductor as to the instincts of the soloist. It’s when he became, in later years, too lateral that Rostropovich failed to do full measure to the score. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe Miaskovsky concerto was recorded in March 1956 for HMV. It’s been included in various incarnations, not least “Great Recordings of the Century” (80012), the Rostropovich Edition (65701), and the Complete EMI Recordings edition (17597). Don’t overlook his later recording with Svetlanov on EMI CZS5 72016-2, and there is a further 1959 live broadcast in Moscow with Faktorovich. There have been in many ways estimable recordings of this work from Julian Lloyd Webber, Marina Tarasova, Kirill Rodin, Truls Mørk, and Mischa Maisky. None has approached Rostropovich for the depth and range of his expressive gestures. These two transfers rank with the best. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eJonathan Woolf \u003c\/b\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis article originally appeared in Issue 36:2 (Nov\/Dec 2012) of \u003cem\u003eFanfare\u003c\/em\u003e Magazine.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC321.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eRostropovich's first recording of his most famous concert work\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eDvořák's - and Miakovsky's - Cello Concerto now in glorious 32-bit XR remastered sound quality\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eRostropovich's 1952 Prague recording of the Dvořák Cello Concerto\nis one the earliest of what was to become the cellist's \"signature\ntune\" - to the extent that he demanded a significantly higher fee for\nplaying any concert which included the work. Previous issues of this Supraphon\nrecording have suffered a harshness of tone which XR remastering has\nneutralised, whilst bringing out the full tone of both soloist and orchestra.\nTo be able to hear such a fine soloist in this work, playing with the Czech\nPhilharmonic whilst Talich was at his peak is a real pleasure.\u003c\/p\u003e\u003cp class=\"body\"\u003eI have worked to try as much as possible to balance the tonal\nqualities of the earlier recording to match the technically superior British\n1956 Miaskovsky recording - a work previously unknown to me but a pleasure to\nbecome acquainted with.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eDVORAK \u003c\/b\u003eCello Concerto in B minor, Op. 104 \u003cem\u003e\u003c\/em\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eCzech Philharmonic Orchestra\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eVáclav Talich \u003c\/b\u003econductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded Prague, 19 June 1952. First issued as Supraphon LPM 88\/9\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eMIASKOVSKY\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e Cello Concerto, Op. 66 \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eSir Malcolm Sargent\u003c\/b\u003e conductor\u003c\/span\u003e \u003cbr\u003eRecorded 5 March 1956. First issued as HMV ALP 1427\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eMstislav \u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eRostropovich \u003c\/b\u003ecello\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, January 2012\u003cbr\u003eCover artwork based on a photograph of Rostropovich\u003cbr\u003e\u003cbr\u003eTotal duration: 67:38\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\/PASC321.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC321.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eSleevenotes from HMV LP (excerpt):\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eMtislav Rostropovitch is one of the new generation of Soviet virtuosi who have in recent years excited the interest of the western world. Rostropovitch was born at Baku, Azerbaijan, in 1927 and received his early training from his father, Leopold Rostropovitch, himself a brilliant 'cellist. In 1943 he entered the Moscow Conservatoire and studied with Professor Semeon Kozolupov. He made rapid progress and graduated with distinction in three years. He continued his studies as a post-graduate student and completed his course in 1948.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eBefore leaving the Conservatoire he had already begun to make his appearance as a concert artist. He appeared with the well-known artists Emil Gilels, Svyatoslav Richter and Leonid Kogan. Rostropovitch competed in a number of musical events and was awarded first place at the All-Union Contest in Moscow in 1945, the International Festival of Youth and Students in Prague in 1947 and in Budapest in 1949, and the International Contest for the Hanus Vigan Prize in Prague in 1950. He was awarded the Stalin Prize in 1951.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eRostropovitch is a versatile musician, a composer and a gifted pianist. His repertoire includes every work in the 'cello repertoire, the Beethoven and Brahms sonatas, the concertos of Tartini, Haydn, Dvorak, Lalo, Saint-Saens and the Tchaikovsky Variations on a Rococo Theme. His playing is distinguished by its restraint and nobility and the exceptional virtuosity of his technique.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":37910374605,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37910374669,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37910374733,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37910374861,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC321_445bfb05-b474-41df-8834-66d6831e836a.jpg?v=1495203249"},{"product_id":"pacm098","title":"BUDAPEST QUARTET Early Recordings (1926-29) - PACM098","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eHAYDN \u003c\/b\u003eQuartet in G, Op. 76, No. 1\u003cbr\u003e\u003cb\u003eMOZART \u003c\/b\u003e“Hunt” Quartet\u003cbr\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003e“Death and the Maiden” Quartet\u003cbr\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003e“American” Quartet\u003cbr\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eQuartet No. 2 in F, Op. 22\u003cbr\u003eEncores by \u003cb\u003eDittersdorf\u003c\/b\u003e, \u003cb\u003eMendelssohn \u003c\/b\u003eand \u003cb\u003eBorodin\u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\" style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eStudio recordings, 1926-29\u003cbr\u003eTotal duration: 2hr 35:50\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cb\u003eThe Budapest Quartet\u003c\/b\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fAudiophile Audition review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fConvincing, colorful bravura from the Budapest ensemble578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eAssembled from electrical inscriptions, 1926-1929, this extensive set\n dedicated to The Budapest String Quartet (1917-1967) concentrates on \nthe ensemble’s early years, when shifts in the originally Hungarian \nensemble had not yet resulted in an all-Russian personnel.  The Quartet \nmembers – Emil Hauser and Imre Pogeny, violins; Istvan Ipolyi, viola; \nand Harry Son, cello – established a homogeneous, albeit Old-World sound\n – listen to their Borodin \u003ci\u003eNocturne\u003c\/i\u003e – while having instituted a \ndemocratic process for the selection of repertory. By the 1928 \ninscriptions, Russian violinist Joseph Roisman had already “infiltrated”\n the group in the second violin position.  Recording producer and \nengineer Mark Obert-Thorn notes that the works by Haydn, Dittersdorf, \nMozart, and Tchaikovsky appear for the first time in the CD format, not \nhaving been reissued since their 78 rpm incarnation.\u003c\/p\u003e\u003cp\u003eThe Mozart \u003ci\u003e“Hunt” Quartet\u003c\/i\u003e from 1926 presents a fine example of\n the Budapest style at the time, with often deliberate, slowly \narticulated phraseology – particularly in the \u003ci\u003eMenuetto\u003c\/i\u003e movement –\n and a high thin, reedy sound from Emil Hauser.  The “period” aspects of\n the Romantic style – rubato, hefty vibrato, and portamento – emerge \nrather par for the course. The clear articulation in the \u003ci\u003eAdagio\u003c\/i\u003e \nmovement simultaneously emphasizes Mozart’s long, interweaving melodic \nlines and their passing harmonic audacities. Harry Son’s cello part adds\n a piquant lyricism to the whole. The fleet \u003ci\u003eAllegro assai\u003c\/i\u003e, for all its concertante brilliance, proffers passing, ghostly harmonies touched by a sense of personal anguish.\u003c\/p\u003e\u003cp\u003eThe last movement of Dittersdorf \u003ci\u003eQuartet in G\u003c\/i\u003e (1926) clearly “borrows” motifs from Haydn’s \u003ci\u003eSymphony No. 88 in G\u003c\/i\u003e,\n the final movement. But the playing, like that of the Haydn, also from \nFebruary 1926, proves so infectious that we care not whether allusion or\n plagiarism operates here. The Dvorak performance from 16 February 1926 \nobviously predates the Russians’ CBS LP (ML 5143) which I owned and \nbecame my staple recording. Here, in their Hungarian guise, the players \nlilt and inflect Dvorak’s already sentimental lines in the \u003ci\u003eLento\u003c\/i\u003e \nwith a studied treacle that might not agree with contemporary tastes.  \nYet Emil Hauser and Imre Pogeny make a convincing duet against the \nostinato figures in the bass line. The \u003ci\u003eScherzo\u003c\/i\u003e moves in rather pesant figures, studied and tensely ponderous, with another of those “ghostly” effects proffered in the \u003ci\u003eTrio\u003c\/i\u003e, aligning Dvorak more with Weber and the dark Romantics. Only the exuberant\u003ci\u003e Finale\u003c\/i\u003e\n retains a jovial character, a radiance allotted to this vivacious dance\n music that had eluded the earlier movements.  The caesura in the flow \nof the line makes us think that Mengelberg led this performance! For \nDisc 1, the forever lovely \u003ci\u003eNocturne\u003c\/i\u003e by Borodin (23 January 1928) \nmakes a perfect encore, especially for the artistry of the two low \ninstruments, courtesy of Ipolyi and Son.\u003c\/p\u003e\u003cp\u003eCuriously in the 1950s CBS LP of “Budapest Quartet Encores” (ML 5116), only the Borodin and Mendelssohn\u003ci\u003e Canzonetta \u003c\/i\u003ehad renewed inscription from the all-Russian ensemble. That disc made us wish for a complete version of the Franck \u003ci\u003eQuartet\u003c\/i\u003e\n in the Budapest pantheon of recordings.  With Roisman in the second \nviolin chair, we might grant a degree of crisper, cleaner articulation \nIn the Mendelssohn (23 January 1928) than we had been hearing in the \n1926 shellacs. I recently aired the recording of the 1874 Tchaikovsky \u003ci\u003eF Major Quartet\u003c\/i\u003e,\n an opus the composer held in high esteem.  The February 1929 recording \nhas been restored with disarming clarity of line, so the music’s diverse\n virtues shine, as the opening quasi cadenza sets a powerful mood. The \ninterior movements’ asymmetries emerge in well defined sonics. \nTypically, Tchaikovsky invokes contrapuntal means in the last movement \nto “legitimize” his Classical credentials.  Given Tchaikovsky’s \nadmiration of Beethoven – “there are no wasted motions in his music, no \nfiller,” exclaimed Tchaikovsky  – it seems appropriate that much of this\n quartet – especially in the metrics of the \u003ci\u003eScherzo\u003c\/i\u003e – resonates with a confidence and sense of structure associated with the Bonn master.\u003c\/p\u003e\u003cp\u003eFrom the opening, macabre fanfare, the Budapest Quartet’s inscription (January 1928) of Schubert’s \u003ci\u003eDeath and the\u003c\/i\u003e \u003ci\u003eMaiden Quartet\u003c\/i\u003e\n of 1826 bears the imprimatur of a fine performance.  Only the “Death” \nlyric of the Matthias Claudius poem is cited by Schubert from his own \nsong, from which the \u003ci\u003eg minor\u003c\/i\u003e second movement draws its impetus.  The rhythm bears a family resemblance to the \u003ci\u003eAllegretto\u003c\/i\u003e of the Beethoven \u003ci\u003eSeventh Symphony\u003c\/i\u003e.\n Of the variations that follow, only the fourth permits a ray of \nsunshine in G Major; but prior to that hopefulness, Emil Hauser has \nintoned some fine lyricism, along with Son and Ipolyi.\u003c\/p\u003e\u003cp\u003eThe last two movements exploit a more “symphonic” sound, so no wonder\n Mahler found the entire work worthy of orchestral treatment. The \nhaunted character of the\u003ci\u003e Scherzo\u003c\/i\u003e does little to relieve the immanence of Death. Is the\u003ci\u003e Trio\u003c\/i\u003e\n section anything more than a seduction of the Maiden by Death, in the \nsame vein as the Elf-King’s overtures to the sickly boy in \u003ci\u003eDer Erlkoenig\u003c\/i\u003e? The combination of hunting-motif and eerie tarantella of the last movement offers a \u003ci\u003ePresto \u003c\/i\u003eof\n convincing, colorful bravura from the Budapest ensemble, here posing a \nserious rival to the equally respected inscription by the Busch String \nQuartet.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e—Gary Lemco\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM098.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eA superb collection of early electrical recordings by the Budapest Quartet\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"I do not hesitate in saying that this recording of the D minor Quartet is the best I know of\" - The Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e“One Russian is an anarchist.  Two Russians are a chess game.  Three \nRussians are a revolution.  Four Russians are the Budapest String \nQuartet.”  Or so went the witticism attributed to Jascha Heifetz.  But \nthis was not always the case.  In 1917, when four players from the \nBudapest Opera Orchestra formed the quartet, it consisted of three \nHungarians (Emil Hauser, Alfred Indig and Istvan Ipolyi, all Hubay \npupils) and a Dutchman (Harry Son, who had studied with Popper).  The \nensemble was founded upon certain ground rules:  unusually for the time,\n the members would confine their activities only to the quartet; and \ninterpretational disputes would be resolved by majority vote, with ties \nbroken by a designated repertoire specialist.\u003cbr\u003e\u003cbr\u003eWhen Indig left in \n1920, he was replaced by another Hungarian, Imre Pogany.  It was this \nconfiguration which first entered the recording studio in 1924.  HMV \nproducer Fred Gaisberg was keen to compete with Columbia’s \nBudapest-based Lener Quartet.  Acoustic sessions devoted to the Dvořák \n“American” Quartet came to nought when electrical recording was \nintroduced in 1925, and the ensemble’s first issued recordings, all of \nwhich are presented here, date from a series of sessions dating from \nJanuary through March of 1926.\u003cbr\u003e\u003cbr\u003eThe Russian infiltration began in \nthe latter half of the following year.  Pogany had left to join Fritz \nReiner’s Cincinnati Symphony (he would later move on to Toscanini’s New \nYork Philharmonic) and was replaced by Odessa-born Joseph Roisman.  \nRoisman had studied in both his native city and Berlin, and brought a \ndifferent approach that from early on challenged the Hungarians’ status \nquo (including their playing of weak staccatos using the tip of the bow,\n rather than its middle).\u003cbr\u003e\u003cbr\u003eIn 1930, Harry Son left the quartet and\n moved to Palestine.  (He was later to return to Rotterdam, ultimately \nbecoming a victim of the Holocaust.)  His position was taken in 1931 by \nthe second Russian, Mischa Schneider.  Roisman now found an ally in his \ninterpretive disputes, and by 1932, Hauser decided to leave, selling his\n Guarnerius to Roisman and eventually becoming a well-regarded teacher, \nboth in Israel and the United States.  With Roisman now as leader, \nAlexander Schneider, Mischa’s brother, was engaged for the second violin\n spot.  Ipolyi soldiered on for several more years before leaving in \n1936 to be replaced by another Odessa native, Boris Kroyt.  He became a \nteacher and author, eventually settling in Norway.\u003cbr\u003e\u003cbr\u003eThe early \nquartet’s recordings have had only spotty availability in extended-play \nformat.  Their 1927 Beethoven Grosse Fuge appeared on an EMI Références \nLP and a Biddulph CD.  The latter also contained nearly all the rest of \nthe quartet’s Beethoven recordings, including Opp. 130 and 59\/1.  A CD \non the Novello label featured the Schubert, Mendelssohn, Borodin and \nDvořák presented here, along with the “Andante cantabile” from \nTchaikovsky’s First Quartet.  The Haydn, Dittersdorf, Mozart and \nTchaikovsky Second Quartet make their first appearances here since the \n78 rpm era.\u003cbr\u003e\u003cbr\u003eThe sources for the transfers were mostly prewar \nAmerican Victor editions:  “Z” pressings for the Dvořák and Tchaikovsky;\n a “Gold” label album for the Schubert and Mendelssohn; and \n“Orthophonic” pressings for the Mozart and Borodin.  The Haydn and \nDittersdorf were taken from British HMV shellacs.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif; font-size: medium;\"\u003e\u003cb\u003eHAYDN \u003c\/b\u003eQuartet in G Major, Op. 76, No. 1\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eRecorded  21 January and 4 and 11 February 1926\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eMatrix nos.:  Cc 7787-1, 7788-2, 7835-2, 7836-1 \u0026amp; 7837-5 (HMV D 1075\/7)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif; font-size: medium;\"\u003e\u003cb\u003eDITTERSDORF\u003c\/b\u003e Allegro (Finale)\u003cspan style=\"font-size: small;\"\u003e from String Quartet No. 1 in D Major\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eRecorded 4 February 1926 ∙ Matrix no.:  Cc 7840-1 (HMV D 1077)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif; font-size: medium;\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Quartet No. 17 in B Flat Major, K. 458, “Hunt”\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eRecorded 25 January, 1 and 8 February and 4 March 1926\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eMatrix nos.:  Cc 7854-2, 7855-1, 7856-2, 7857-7, 7858-7A \u0026amp; 7859-2 (HMV D 1387\/9)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif; font-size: medium;\"\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003eQuartet No. 12 in F Major, Op. 96, “American”\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eRecorded 16 February 1926\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eMatrix nos.:  Cc 7769-5, 7770-5, 7771-4, 7772-5, 7773-5 \u0026amp; 7786-5 (HMV D 1124\/6)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eEmil Hauser \u003c\/b\u003e(Violin I)\u003cb\u003e\u003cbr\u003eImre Pogany\u003c\/b\u003e (Violin II)\u003cb\u003e\u003cbr\u003e Istvan Ipolyi \u003c\/b\u003e(Viola)\u003cb\u003e\u003cbr\u003e Harry Son \u003c\/b\u003e(Cello)\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003e\u003cbr\u003eRecorded in the HMV Studios, Hayes, Middlesex\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif; font-size: medium;\"\u003e\u003cb\u003eBORODIN \u003c\/b\u003eNocturne from Quartet No. 2 in D Major\u003cspan style=\"font-size: small;\"\u003e \u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eRecorded 23 January 1928 ∙ Matrix nos.:  Cc 12466-2 \u0026amp; 12467-2 (HMV D 1441)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif; font-size: medium;\"\u003e\u003cb\u003eSCHUBERT\u003c\/b\u003e Quartet No. 14 in D Minor, D.810, “Death and the Maiden”\u003cspan style=\"font-size: small;\"\u003e \u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eRecorded 23 and 26 January 1928\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eMatrix nos.:  Cc 10160-3, 10161-3, 10162-2, 10163-6, 10164-7, 10165-4, 10166-5, 10167-5 \u0026amp; 10168-5 (HMV D 1422\/5)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif; font-size: medium;\"\u003e\u003cb\u003eMENDELSSOHN\u003c\/b\u003e Canzonetta \u003cspan style=\"font-size: small;\"\u003efrom Quartet in E Flat Major, Op. 12\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eRecorded 23 January 1928 ∙ Matrix nos.:  Cc 12465-1 (HMV D 1425)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif; font-size: medium;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Quartet No. 2 in F Major, Op. 22\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eRecorded 8 and 9 February 1929\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eMatrix nos.:  Cc 15861-2A, 15862-2A, 15863-1, 15864-1A, 15865-2, 15866-2A-T1, 15867-1, 15868-2 \u0026amp; 15869-1A (HMV D 1655\/9)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eEmil Hauser \u003c\/b\u003e(Violin I)\u003cb\u003e\u003cbr\u003eJoseph Roisman \u003c\/b\u003e(Violin II)\u003cb\u003e\u003cbr\u003eIstvan Ipolyi \u003c\/b\u003e(Viola)\u003cb\u003e\u003cbr\u003eHarry Son \u003c\/b\u003e(Cello)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eRecorded in Studio C, Small Queen’s Hall, London\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM098.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM098.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eSchubert, 1928\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003eIt gives me a feeling of great pleasure when from \nthe Editor I receive a big album containing some musical work in its \nentirety. And when this time I read the title and saw that H.M.V. had \nrecorded Schubert’s String Quartet in D minor (“Death and the Maiden”) \nperformed by The Budapest String Quartet (D. 1422—26, 12in., in album, \n£1 12s. 6d.), my heart leapt, knowing that something really good was in \nstore for me—and I was not disappointed.\u003cbr\u003e\u003cbr\u003eSchubert is to me, first\n of all, the composer of the lieder of the world: but when they have \nbeen mentioned I turn to the two well-known Symphonies, the Quintet with\n the two ’celli and this Quartet in D minor. All four works have the \nmain Schubertian qualities in common—the spontaneous well of musical \nideas, the flow and the joy, but also such grave problems as it is only \ngiven the great ones to meet with and to solve in their inmost mind. To \ncreate such music means unselfishly to serve the ideas and never to stop\n before the last and only expression has been found. To perform such \nmusic means just the same, and that is why I do not hesitate in saying \nthat this recording of the D minor Quartet is the best I know of.\u003cbr\u003e\u003cbr\u003eIt\n is not necessary but, nevertheless, stimulating to compare it with \nanother gramophonic edition, namely, the excellent performance by the \nLondon String Quartet (Columbia) which also is electrically recorded. \nNow, electrical recording steadily improves and the Budapest String \nQuartet benefits from it. All five discs are exceptionally fine from a \ngramophonic point of view. But, what is far more important, this \nperformance is unselfishly Schubertian. It has obviously been the aim of\n these performers not to show their fine playing but to play Schubert’s \nfine Quartet. The L.S.Q. has much of this but the Budapestians have \nmore, and anyone who will listen to the theme of the second movement \n(the “Death and Maiden” subject where, by the way, only “Death” appears)\n will realise what I mean. Many will find that the L.S.Q. have mere \ndelicacy, but the B.S.Q. have a broader attack and are of a more vivid \ntemperament (listen to the last movement) and, as I pointed out last \nmonth, have a more “ quartettish ” way of playing than many bodies, \nwhere one player is mostly predominant. I put them amongst the very best\n quartet players of the present time, and they have done themselves and \nH.M.V. full justice on this occasion.\u003cbr\u003e\u003cbr\u003eC. J., The Gramophone, May 1928 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":2913847771162,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":2913847803930,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM098.jpg?v=1510656058"},{"product_id":"pasc401","title":"CASALS Schumann, Dvorak: Cello Concertos (1953\/60) - PASC401","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eCello Concerto\u003cbr\u003e\u003cb\u003eDVORAK \u003c\/b\u003eCello Concerto (stereo recording) \u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio and Live Recordings · 1953 and 1960\u003cbr\u003eTotal duration: 64:30\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\u003cb\u003ePablo Casals,\u003c\/b\u003e cello\n\u003cdiv\u003e\n\u003cb\u003ePrades Festival Orchestra, Eugene Ormandy\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eFestival Casals Orchestra of Puerto Rico, Alexander Schneider\u003c\/b\u003e\n\u003c\/div\u003e\n\u003cp data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 30px;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAnyone who has looked attentively at \nthe headnote will already have observed that this is not the classic \naccount of Dvořák’s B-Minor Concerto that Casals recorded with George \nSzell and the Czech Philharmonic in 1937. Instead, this is a pirate \nrecording that has (or at least did have) a legendary status among \ncollectors of historic recordings, albeit for an idiosyncratic reason. \nThe live performance from Puerto Rico was originally taped for intended \ncommercial release by the Everest label. However, the label changed \nhands while the tape was still waiting approval by Casals for release. \nThe tape was subsequently found in a box; the new owners assumed that \npermission to release it had already been obtained and issued it on LP. \nCasals promptly sued, charging damage to his reputation, and Everest \nrecalled the LPs. The few copies that had been sold promptly became \ncollectors’ items, commanding hundreds or even thousands of dollars \nwhenever one turned up on a used record dealer’s list. Eventually, a CD \ntransfer appeared on the AS disc label from Italy in the late 1980s, \nwhich was how I finally made its acquaintance (spending a mere six \ndollars for a used copy and congratulating myself on obtaining the \nbargain of the century). More recently, a Memories CD appeared with the \nidentical coupling as on this Pristine Audio disc, and I duly replaced \nthe AS Disc with that copy. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eFor anyone considering acquisition of this disc, then, the questions that arise are: \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003e1) How does this performance of the Dvořák Concerto compare with the 1937 studio version? \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003e2) How does the sound quality of this issue compare with that of previous versions? \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe answer to the first question is \nrather complex. Casals was 84 years old (or young) at the time of this \nperformance, and it is universally conceded that his technique was no \nlonger what it once was in his prime. There are some rough bow strokes \nand attacks, and in particular quite a number of lapses in intonation, \nsome minor but a few major. When compared to the immaculate precision of\n his 1937 studio account, one can readily see why Casals might sue to \nblock issuance of this release on ground of damage to his reputation. \nAnd yet....And yet....From the moment I first heard this performance it \nbecame, despite these evident flaws, not only my preferred version over \nthe 1937 account, but one of my favorite recordings of this \nconcerto—which, given that the work belongs to my short list of all-time\n favorites, is saying quite a lot. For all its fame, the 1937 account \nhas never really won my heart rather than my respect, for reasons \ndetailed by Bernard Jacobson in his review of an EMI rerelease back in \n29:2. (For more conventionally laudatory reviews, see those by John \nBauman in 13:1 and Jerry Dubins in 34:6. By contrast, Szell’s stereo \naccount with Pierre Fournier is one of my preferred versions.) But in \nthis live performance, Casals seems to be pouring out his life’s blood; \nthere is not a single other recording by him I have heard, live or \nstudio, that has such gripping ardor. When faced with artistry of this \nintensity from a deservedly legendary figure, cavils about technical \nlapses become for me irrelevant niggling quibbles. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eTo this one must add the absolutely \nmasterful conducting of Alexander Schneider, second violinist of the \ncelebrated Budapest Quartet from 1932 to 1943 and again from 1955 to \n1967, who was instrumental in persuading Casals to renounce his \nwithdrawal from public performance in protest against the Franco regime \nin Spain return to concertizing at Perpignan, Marlboro, and Prades. One \nwonders if the multi-faceted Schneider missed his true musical calling \n(he also turned down a offer to conduct at the Metropolitan Opera), so \ncompletely does he command every expressive nuance of this score. I do \nnot know if the orchestra was an\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e ad hoc \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eensemble\n assembled for the festival or a local orchestra playing under an \nassumed name, but it too plays its collective heart out with a \ndedication that could put many far starrier ensembles to shame. \nAdmittedly, all of this is a highly subjective response; I wouldn’t \ncriticize anyone who found the faults in Casals’s playing here to be \nreason enough to prefer the 1937 studio version instead. But I would \nurge you to give this a hearing, and see if it doesn’t win your \naffections as it did mine. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe second question is much more easily\n addressed. In the Schumann, the sound quality of the Memories CD and \nthis one is very close; I slightly prefer the Memories issue, but only \nby a hair’s breadth. The Dvořák Concerto, however, is another matter \nentirely; with access to two genuine stereo Everest LP releases for \nmaking its transfer, Mark Obert-Thorn has produced a vastly superior \nversion with sound quality that renders every previous issue obsolete. \nIf you have one of those previous versions, replace it with this one \nimmediately and prepare to be amazed at the difference. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eBy contrast, the Schumann is a much \nbetter-known recording with a far more ordinary history, having first \nappeared on a Columbia LP, albeit with the conductor curiously \nuncredited, presumably for contractual reasons. (Contrary to a note on \nthe front cover of this release, it too is a live and not a studio \naccount, as the loud opening groan from Casals as he plays his first \nphrase reveals.) The piece itself is highly problematic, of course, and I\n don’t ever recall seeing a review that ranks this as one of the \npremiere versions that overcomes the score’s deficiencies. That said, it\n is still a Casals performance—and this, the two of the Dvořák, and the \nElgar, are his only recordings of major concertos—played with his unique\n interpretive authority, and Ormandy is certainly no podium slouch. The \nmonaural sound quality is clear and solid, albeit with some underlying \ntape hiss. The cover art of Casals playing his cello is quite \nattractive, a great advance upon Pristine’s previous graphics. While for\n the reasons stated above this is too subjective a choice to put on my \n2014 Want List, I’ll still go out on a limb and give this my strongest \nrecommendation; I simply couldn’t imagine being without it. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames A. Altena\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 37:6 (July\/Aug 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC401.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe late genius of Pablo Casals - his first and his final post-war concerto recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eLive festival recordings - including the much sought-after stereo Dvorák from Puerto Rico in 1960\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e \u003c\/p\u003e\u003cp class=\"western\"\u003eAt the end of the Second World War, Pablo Casals \nhoped that the Allied forces which had just ousted Hitler would now turn\n their attention to removing the dictator Franco from Spain. When they \nshowed no inclination to do so, he broke off a London recording session \nof the Haydn D Major Cello Concerto in October, 1945 and withdrew to his\n French home in Prades near the Spanish border, vowing not to perform \npublicly again until democracy was restored to his homeland.\u003c\/p\u003e\u003cp class=\"western\"\u003eHe was drawn out of his self-imposed silence by \nBudapest Quartet violinist Alexander Schneider, who first approached him\n for coaching help with the Bach violin suites, and who later suggested \nholding a festival in Prades to mark the 200th anniversary of Bach’s \ndeath in 1950. American Columbia was brought in to make recordings, a \nseries which continued as the festival expanded its purview beyond Bach \nand moved to larger quarters in nearby Perpignan in 1951, returning to \nPrades the following year.\u003c\/p\u003e\u003cp class=\"western\"\u003eWhile Casals had conducted and played in chamber \nmusic performances, the Schumann from the 1953 festival was his first \nconcerto recording as a soloist since the aborted Haydn set. \nInterestingly, master accompanist Eugene Ormandy was not credited on the\n original LP, nor on its first reissue in the budget-priced Odyssey \nseries, probably for contractual reasons. In 1957, a new series of \nCasals festivals was begun in Puerto Rico, where the cellist had \nrecently married and made his home. It was there that his final concerto\n recording was made.\u003c\/p\u003e\u003cp class=\"western\"\u003eThe Dvořák has an interesting history. Recorded by \nEverest during the 1960 Puerto Rico festival, it remained unapproved \nwhen the label changed hands shortly thereafter. The new owners found \nthe tape in a box and issued it, believing they owned the rights. Casals\n promptly sued to have the release withdrawn, claiming it damaged his \nreputation. It has never subsequently been reissued in any authorized \nedition from the Everest masters, although a couple European CD \nreleases, apparently transferred from monaural sources, have appeared. \nThe original suppressed LP is now a highly sought-after collector’s \nitem. I was fortunate to have two stereo pressings in good condition to \nwork from for the present transfer. (The first note, incidentally, is \nclipped on the original recording.)\u003c\/p\u003e\u003cp class=\"western\"\u003eWhile Casals is admittedly not in top form, his \nperformance brings to mind Dr. Johnson’s famous Eighteenth Century \nwitticism likening a woman preaching to a dog walking on its hind legs \n(“It is not done well; but you are surprised to find it done at all.”) \nConsidering that he was in his 84th year at the time, it is a remarkable\n achievement; and Schneider’s heartfelt, sympathetic accompaniment \nmatches his soloist like the veteran chamber player he was. It’s an \nautumnal reading quite different from Casals’s brisker 1937 recording \nwith Szell (Pristine PASC 246), and one which despite its flaws deserves\n to be heard.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Cello Concerto in A Minor, Op. 129\u003cbr\u003e\u003cb\u003eEugene Ormandy\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePrades Festival Orchestra\u003cbr\u003e\u003c\/b\u003eRecorded 28 May 1953 in L’Église St-Pierre, Prades\u003cbr\u003eFirst issued on Columbia ML-4926\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003eCello Concerto in B Minor, Op. 104 (\u003cem\u003eSTEREO recording\u003c\/em\u003e) \u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003e\u003cb\u003eAlexander Schneider\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eFestival Casals Orchestra of Puerto Rico\u003cbr\u003e\u003c\/b\u003eLive recording, Spring, 1960, in the Theatre of the University of Puerto Rico, San Juan\u003cbr\u003eFirst issued on Everest SDBR 3083\u003c\/p\u003e\n\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003ePablo Casals \u003c\/b\u003e cello\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC401.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC401.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\/Mono 16-bit FLAC","offer_id":90077134874,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo\/MonoMP3","offer_id":90077167642,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC401.jpg?v=1501752100"},{"product_id":"pacm085","title":"HOLLYWOOD QUARTET plays Brahms, Dvořák, Schubert \u0026 Smetana (1950-55) - PACM085","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003ePiano Quintet in F minor, Op. 34\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cb\u003eSMETANA\u003c\/b\u003e String Quartet No. 1 in E minor, T.116 \"From my Life\"\u003cbr\u003e\u003cb\u003eSCHUBERT\u003c\/b\u003e String Quintet in C, D.956\u003cbr\u003e\u003cb\u003eDVORÁK\u003c\/b\u003e String Quartet No. 12 in F, Op. 96, 'American'\u003cspan data_liveedit_tagid=\"000000000D771840\" type=\"_moz\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded 1950-55 \u003cbr\u003eTotal duration: 2hr 15:41\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cb\u003eHollywood String Quartet\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cb\u003e\n\u003c\/b\u003e\u003cp data_liveedit_tagid=\"000000000D775340\"\u003ewith\u003cb\u003e\u003cbr\u003ePaul Robyn, \u003c\/b\u003eviola\u003cb\u003e\u003cbr\u003e Victor Aller, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003e Kurt Reher, \u003c\/b\u003ecello\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data_liveedit_tagid=\"000000000D776030\"\u003e \u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fGramophone Historic Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fEMI reissue, 1982578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThese legendary recordings have been out of circulation \nfor more than two decades, and their return cannot be too warmly \nwelcomed. For younger readers the Hollywood Quartet flourished briefly \nduring the early years of the long-playing record. Its leader, Felix \nSlatkin (father of the conductor, Leonard Slatkin) was a pupil of \nZimbalist and Remer, and in 1937 became leader of the 20th Century Fox \nOrchestra. All the members of the Quartet were principals in various \nHollywood film studio orchestras, and the ensemble did not attract \nattention outside the West Coast of America until the advent of LP when \nthey recorded such repertoire as the Walton A minor Quartet and the \nSixth of Villa-Lobos (Capitol mono CTL7004,6\/51—nla) and the Prokofiev \nSecond coupled with Hindemith’s Third (CTL7016, 4\/52—nla) in \nperformances which I do not believe have been surpassed. \u003c\/p\u003e\u003cp\u003eOn its first \nappearance in 1952, the authors of\u003cem\u003e The Record Guide\u003c\/em\u003e, Edward \nSackville-West and Desmond Shawe-Taylor, hailed the Schubert String \nQuintet (with Kurt Reher as second cello) as \"one of the very best in \nthe discography of chamber music\", no small claim but one that does not \nseem to me overstated. I have periodically played this version over the \nyears and with unfailing satisfaction for apart from their technical \nfinish and perfect ensemble, they seem to penetrate further below the \nsurface than do most of their rivals. I have also long admired their \naccount with Victor Aller of the Brahms F minor Quintet, which it so \nhappens that I played to a visitor quite recently. (My original copy \nbore traces of flutter that proved particularly irksome on the piano in \nthe slow movement, and I was delighted to find that the present transfer\n has no such defect and has a wider range.) It is a powerful and \nthoughtful performance, and holds its own against such distinguished \nrivals as Serkin with the Busch Quartet (World Records mono SHB61, 4\/81)\n from the 1930s, and the 1969 Eschenbach \/ Amadeus (DG 2535 418, 2\/81). \nIt certainly has more concentration and poetry than the (to my mind much\n overrated) version by Poilini and the Quartetto Italiano (DG 2531 197, \n9\/80). \u003c\/p\u003e\u003cp\u003eThe Dvorak originally appeared in harness with the Third Quartet \nof Dohnányi, and my first reaction was to regret that EMI had not left \nthis coupling undisturbed — until, that is, I heard the Smetana. Both \nthese performances were new to me and both strike me as hardly less \nsuperb than their companions. The style of these artists has dated much \nless than many other ensembles: they possess splendid attack and \nfinesse, superb blend and flawless intonation, though there is at times \nan unrelieved intensity and glare in the leader’s tone. The sound is \nremarkably good for its period with plenty of presence and body, though \nthe acoustic is on the small side. Much care has been taken with the \ntransfers and the sound is first class. Those who recall the originals \nwill need no promptings from me to invest in this set. Let us hope that \nEMI will follow it up with the late Beethoven quartets and an anthology \n(which will involve no threat of excessive duplication) with, perhaps, \ntheir Hindemith, Villa-Lobos, Prokofiev, Schoenberg's \u003cem\u003eVerklärte Nacht\u003c\/em\u003e and the Shostakovich Quintet. In the meantime, this is recommended with enthusiasm.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eR.L., Gramophone\u003c\/b\u003e, February 1982\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM085.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe legendary Hollywood String Quartet play Brahms, Dvorák, Schubert \u0026amp; Smetana\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"...splendid attack and finesse, superb blend and flawless intonation...\" - Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eSometimes I transfer and remaster recordings for purely selfish \nreasons - the simple desire to play the records and then hear them in \ntheir full glory after remastering. This is one of those occasions: one \nof my favourite chamber ensembles playing some of my favourite music. I \nhad not read the review reprinted here until I was intimately acquainted\n with the recordings, and I'm happy to see my own judgement mirrored.\u003c\/p\u003e\u003cp\u003eThe records were all appeared in mint condition and played perfectly.\n Pitching was unusual however: it's hard to believe the quartet played \nat the unusually high pitch of A4=~450Hz at which some of these \nrecordings were found, leading me to suspect errors in EMI's 1982 \ntransfers. Here they're pitched to concert standard 440Hz. I also \nnoticed the acoustic being \"on the small side\" and have helped open it \nout slightly.\u003c\/p\u003e\u003cp\u003eXR remastering has performed wonders with instrumental tone, with the\n final results bringing me the great personal satisfaction and enjoyment\n I'd hoped for.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cul\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eBRAHMS \u003c\/b\u003ePiano Quintet in F minor, Op. 34 \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 30-31 March, 1954. First issued as Capitol P.8269\u003c\/span\u003e \u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cb\u003eVictor Aller \u003c\/b\u003epiano\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003e*SMETANA \u003c\/b\u003eString Quartet No. 1 in E minor, T.116 \"From my Life\" \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 2 November, 1955 First issued as Capitol P.8331\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eSCHUBERT \u003c\/b\u003eString Quintet in C, D.956\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 15-17 January, 1951 First issued as Capitol P.8133\u003c\/span\u003e \u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cb\u003eKurt Reher \u003c\/b\u003ecello\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003e*DVORÁK \u003c\/b\u003eString Quartet No. 12 in F, Op. 96, 'American'\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 23-24 January, 1954 First issued as Capitol P.8307\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003eHollywood String Quartet:\u003c\/b\u003e\u003cbr\u003e \u003cb\u003eFelix Slatkin \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003e Paul Shure \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003e Paul Robyn \u003c\/b\u003eviola\u003cb\u003e\u003cbr\u003e *Alvin Dinkin \u003c\/b\u003eviola\u003cb\u003e\u003cbr\u003e Eleanor Aller \u003c\/b\u003ecello \u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003cbr\u003e Recorded at Capitol Studios, Hollywood\u003cbr\u003e Transfers from EMI box set RLS 765\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM085.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM085.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":31975648653,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975648717,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975648781,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975648845,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM085_4b63c72b-3a7a-4055-a4d6-4de7ca54a28c.jpg?v=1487682212"},{"product_id":"pacm045","title":"KENTNER, HOLST, PINI Dvořák: \"Dumky\" Trio (1941) - PACM045","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003ePiano Trio No. 4 in E minor Op.90 ('Dumky')\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLouis Kentner, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eHenry Holst, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eAnthony Pini, \u003c\/b\u003ecello\u003cbr\u003e\u003cbr\u003eRecorded in 1941\u003cbr\u003eDuration 29'20\"\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fAudiophile Audition review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eBeautifully-restored from shellacs via the XR process by engineer \nAndrew Rose... The performance itself captures the totally mercurial \ntemperament of the work, its integration of Bohemian rhythms, folksy \nmelodies, and pungent harmonic progressions, some based on germ-like \nriffs that explode in the manner of Beethoven.... Kentner’s facile runs,\n followed by non-legato passagework, testify to a pair of deft hands, \ncapable of power and plastic inflections.  Great musicianship...\u003cbr\u003e\u003cbr\u003eReview by Gary Lemco - Audiophile Audition\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM045.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eKentner, Holst \u0026amp; Pini play Dvořák\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eFabulous wartime recording remastered for finest sound quality\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eDvorak\n wrote his 'Dumky' Trio through the winter of 1890-91, and is his \nbest-known use of the 'dumka', a Ukrainian lament, which had already \nfeatured in a piano piece of that name in 1876, as well as forming part \nof his Slavonic Dances, String Sextet, String Quartet in E flat and \nPiano Quintet in A. The general form is of a melancholy first section \nwhich alternates with a lively second second, and the Dumky Trio, in six\n movements set out in this way, uses a wide variety of keys to provide \nfurther contrast, rather than varying the form.\u003cbr\u003e\u003cbr\u003eThis wonderful \nwartime recording manages to capture perfectly this contrast - the \nopening lament in the cello, picked up by the violin, is heaving with \ntragedy and pathos, and yet the players skip effortlessly into the \njig-like contrasting section, which they attack with a verve and wit \nthat is to be heard throughout this recording.\u003cbr\u003e\u003cbr\u003eKentner, Holst and\n Pini's interpretation, which appears to have been ignored since its \ndeletion from the Columbia 78rpm catalogue around 1950 (much to the \ndisappointment of the critics of the day, who rightly referred to it as a\n 'splendid performance') is surely one of the great lost treasures of \nthe shellac era. It is both a pleasure and a privilege to have it back!\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003ePiano Trio No. 4 in E minor Op.90 ('Dumky')\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLouis Kentner, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eHenry Holst, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eAnthony Pini, \u003c\/b\u003ecello\u003cbr\u003e\u003cbr\u003eRecorded in 1941, released as UK Columbia DX 1017-1020\u003cbr\u003eMatrix Numbers CAX 8861-8868, Takes 1, 1, 2, 2, 2, 1, 2, 1\u003cbr\u003e\u003cbr\u003e(Duration 29'20\")\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM045.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM045.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":31463464781,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":31463464845,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM045_d485f5cb-d98e-4332-9876-e621d7115896.jpg?v=1487682291"},{"product_id":"pasc487","title":"MACKERRAS at the Edinburgh Festival: Shostakovich, Scriabin, Dvorák (1962) - PASC487","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSHOSTAKOVICH  \u003c\/b\u003eSymphony No. 9\u003cbr\u003e\u003cb\u003eSCRIABIN  \u003c\/b\u003ePiano Concerto\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003cb\u003eDVORÁK  \u003c\/b\u003eSymphonic Variations\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eLive stereo concert recording, 1962\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003eTotal duration: 74:47 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePaul Badura-Skoda,\u003c\/b\u003e piano\u003cb\u003e\u003cbr\u003ePolish Radio Symphony Orchestra\u003c\/b\u003e \u003cb\u003e\u003cbr\u003eCharles Mackerras\u003c\/b\u003e, conductor\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fA rewarding concert that fills some fascinating gaps in a great conductor’s discography578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eRecorded by the BBC at the Edinburgh Festival on \nAugust 27, 1962, this concert by the Polish Radio Symphony was never \nbroadcast in Britain. Transcription discs were sent to various stations \nin the United States and were clearly marked “expires 3.9.66.” \nFortunately, one set “happily … fell into the hands of a collector” and \nthis disc is the result. What previous connection “the brilliant young \nconductor”—so described in the accompanying notes—Charles Mackerras had \nto the orchestra is something of a mystery, but it’s clear that this \nthen little-known Warsaw Pact ensemble clearly felt it had something to \nprove. And while Dvořák is a well-known commodity in the extensive and \nvaried Mackerras discography, Scriabin and Shostakovich are not.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe performance of the Shostakovich Symphony which\n began the program is a fairly astonishing one, especially in the \nbracing tempos which occasionally veer into the lunatic range. The \nopening movement, for instance, races along at a ferocious clip, the \norchestra’s winds—the piccolo especially—displaying a prodigious \nvirtuosity. Apart from one brief episode when the massed strings seem \nready to fly off the handle, this is one of the most precise and \nexciting versions of the movement on record, a tribute to what was \nclearly one of best Iron Curtain orchestras of its time. The orchestra’s\n principal bassoon has an intensely felt moment in the symphony’s brief \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLargo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n the eloquence of the playing allowing us to ignore the rather thin, \nreedy sound common to Eastern European bassoons of the day. The final, \nmadcap horse race to the end is electrifying in its daffy intensity, \nreminding us why Stalin was so angered by what was supposed to have been\n a triumphant victory symphony in praise of his contribution to the \nrecently concluded Great Patriot War. (Having virtually eliminated the \nRed Army’s senior officer corps during the Great Purge, his initial \nresponse to the news that Hitler had violated the Non-Aggression Pact in\n June of 1941 was to lock himself in his Kremlin apartment and get \ndrunk, leaving the Soviet Union leaderless for 10 crucial days.)  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIf the Austrian pianist and \nMozart-Beethoven-Schubert specialist Paul Badura-Skoda might seem an \nunlikely champion of Alexander Scriabin’s youthful Piano Concerto, then \nhis ardent yet carefully worked out interpretation ranks with the finest\n recorded performances currently available; in fact, it’s only a notch \nor so below the stunning BIS recording (2088) with Yevgeny Sudbin, \nAndrew Litton, and the Bergen Philharmonic. The Polish Radio Symphony is\n as warmly supportive here as it was wild and unbuttoned in the \nShostakovich, with a string tone that feels especially lush and \nembracing.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eApart from some occasionally tentative voicing in \nsome of the early variations—suggesting that rehearsal time may have \nbeen limited—Mackerras’s view of the Dvořák \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSymphonic Variations\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is altogether typical of his natural, idiomatic way with Czech music \n(he spent a year in Prague studying with Václav Talich and spoke \nserviceable Czech) coupled with the festival atmosphere that clearly \ninspired an already fired-up orchestra. It provides an especially \nsatisfying conclusion to a rewarding concert that fills some fascinating\n gaps in a great conductor’s discography. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJim Svejda  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\n      \n    \n  \n  \u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003e\n\u003cspan style=\"font-size: 13px;\"\u003eThis article originally appeared in Issue 40:6 (July\/Aug 2017) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 13px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 13px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC487.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eMackerras and the Polish Radio SO at Edinburgh 1962: Music from beyond the Iron Curtain\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eSuperb live stereo recordings, previously unissued\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eAlthough this stereo concert recording, complete with full \nannouncements, was made by the BBC at the Edinburgh Festival of 1962, it\n was never broadcast in the United Kingdom. Instead it would appear that\n it was one of a handful of recordings which were instead pressed onto \nvinyl and sent to radio station(s) in United States for broadcast there.\n It is not clear how many copies of each disc were made, nor to where \nthey were sent - or indeed how they were financed. What we do know is \nthat the three discs which made up this broadcast were clearly marked \n\"expires 3.9.66\" and probably should have been destroyed after use. \nHappily they fell instead into the hands of a collector who was able to \npreserve them for posterity and, finally now, release.\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003eThe recordings were of course very well made, and have been \nvery well preserved, and my interventions as a result have been \nunusually minimal. This brings Charles Mackerras to Pristine for the \nfirst time, captured at a point in his stellar career when the BBC's \naccompanying notes could still describe him as \"the brilliant young \nconductor\".\u003cem\u003e \u003c\/em\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSHOSTAKOVICH  Symphony No. 9\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSCRIABIN  Piano Concerto\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eDVORÁK  Symphonic Variations\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Edinburgh\u003cbr\u003eLive stereo concert recording, 1962\u003cbr\u003eTotal duration: 74:47 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cb\u003ePaul Badura-Skoda,\u003c\/b\u003e piano\u003cbr\u003e\u003cb\u003ePolish Radio Symphony Orchestra\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eCharles Mackerras\u003c\/b\u003e, conductor\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC487.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC487.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fFestival Concert Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eORCHESTRAL concerts at the festival continue to give us music which is \nvariable in substance and quality. The programme of the Polish Radio \nOrchestra's second concert contained the piano concerto in F sharp minor\n of Scriabin, an almost unheard of composer in most parts of the musical\n world nowadays. This is a young man’s composition dating from 1897; and\n a prize might be awarded to any critic who, discussing and describing \nit, is able to avoid mention of the name Chopin. The solo part is \nobviously derivative, and the orchestral scoring too. It was played to a\n not overcrowded audience by Paul Badura-Skoda, and played brilliantly. \nBut why couldn’t his gifted fingers have been occupied with notes of \nmore account? The concerto is pleasant enough, nostalgic with \nreminiscences, and an old faded aroma. It was, in fact, the original \n“Warsaw” Concerto.\u003cbr\u003e\u003cbr\u003eThe Polish orchestra at its second concert was\n conducted by none other than the young Australian Charles Mackerras, \nwho directed these expert instrumentalists through a smart-cracking \nperformance of Shostakovich’s Ninth Symphony. Though the playing here \nwas generally excellent, I could not recognise the full tone and \nprecision which impressed me so much at Saturday’s concert. Maybe Mr \nMackerras, for all his skill, had been unable at rehearsal to achieve \ncomplete communication of his ideas. None the less, the Polish orchestra\n maintained a standard of execution equal to Britain’s best. The \nwoodwind, especially, revelled in Shostakovich’s cock-a-hoop wit. I \nexpected, at the end of the performance, Mr Mackerras to indicate to \nthese virtuoso players to rise and share prominently the audience’s \napplause; but he did not, not obviously, at any rate.\u003cbr\u003e\u003cbr\u003eThe Ninth \nSymphony of Shostakovich is really one of symphonic music’s best jokes. \nApart from one strange, almost bodeful visitation, the work guys the \npomposity of the traditional symphony or rather the post-Beethoven. \n“Middle German” symphony. Possibly Mahler gave Shostakovich the \nirreverent cue; but Mahler was never as arrogantly and rampantly on the \nsymphonic “bummel”, so to say—on the spree—as Shostakovich in his short \nNinth Symphony. Mahler’s humour is usually wry, with a touch of the \ngrotesque in it. Shostakovich cracked his jokes with relish. The tunes \nare Till Eulenspiegelish. The trombone in the first movement has a \nmusical guffaw and yawp all to itself. The pace of the music, and its \n“spin,” suggests that Shostakovich, who is becoming an image of his \ncountry’s aloofness with rather inimical implications is at times the \nRossini of contemporary Russian music. Which is saying much.\u003cbr\u003e\u003cbr\u003eNeville Cardus The Guardian, 29 August, 1962 (excerpt)\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":38674043533,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":38674043597,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":38674043661,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC487.jpg?v=1496233720"},{"product_id":"pasc308","title":"MAINDARDI, HAENDEL Dvořák: Cello and Violin Concertos (1955\/47) - PASC308","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eDVOŘÁK\u003c\/b\u003e Cello Concerto\u003cbr\u003e\u003cb\u003eDVOŘÁK\u003c\/b\u003e Violin Concerto\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded in 1955 and 1947\u003cbr\u003eTotal duration: 69:00\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan class=\"body\"\u003eEnrico Mainardi, \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003ecello\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003eIda Haendel, \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003eBerlin Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003eFritz Lehmann, \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003eNational Symphony Orchestra \u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003eKarl Rankl, \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003econductor\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fHer playing of the finale’s folk incidents, and associated crisp chording, is a pleasure to hear578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThese two concerto performances make contrasting claims on the listener.\n Ida Haendel’s 1947 recording of the Violin Concerto was made in \nKingsway Hall, accompanied by the pick-up National Symphony Orchestra \nunder Karl Rankl. This was composed of first-rate musicians, but they \ndidn’t always form a first rate orchestra. There are moments of rhythmic\n uncertainty, and a slight feeling of under-engagement from time to time\n which, whilst hardly an impediment to the soloist, means that the \nrecording as a whole is slightly less impressive than it might have \nbeen. Haendel’s tone is quite fervent, but it’s well controlled, and \nnever seems out of scale - albeit her vibrato has a tendency to seem a \ntouch fast on occasion. Her phrasing is eloquent, maybe a touch \nunidiomatic at a few paragraphal points, but her playing of the finale’s\n folk incidents, and associated crisp chording, is a pleasure to hear. \nDutton issued this recording well over a decade ago, as part of an \nall-Haendel disc - the Tchaikovsky with Basil Cameron was the other main\n work. The transfers represent the divergent aesthetics of these two \nlabels - a somewhat dampened treble from Dutton, a more expansive top to\n bottom range from Pristine. \u003cbr\u003e   \u003cbr\u003e I know two of Mainardi’s other \nperformances of the Concerto. I’ve reviewed the live one with Jochum on \nTahra 638-39; then there’s the wartime inscription with van Kempen and \nthe Staatskapelle Berlin, on 78s. On neither of these occasions has he \never much impressed. He always started with a sluggish, wan, almost \nsullen first entry, and things progressed from there. It may chart some \nkind of emotive development for him, but it rather flies in the face of \nthe composer’s express markings He never had an especially beautiful \ntone but he was always a tactful player, even if he is raspily-toned \nhere in places and his downward scale is ponderous. In fact Lehmann and \nthe orchestra prove to be luxury casting - outstanding winds, commanding\n bass line - and rather upstage the dogged soloist. It’s telling that \none listens to little rhythmic emphases from Lehmann and to the \ncontributions from the orchestra’s principals with as much interest as \none does to the soloist. I do admire Mainardi - just not in this work. \u003cbr\u003e   \u003cbr\u003e\n Coupling historical performances like this makes some sense, but to \nsaddle a good performance of the Violin Concerto with a rather \n(soloistically) nondescript one of the companion work will cause \nproblems for potential purchasers. \u003cbr\u003e   \u003cbr\u003e \u003cb\u003e\u003ci\u003eJonathan Woolf\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC308.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003e\u003cem\u003eSuperb 32-bit XR remasters of the Dvořák string concertos\u003c\/em\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eMainardi and Haendel on top form for these excellent studio recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cli\u003e\n\u003cp class=\"body\"\u003eI had two LP copies of the Mainardi to work from - the \noriginal DGG issue and the mid-60s Heliodor fake-stereo reissue. In \nterms of surface quality and fidelity the later pressing was infinitely \npreferable to the original, in near mint condition and with superb sound\n quality. I was able to strip out the Heliodor stereo processing and \nremove any phasing artefacts prior to 32-bit XR remastering, which \nproved highly successful in bringing further treble clarity to the \nrecording.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eFrom the LP the recording was pitched at A=451Hz. \nHowever, analysis of mains electrical hum suggested a true tuning of \nA=450Hz and this has been used for the final remastered version. \nLikewise the Decca Haendel 78s transferred at around A=451Hz but \nelectrical hum indicated a performance pitch of A=445Hz, which is what \nis heard here.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eDecca's ffrr 78s date from the final months of \ndirect-to-disc recording, prior to tape, and here indicate just how \nsuccessful this method had become by 1947. The sound is clear, the \nfrequency range well-extended, and with XR remastering little hint \nremains of the shellac origins of the concerto, which stands up very \nwell in comparison to the cello recording.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/li\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eDVORAK\u003c\/b\u003e Cello Concerto in B minor, Op. 104\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 24 January 1955\u003cbr\u003eJesus Christus-Kirche, Berlin\u003cbr\u003eFirst issued as DGG 18236\u003cbr\u003eTransfer from Heliodor LP 89 520\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eEnrico Mainardi\u003c\/b\u003e cello\u003cbr\u003e\u003cb\u003eBerlin Philharmonic Orchestra\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eFritz Lehmann\u003c\/b\u003e conductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eDVORAK\u003c\/b\u003e Violin Concerto in A minor, Op. 53\u003cem class=\"body\"\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecording producer: Victor Olaf\u003cbr\u003eRecording Engineer: Kenneth Wilkinson\u003cbr\u003eRecorded 30-31 July 1947\u003cbr\u003eKingsway Hall, London\u003cbr\u003eFirst issued September 1948\u003cbr\u003eTransfer from Decca 78s AK.1744-47\u003cbr\u003eMatrix Nos: AR.11472-79\u003cbr\u003eTakes 1, 1, 2, 2, 1, 2, 2, 2\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003eIda Haendel \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003eviolin\u003cbr\u003e\u003cb\u003eThe National Symphony Orchestra\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eKarl Rankl\u003c\/b\u003e conductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003eXR remastering by Andrew Rose at Pristine Audio, September 2011\u003cbr\u003eCover artwork based on photographs of Enrico Mainardi and Ida Haendel\u003cbr\u003ePristine Audio is grateful to Al Schlachtmeyer for the generous donation of the Haendel discs \u003cbr\u003eTotal duration: 69:00\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC308.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC308.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":32483131213,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32483131277,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32483131341,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32483131405,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC308.jpg?v=1487691692"},{"product_id":"pacm079","title":"SAMMONS Elgar \u0026 Rubbra Violin Sonatas etc. (1924-46) - PACM079","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cb\u003eELGAR \u003c\/b\u003eViolin Sonata No. \u003cspan class=\"bodybigblue\"\u003e1 in G major, Op. 78\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003eRUBBRA \u003c\/b\u003eViolin Sonata No. \u003cspan class=\"bodybigblue\"\u003e2 in A major, Op. 100\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003eShort works by \u003cb\u003eSammons, Dvorák, Juon, Horn\u003c\/b\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\n\u003cdiv\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eRecorded between 1924 and 1946 \u003cbr\u003eTotal duration: 55:38\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\n\u003cdiv\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eAlbert Sammons\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eWilliam Murdoch\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eGerald Moore\u003c\/b\u003e, piano \u003c\/span\u003e\u003c\/div\u003e\n\u003cbr\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fGramophone Historic Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fElgar - Violin Sonata578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003eThere seems to be a general opinion that Elgar is\n not at his best in his chamber music and that he writes with no real \nunderstanding of the piano. One critic says that the chamber music works\n measured as they must be (italics mine) with the composer's own best \nwork are a little disappointing.\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eBut why must such works be measured against those\n of big scale? Surely it is better to assess them on their own ground \nrealising that, as Mr. Maine well says, that \"the conditions of the \nsonata and quartet call forth a wholly different aspect of his (Elgar's)\n creative spirit \" without any resultant cramping of his style, for he \ndid not attempt to express symphonic ideas through the chamber music \nmedium.\u003cbr\u003e The Elgarian trochaic rhythm appears before the music has \ngone very far, also the Elgarian tenderness and nobility. I must confess\n to finding the episode consisting of widely spread arpeggios for the \nviolin a little dull and quite lacking in the \"poetic serenity which may\n well have been induced by the woodland environment of the cottage where\n the work was written.\" The end of the movement, too, is conventional \nand manufactured.\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eNo qualifications need be made in regard to the slow movement, which is both original in layout and beautiful.\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eThis Romance is worked out with two \nwell-contrasted ideas, one sad and deeply expressive, the other \nwhimsical and wayward. It is indeed a pity that the passionate climax to\n which the music is rising is broken off by the necessity of turning \nover the record. The opening theme of the final movement, with an \nattractive waviness in it, is of a peaceful nature, a feeling which is \nmaintained throughout most of the movement, though towards the end of \nthis side a deeper emotion disturbs the music and the development is \noccasionally vigorous. Albert Sammons' tone is as unfailingly beautiful \nas his technique is superb, but it is, I feel, a thought too sweet for a\n perfect interpretation of the music, which demands a more masculine \nimpulse at times. Though Elgar's writing for the piano is certainly not \nadventurous (which makes the pianist's part in this sonata very suitable\n for the average amateur), William Murdoch remains rather too much in \nthe background and the balance is therefore uneven. Nevertheless this \nrecording is certainly one to give great pleasure.\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003e\u003cb\u003eA.R. - The Gramophone\u003c\/b\u003e, August 1935 (\u003cem\u003ereview of original Elgar 78s issue\u003c\/em\u003e)\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM079.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBritish music specialist Sammons in Elgar and Rubbra sonatas\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eNewly transferred and XR remastered, these are superb!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThe two sonatas here were transferred from near-mint 78s from the \ncollection of Paul Steinson, to whom we are once more very grateful. \nNeither presented any major difficulties in transfer or restoration, and\n both have come out remarkably well - in their post XR-remastering \nstates there's remarkably little difference in sound quality between the\n 1935 Elgar and the 1946 Rubbra beyond slightly raised a degree of \nsurface noise in parts of the earlier recording.\u003cbr\u003e\u003cbr\u003eThe Gramophone's review of the Elgar complains of a distance in the \npiano which I suspect might be due to microphone positioning relative to\n the piano's soundboard - the balance isn't too bad but the piano has a \nmuffled tone to it which suggests the lid being partially closed or \npointed away from the microphone, whereas Sammons is close and clear. \nThe 1920s recordings display similar traits, suggesting a tendency for \nthe engineers to concentrate overwhelmingly on capturing the violin - \nnotably on none of these is the pianist credited. One should also \nremember that the engineers who recorded the final two pieces here, both\n acoustic recordings where recording violins required the use of \nmodified instruments to boost their volume, may well have been the same \nwho worked on the earlier electrical recordings - with similar \npriorities subconsciously in mind perhaps?\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv align=\"left\"\u003e\n\u003cb\u003eELGAR\u003c\/b\u003e Violin Sonata in E minor, Op. 82\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cp align=\"left\"\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv align=\"left\"\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003eAlbert Sammons\u003c\/b\u003e, violin\u003cbr\u003e \u003cb\u003eWilliam Murdoch\u003c\/b\u003e, piano\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 2 February 1935\u003cbr\u003e Issued as Columbia LX 379-381\u003cbr\u003e Matrix Nos CAX 4721--26\u003cbr\u003e Takes 2, 1, 1, 1, 1, 2\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\u003cp align=\"left\"\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv align=\"left\"\u003e\u003cul\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eRUBBRA\u003c\/b\u003e Violin Sonata No. 2, Op. 31\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003c\/div\u003e\u003cp align=\"left\"\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv align=\"left\"\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003eAlbert Sammons\u003c\/b\u003e, violin\u003cbr\u003e \u003cb\u003eGerald Moore\u003c\/b\u003e, piano\u003c\/p\u003e\n\u003cp class=\"bodymidarial\"\u003eRecorded 16 April 1946\u003cbr\u003e Issued as HMV C.3547-48\u003cbr\u003e Matrix Nos 2EA 10975-78\u003cbr\u003e All second takes\u003c\/p\u003e\n\u003c\/div\u003e\u003cp align=\"left\"\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv align=\"left\"\u003e\u003cul\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eSAMMONS\u003c\/b\u003e Bourrée\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eDVORAK\u003c\/b\u003e (arr. Kreisler) - Indian Lament*\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eJUON\u003c\/b\u003e - Arva (Valse Mignonne)\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eHORN\u003c\/b\u003e (arr. Cyril Scott) - Cherry Ripe\u003c\/li\u003e\n\u003c\/ul\u003e\u003c\/div\u003e\u003cp align=\"left\"\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv align=\"left\"\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003eAlbert Sammons\u003c\/b\u003e, violin\u003cbr\u003e \u003cb\u003e*Gerald Moore\u003c\/b\u003e, piano\u003cbr\u003e (other pianists unknown)\u003c\/p\u003e\n\u003cp class=\"bodymidarial\"\u003e\u003cb\u003eSammons Bourrée\u003c\/b\u003e\u003cbr\u003e Recorded 9 September 1926\u003cbr\u003e Matrix No WAX 1889\u003cbr\u003e\u003cbr\u003e \u003cb\u003eDvorák Indian Lament\u003c\/b\u003e\u003cbr\u003e Recorded 2 March 1928\u003cbr\u003e Matrix No WAX 3337\u003cbr\u003e Issued together as Columbia 9484\u003c\/p\u003e\n\u003cp class=\"bodymidarial\"\u003e\u003cb\u003eJuon Arva \u0026amp; Horn Cherry Ripe\u003c\/b\u003e\u003cbr\u003e Recorded acoustically c. late 1924\u003cbr\u003e Matrix Nos A 1249-50\u003cbr\u003e Issued together as Columbia D.1509\u003c\/p\u003e\n\u003cbr\u003e\n\u003c\/div\u003e\u003cp align=\"left\"\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM079.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM079.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":31975906189,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975906253,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975906317,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975906381,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM079.jpg?v=1487682508"},{"product_id":"pacm101","title":"SQUIRE plays Chamber Music: Brahms, Tchaikovsky et al (1924-28) - PACM101","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003eBRAHMS \u003c\/b\u003eClarinet Trio\u003cp\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003ePiano Trio\u003cbr\u003eEncores by \u003cb\u003eDvorák, Harty, Huré, Dunkler \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eStudio recordings, 1924-28\u003cbr\u003eTotal duration: 77:24\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\n\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb data_liveedit_tagid=\"000000000D7755A0\"\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb data_liveedit_tagid=\"000000000D7755A0\"\u003e\u003c\/b\u003e\u003c\/span\u003e\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cb\u003eW. H. Squire, \u003c\/b\u003ecello\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodybigblue\" data_liveedit_tagid=\"000000000D776290\"\u003e\u003cbr\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fRecommended to collectors of historic recordings - the leading British cellist of his generation578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWilliam Henry Squire (1871–1963) was the leading \nBritish cellist of his generation; despite his longevity, however, his \nrecording career seems to have lasted only into the early 1930s. In \naddition to the works offered here, he also recorded concertos of \nSaint-Saëns and Elgar, Beethoven’s “Archduke” Trio (all also available \nfrom Pristine), and numerous shorter works such as the four encores \nincluded on this CD. The recordings here were all made between 1924 and \n1928 for English Columbia, and the two major works were first \nrecordings.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eSquire’s collaborators were all well known as \nwell. Haydn Draper was the nephew of the famous clarinetist Charles \nDraper, who recorded both the Mozart and Brahms Quintets with the Léner \nQuartet; Arthur Catterall and the Australian pianist William Murdoch \nhave both fallen into obscurity, but were leading recording artists of \ntheir day. Hamilton Harty, best remembered as a conductor, was a triple \nthreat, and is documented here in his other two roles, those of pianist \nand composer. He was knighted the year after this recording was made.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eDespite the able ministrations of producer Mark \nObert-Thorn, there’s no mistaking the acoustic origin of the 1924 Brahms\n recording; the sound is boxy, with a bit of an edge to Squire’s tone. \nThe balance favors the cello, which probably was closer to the recording\n horn than the other two instruments. Nevertheless, one can tell that \nDraper had a pure sound—the ascendancy of Reginald Kell, who was to \nchange English clarinet playing, for better or worse, for three \ngenerations, was still in the future—and that Harty acquits himself \nwell. The interpretation is rather mainstream, but the tempo of the last\n movement is somewhat unbending, perhaps partially owing to the \nfour-and-a-half minute limitation of the 78-rpm side.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe sound is much better in the 1928 recording of \nthe Tchaikovsky Trio, which was extravagantly spread over 12 sides—and \nthat with a sizeable cut in the finale. There is, for the time, an \nunusual amount of reverberation in this recording; Obert-Thorn says in \nhis note that this trio was recorded at a lower level, which might \nexplain the atypical amount of surface noise that remains in the \ntransfer. The performance is more free-wheeling than that of the Brahms,\n with plastic tempos and lots of portamento from both string players. \nMurdoch plays his share of wrong notes; of course, editing of recordings\n was impossible in those days.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe four encores document a kind of cello playing \nnot heard anymore, with frequent, generous slides. Here, far more \nclearly than in the sonically compromised Brahms, or even in the \nTchaikovsky, where the violin predominates, Squire displays a fine tone \nand a tasteful vibrato. The Harty and Dunkler pieces also show that he \nhad a healthy technique.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eGiven the limitations of the originals, \nObert-Thorn’s transfers are exemplary; the side joins are undetectable \neven if you know where they are, and aside from the Brahms, the sound is\n as natural as you could hope for, considering the nearly 90-year-old \noriginals. Now perhaps Pristine can be persuaded to devote a CD or two \nto the all-but-forgotten Catterall, who recorded two concertos and four \nsonatas for Columbia in the 1920s. Recommended to collectors of historic\n recordings. \u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eRichard A. Kaplan   \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM101.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eW. H. Squire's brilliant chamber music brought back to life by Mark Obert-Thorn\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"A splendid virtuoso and also one of the wisest and most broadminded of men\" - Hamilton Harty\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\nDuring a recording career that stretched from the late 1890s to the \nearly 1930s, British cellist William Henry Squire (1871-1963) set down \nmany sides of short encore pieces and two cello concertos (the latter \nfeatured on Pristine’s earlier release devoted to Squire, PASC 393).  \nAlthough he, along with violinist Arthur Catterall and pianist William \nMurdoch, made a series of acoustic recordings of movements from chamber \nworks usually abridged to a single side, Squire only participated in \nthree complete chamber music recordings:  Beethoven’s “Archduke” Trio \n(on Pristine PACM 073), and the two A minor trios presented here.\u003cbr\u003e\u003cbr\u003eIt\n is remarkable that at a time during the acoustic recording era when few\n chamber works were available complete on disc, Columbia would have \nchosen to record Brahms’ less well-known Clarinet Trio.  The clarinetist\n is Haydn Paul Draper, nephew and pupil of the more well-known Charles \nDraper (who also recorded chamber music for Columbia around the same \ntime).  Hamilton Harty (not yet “Sir” – his knighthood would come the \nfollowing year) is the pianist, as he was on many of Squire’s solo discs\n in the acoustic era.  Brahms had declared his composing days at an end \nwith his G major String Quintet in 1890; but hearing clarinetist Richard\n Mühlfeld inspired him to write this trio the following year, along with\n his Op. 115 Clarinet Quintet.\u003cbr\u003e\u003cbr\u003eTchaikovsky was initially \nreluctant to write a traditional piano trio, feeling that the sound of \nthe piano did not mesh well with the violin and cello.  However, the \ndeath of his close friend, the pianist\/composer\/conductor Nikolai \nRubinstein in 1881 prompted his Op. 50, his only work with this \ncombination of instruments.  Squire here is joined by British violinist \nArthur Catterall and Australian pianist William Murdoch, frequent \nchamber partners of his both in concert and on disc.  The recording is \nnot quite complete; the Finale section of the second movement was cut to\n about half its length, probably to avoid going to an additional odd \nside.  Based on the ample reverberation to be heard, the session may \nhave been held in Wigmore Hall, as was the Beethoven “Archduke” with \nSammons, Squire and Murdoch from a few days earlier.  However, the \noriginal engineering here seems to be more distant and recorded at a \nlower level.\u003cbr\u003e\u003cbr\u003eConcluding our program are four cello encores of the\n type for which Squire was most famous on disc.  Squire’s frequent \ncollaborator as conductor and accompanist, Harty, is heard here as a \ncomposer.  French organist and composer Jean Huré (1877-1930) wrote his \n“Air” to be accompanied by either piano or organ, and Squire recorded it\n both ways, the first acoustically and the second, heard here, \nelectrically. \u003cbr\u003e\u003cbr\u003eThe sources for the transfers were mainly American\n Columbia discs – a “New Process” set for the Brahms, and “Viva-Tonal” \npressings for the Tchaikovsky, Harty and Huré works.  The Dvǒrák and \nDunkler pieces came from an Australian Columbia disc.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eClarinet Trio in A minor, Op. 114 (acoustic recording)\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eH. P. Draper\u003c\/b\u003e (clarinet) ∙ \u003cb\u003eHamilton Harty\u003c\/b\u003e (piano)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 21 October 1924 in London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.: AX 692-1, 693-2, 694-1, 695-1, 696-1 \u0026amp; 697-1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eFirst issued on Columbia L 1609\/11\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003e Piano Trio in A Minor, Op 50, “To the Memory of a Great Artist” \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eArthur Catterall\u003c\/b\u003e (violin) ∙ \u003cb\u003eWilliam Murdoch\u003c\/b\u003e (piano)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 23 December 1926 in London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.: WRAX 2311-2, 2312-2, 2313-1, 2314-2, 2315-2, 2316-2, 2317-1, 2318-1, 2319-1, 2320-2, 2321-3, 2322-1\u003cbr\u003eFirst issued on Columbia L 1942\/7 \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eDVǑRÁK (arr. Grünfeld) \u003c\/b\u003e Songs my mother taught me, Op. 54, No. 4 (from \u003cem\u003eGypsy Songs\u003c\/em\u003e) \u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eWith piano accompaniment\u003cbr\u003eRecorded March, 1928 in London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix no.: WA 7085. First issued on Columbia D 1620\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHARTY \u003c\/b\u003e Scherzo, Op. 8\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eWith piano accompaniment\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 13 April 1927 in London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix no.: WAX 2571-2. First issued on Columbia L 2115\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHURÉ \u003c\/b\u003e Air \u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eGeorge Thomas Pattman \u003c\/b\u003e(organ)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 3 October 1928 in the St. John’s Wood Synagogue\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix no.: WAX 4128-1. Issued on American Columbia 50214-D\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eDUNKLER \u003c\/b\u003e La fileuse (The spinning wheel), Op. 15\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eWith piano accompaniment\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded March, 1928 in London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix no.: WA 7088\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eIssued on Australian Columbia 03611\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eW. H. Squire\u003c\/b\u003e, cello \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM101.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM101.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eBrahms Clarinet Trio\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eAmong Brahms’ last and most mature works \nare four in which the clarinet is used, with remarkable facility, and \nwith a perfect perception of its powers. His employment of the \ninstrument in this late chamber music was largely influenced by' hearing\n a very fine clarinet player, Mühlfeld. The work is recorded uncut.\u003cbr\u003e\u003cbr\u003eFirst Movement.\u003cbr\u003e\u003cbr\u003eAllegro\n (quick).—Very characteristic of Brahms are both the leading themes used\n in this movement. Their arpeggio nature is a favourite device of the \ncomposer, and the first conforms even more closely to one of his habits \nof mind in building tunes, by com­mencing with the four notes of the \nkey-chord. In order to keep the tonal balance, the ’cello frequently \nplays in its high register, the piano filling up the middle of the \ncompass. The second main theme begins at the top of page 5, on the \n’cello, and is in the major key. The first theme, when it returns after \nthe development (in the ’cello) is considerably altered. In particular, \nthere is an increase of the rushing scalic work of which we had a taste \non the second page, just before the entry of the second subject. The \nquick leaping figures of this movement are finely contrasted with the \nmore broadly moving yet still agile even-beat stepping (cf.. e.g., pages\n 12 and 13). A passage of scales and arpeggios, over piano chords, \nbrings the movement to an end.\u003cbr\u003e\u003cbr\u003eSecond Movement,\u003cbr\u003e\u003cbr\u003eAdagio \n(slow).—Clarinet (answered by ’cello) has a descending- and-mounting \ntheme, in leisurely stride, varied (top of page 15) by another which the\n clarinet has first, in a minor key. The treatment is free, the dialogue\n moving serene and eloquent, unhurried yet unflagging. On page 16 the \nclarinet has a version of the first theme in which its main melody notes\n are emphasised, the smaller, more quickly-moving notes being omitted. \n(The ’cello’s plucked notes here are not quite of the sweetest; and \nthroughout its highest notes have a trace of whine). The leading theme \nis heard again on page 17, bottom line, upon the ’cello. \u003cbr\u003e\u003cbr\u003eThird Movement.\u003cbr\u003e\u003cbr\u003eAndantino\n grazioso {slowish, gracefully).—This is called “ scherzo ” on the \nlabel, but it is more like the older minuet. (Compare its feeling with \nthat of the Mozart B flat Quartet, noticed elsewhere.) It is slight, and\n scarcely of interest equal to that of the other movements. A point of \ninterest is the long sweep of the first tune—an extended melody. After \nthis has been repeated by the piano, a minor-key section ensues, \nfollowed by a partial repetition of the first portion of the movement. \nThen comes a new section, with the clarinet moving in sweeping \narpeggios. A return of the first theme (’cello) brings the movement to \nan end.\u003cbr\u003e\u003cbr\u003eFourth Movement.\u003cbr\u003e\u003cbr\u003eAllegro (quick).—The time is \ngiven as 2\/4 (6\/8)—two in a bar, but the beats sometimes divided into \ntwo parts, sometimes into three. This makes for that diversity of rhythm\n that Brahms was so fond of. The leaping tune that begins (in the \n’cello) comes very often, in some shape or other. So does the \nfive-semiquaver figure that the piano has in the second line. (Already \nwe have our alternation of beat-division, it will be noticed.) At the \nseventeenth bar comes a tune, the complement of the first—leading up (at\n the two bars of slower notes, bottom of page 31) to the second chief \ntheme, distinguished by its being partly two-in-a-bar and partly in \nthree. Its second half (bottom of page 32) is given by piano alone. \nAfter only eight bars of this, the first chief tune returns (piano), its\n complementary portion being delayed by a little development and by a \nkind of “false start” (bottom of page 34), The piano, as before, has \nthis portion to itself. Follows a repetition of the alternated \ntwo-and-three-beat section, in its two parts (second this time given to \nclarinet and ’cello), and a coda wherein some joyous arpeggios round off\n the movement.\u003cbr\u003e\u003cbr\u003eThe only fault I find in the playing is that the \n’cello is sometimes a thought too strong for the reed instrument (most \nbeautifully played); and that the piano tone, though pretty good \n(sometimes notably so) fails on occasion to give full sonority. If any \nare a little surprised to see Mr. Harty in the ranks of pianists, it may\n be recalled that before becoming known as a conductor he was one of the\n finest accompanists we had. His sensitive playing here is in the \nhighest degree effective, and the limitation spoken of, I am sure, is \npurely that of the piano, not of the player.\u003cbr\u003e\u003cbr\u003eK. K., The Gramophone, February 1925\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eTchaikovsky Piano Trio\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eTchaikovsky’s Piano Trio in A minor “To\n the Memory of a Great Artist” played by Arthur Catterall, W, H Squire \nand William Murdoch L.1942-47 (12in., £1 I9s., in an album). It is good \nthat this work has been recorded in its entirety. The Theme and \nVariations out of it, on one record, was among the precious early \nchamber music records of pre-electric days, but that sort of thing is \nnot good enough to-day: and therefore the same three artists have played\n the whole work on six records, very much to the credit of Columbia. The\n performance is good though it never breathes quite so deeply as was \nintended by the composer. The best playing is to be found in the \nvariations, which also are more in chamber music style than the first \nmovement, where a dramatic line is maintained not unlike that of the \nsymphonies. (It is queer that Tchaikovsky in his operas is lyric and in \nthe symphonies and for instance this trio is dramatic to a great extent.\n The operas, by the way, are not out of repertory to-day, as the analyst\n of the album will have it, Onegin and even Pique Dame being in steady \ndemand on the Continent.) Nevertheless it is an extremely enjoyable \nperformance which is sure to be welcomed by the many lovers of this fine\n work. There is no need for me to add anything in the way of analysis, \nsince this is well done in the album itself\u003cbr\u003e\u003cbr\u003eC. J., The Gramophone, July 1928\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":31975970253,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31975970381,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM101_82b21926-e366-46e8-8c5f-b8b7ba1deb53.jpg?v=1487682606"},{"product_id":"pasc476","title":"STOKOWSKI Acoustic, Volume 4 (1919-24) - PASC476","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003eJ. STRAUSS, DVOŘÁK, RIMSKY-KORSAKOV, SAINT-SAËNS, SIBELIUS, BRAHMS, SCHUBERT, MUSSORGSKY, R. STRAUSS, EICHHEIM, PUCCINI, HOFFSTETTER \u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eAcoustic studio recordings, 1919-1924\u003cbr\u003eTotal duration: 64:44 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eLeopold Stokowski, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: MusicWeb International \u0026amp; Fanfare578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe Blue Danube is truncated to four-and-half-minutes what remains is still very appealing and well recorded for the date, May 1919578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis release is the fourth and final \ninstallment of Pristine’s series devoted to acoustic recordings made by \nLeopold Stokowski and members of the Philadelphia Orchestra. In \nreviewing Volume 3 for 40:2, I expressed some doubts regarding the value\n of acoustic orchestral recordings, since this primitive recording \nprocess was not capable of recording a full orchestra and had to make do\n with a few members of the orchestra clustered around a recording horn. \nThose reservations were only partially assuaged by the earlier disc, \nalthough I had no doubt that Pristine’s remasterings were probably \nbetter in sound than earlier efforts to resuscitate these recordings. \nThat release did contain one item of great historical importance, Sergei\n Rachmaninoff’s 1924 recording of his own Concerto No. 2. As was the \ncase with Volume 3, the selections on this release vary in sound quality\n and in the value of the performances, but there is nothing that matches\n the Rachmaninoff in significance. As before, a notable feature of \nPristine’s restorations is freedom from the wow and flutter that one \nexpects in material of this vintage. Even Pristine’s skilled \nministrations, however, cannot change the fundamental character of these\n early recordings, and it should be immediately clear to the listener \nthat they are acoustics, not electrical recordings. Most of the works on\n the new release are substantially abbreviated in order to fit onto one \nor two 78-rpm sides. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe 1920 Dvořák recording gives us a little more than one-third of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLargo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n movement. Although dynamic and frequency range are predictably limited,\n the sound is smooth and pleasing, and as full as one could hope. \nInstrumental details are clear. Stokowski recorded the complete “New \nWorld” with the Philadelphia in 1925, 1927, and 1934, with the All \nAmerican Youth Orchestra in 1940, with “His” Symphony Orchestra in 1947,\n and finally with the New Philharmonia Orchestra in 1973. The 1920 \nexcerpt is similar to the 1934 recording in its choice of tempo and \nrelative steadiness of tempo, although there is more of an acceleration \nin the minor-key central section in the earlier performance. The 1927 \nrecording is both quicker and more elastic, while the 1940 and 1973 \nreadings are considerably slower—truly glacial, in fact. (I don’t have \nthe 1925 and 1947 recordings.) In Pristine’s restoration of the 1920 \nrecording, one can appreciate the beauty of the playing and Stokowski’s \nexpressive but unexaggerated shaping, only to be disappointed when the \nselection comes to an abrupt end. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe 1921 excerpt from the third movement of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eScheherazade\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (“The Young Prince and the Young Princess”) gives us a bit less than \nhalf the movement. As it opens, it sounds like the sensuous main theme \nis being played by a solo violin rather than the full section. \nOtherwise, the treatment is straightforward, with only hints of \nportamento. When he recorded the complete work with the Philadelphians \nin 1934, Stokowski’s approach in this movement was a bit more mannered, \nwith more extravagant expressive gestures and more pronounced \nportamento. The 1919 “Festival in Baghdad” provides only about a third \nof the movement, skipping the solo violin passages at the beginning and \ncoming to an end well before the shipwreck. The performance is again \nstraightforward and in this case comparatively uneventful. The \ncorresponding passages of the 1934 recording are more exciting, due to \nstronger dynamic stresses and a more strongly projected rhythm. The \nlimited dynamic range of the acoustic recording may be partially \nresponsible for this contrast. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe 1921 recording of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePoco allegretto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n from Brahms’s Third Symphony, although less drastically cut than some \nof the other selections, is not very rewarding. The sound bears little \nresemblance to a full orchestra, and the performance seems prosaic. The \ngain in realism in Stokowski’s 1928 Philadelphia recording of the \ncomplete work (as reissued by Biddulph) is striking, and aside from \nissues of completeness and sound, the 1928 version is a better \nperformance, with more expressive playing and more convincing shaping. \nThe pacing is a bit quicker in the later recording, with elasticity that\n is more pronounced but not excessive. The choppy 1921 solo horn is \noutclassed by its later counterpart. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWith a timing of 7:32, Salome’s “Dance \nof the Seven Veils,” also recorded in 1921, is much less truncated than \nmany of the other selections on the disc, although the opening flourish \nis cut. As is true elsewhere in this collection, the recorded sound \ncomes off best in more heavily scored passages, where the thinness of \nthe ensemble is less evident. Stokowski’s rendition here is more urgent \nand purposeful than sensuous. In his 1959 recording for Everest, with \nthe Stadium Symphony Orchestra (a pseudonym, I believe, of the New York \nPhilharmonic), he employs a more flexible and dramatic approach. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWe get about half of the “Bacchanale” from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSamson et Dalila \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e(recorded 1920) and a bit less than that of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFinlandia\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (recorded 1921), but the performances are urgent and exciting, and the \nsound offers a more convincing image of a full orchestra than in some of\n the other selections. Stokowski performs his own transcription of the \nSchubert’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMoment musicale\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n in F Minor (recorded 1922). The playing here seems rather slack \ncompared to his 1927 Philadelphia remake, which has greater tension, \nalthough the tempos are not much different. Schubert’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGerman Dances\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n D 783 (recorded 1922), was originally a solo piano work, but the \ntranscriber is not named. The complete work manages to fit 16 dances \ninto an 11-minute span (in Alfred Brendel’s 1973 recording on Philips). \nStokowski provides not quite five minutes, and the playing is once again\n surprisingly slack. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOne would expect Stokowski to excel in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBlue Danube\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (recorded 1919), but in the roughly half of the piece he gives us his \nrendition strikes me as mainly brisk and efficient, without much \nshaping, and does not really capture the joyousness of the music. \nPerhaps he was constrained by the cumbersome recording process, although\n as with all of these recordings there were multiple takes in an effort \nto get it right. The eccentricity for which Stokowski was sometimes \nknown makes its appearance in the Brahms \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHungarian Dance\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (recorded 1920), where the main tempo, which is supposed to be \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro molto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n is outlandishly slow. It doesn’t work. Although Brahms himself \norchestrated this piece, Stokowski performs his own transcription, \npresumably from the four-hand piano original. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eKhovanshchina\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n excerpt, labeled here as an Entr’acte, is actually the prelude to act \nIV, scene 2. As it is playing, the disgraced Prince Golitsyn is being \nhauled away to exile. Here, too, Stokowski’s tempo strikes me as too \nslow, although not to the same degree. At this rate, Golitsyn’s journey \nto Siberia will be a very lengthy one. In terms of sound quality, \nthough, this recording is one of the better ones on the disc. This \nselection was recorded in 1922; Stokowski rerecorded the piece with the \nPhiladelphians in 1927 at a virtually identical tempo. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe last three items on the disc, by \nHenry Eichheim, Puccini, and Roman Hoffstetter, have never before been \nreleased, and according to Pristine Stokowski’s 1923 effort is the only \nknown recording of Eichheim’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eChinese Rhapsody\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, which is part of a suite entitled \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOriental Impressions.\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Eichheim (1870–1942) was an American composer, conductor, and violinist\n who took an interest in the music of the Far East and included some \nelements of it in his compositions. This one sounds like it could be \nmusic for an early Hollywood film set in the Far East, and I don’t find \nit of much value. The recording appears to be incomplete, as it \nterminates abruptly. The 1924 excerpt from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMadama Butterfly\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n identified as “Act II: Prelude (Waiting Music),” is actually the \n“Humming Chorus” that ends act II, scene 1 (without, of course, the \nhumming). The Hoffstetter selection, also recorded in 1924, is a \nStokowski arrangement of the familiar \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante cantabile\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n from a string quartet once attributed to Joseph Haydn as his op. 3\/5. \nStokowski here maintains a firm and fairly brisk tempo, avoiding the \ndaintiness and saccharinity with which some musicians of this era \ntreated 18th-century music. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs is often the case with Pristine CD \nreleases, there are some issues with the accompanying printed matter. \nThere is a typo in “Festival at Baghdad” (the “l” in “Festival” is \nomitted). The insert states that previously unissued recordings are \nmarked with an asterisk, but no items are so marked. One must go to the \nPristine web site to discover that the Eichheim, Puccini, and \nHoffstetter pieces are first releases. While the insert for Volume 3 \nindicated the year when each item was recorded, for this release such \ninformation is available only from the web site. A common problem with \nPristine inserts is that the track numbers are very small and faint and \ndifficult for my elderly eyes to make out. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThere can be little doubt that Pristine\n has presented these ancient recordings in the best possible sound, and \nthey offer some listening pleasure, but it is equally clear that their \ninherent limitations in sonic accuracy cannot be completely overcome. \nThat fact, and the fact that most of the selections are heavily cut and \nsome do not show Stokowski at his best, probably limits the appeal of \nthis release to Stokowski completists and those with a strong interest \nin the history of recording. For those not completely committed but \nwishing to give it a try, I would recommend going for Volume 3, because \nof the truly historic Rachmaninoff performance.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDaniel Morrison\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 40:3 (Jan\/Feb 2017) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\nThe fourth and final volume documenting Stokowski’s acoustic legacy with\n the Philadelphia Orchestra delves back and forth between 1919 and 1924 \nand provides another raft of rare and stimulating music-making (reviews \nof \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2010\/Jan10\/Stokowski_pasc192.htm\"\u003eVolume 1\u003c\/a\u003e ~ \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2015\/Sep\/Stokowski_acoustic_v2_PASC441.htm\"\u003eVolume 2\u003c\/a\u003e ~ \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2016\/Sep\/Stokowski_acoustic_v3_PASC471.htm\"\u003eVolume 3\u003c\/a\u003e).\u003cbr\u003e \u003cbr\u003e\n Again, too, one mustn’t expect much by way of symphonic unity, if one \ncan put it thus. These are bleeding chunks, abridgements and the rare \nintact piece, all products of the recording horn in the days when one \nwas grateful for what one could get. So whilst the Blue Danube is \ntruncated to four-and-half-minutes what remains is still very appealing \nand well recorded for the date, May 1919. The Largo from the \u003cem\u003eNew World\u003c\/em\u003e\n serves to remind one that Stokowski recorded the whole work almost as \nsoon as electric recording appeared, in 1925 and – by one of those \nnow-familiar quirks (look at Albert Coates’ legacy, for instance, or \nHenry Wood’s) - he was to do so again in 1927. These two readings are \npreferable to the 1934 recording but the 1920 torso is revealing for the\n bass reinforcements, the sensitive portamenti and the rather abrupt \ncut-off.\u003cbr\u003e \u003cbr\u003e Thaddeus Rich was a long-serving Philadelphia \nconcertmaster, assuming the role in 1906 and relinquishing it two \ndecades later. Inveterate violin collectors may know he left behind a \nmeasly four solo 78rpm sides for Okeh, but one of them was of some \nFauré, so at least the A\u0026amp;R gurus at that small company showed some \ntaste. He takes the solo in one of the movements from \u003cem\u003eScheherazade.\u003c\/em\u003e\n Another eminent member of the orchestra was that elite player Marcel \nTabuteau whose oboe weaves its exotic and evocative spell in the \u003cem\u003eBacchanale\u003c\/em\u003e from \u003cem\u003eSamson and Dalila\u003c\/em\u003e. Whilst \u003cem\u003eFinlandia\u003c\/em\u003e was subject to the usual cuts it is notable for being the first American recording of the piece but with the \u003cem\u003eAllegretto\u003c\/em\u003e\n from Brahms’s Third Symphony, Stokowski went one better. This is the \nfirst recording of any movement from a Brahms Symphony: April 1921 was \nthe date. Later, as we know, Stokowski was to set down the first \nAmerican cycle of the complete Brahms symphonies.\u003cbr\u003e \u003cbr\u003e Recorded over a luxurious two sides Strauss’ \u003cem\u003eDance of the Seven Veils\u003c\/em\u003e\n offers plenty of opportunities for panache and colour. It’s known that \nthe Philadelphia’s complement in these sessions actually diminished over\n time, so by 1922 the Schubert German Dances was played by an orchestra \nlining up 7-4-3-3 with winds and including a saxophone and contrabassoon\n to get doubling or eking out that all important bass line. The \nperformance of the \u003cem\u003eEntr’acte\u003c\/em\u003e from \u003cem\u003eKhovanschina\u003c\/em\u003e \nactually features an audibly bigger band, and appropriately so, for this\n outstanding reading shows Stokowski’s Russophile antenna quivering with\n power.\u003cbr\u003e \u003cbr\u003e The final three items are all first releases. Both the \nPuccini and Hofstetter – then commonly attributed to Haydn – are very \nwelcome to the official discography but the standout piece is Henry \nEichheim’s \u003cem\u003eChinese Rhapsody\u003c\/em\u003e from his \u003cem\u003eOriental Impressions\u003c\/em\u003e.\n Eichheim was a violinist and had been in the Boston Symphony from \n1891-1912. The rich tapestry of the winds and the rather fearsome \npercussive outburst easily transcend the technology and are heard \nsplendidly in this restoration. Collectors will know that in the 1930s \nStoky recorded the same composer’s \u003cem\u003eBali\u003c\/em\u003e, which can be found in a fascinating \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2002\/Feb02\/Stokowski_PhiladelphiaRarities.htm\"\u003ePhiladelphia Rarities\u003c\/a\u003e disc on Cala.\u003cbr\u003e \u003cbr\u003e\n All good things must come to an end and that’s the case with this \nseries. It’s been well compiled and transferred and has provided \ninvaluable première recordings of rare material. Who could want for \nmore?\u003cbr\u003e \u003cbr\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJonathan Woolf\u003c\/b\u003e\u003cbr\u003eMusicWeb International\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC476.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFinal instalment completing all of Stokowski's extant Philadelphia Acoustic recordings\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"All\n good things must come to an end and that’s the case with this series. \nIt’s been well compiled and transferred and has provided invaluable \npremière recordings of rare material. Who could want for more?\" - \nMusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThis fourth and final volume completes our set of Stokowski's \ncomplete surviving acoustic recordings, and again I'm grateful to Edward\n Johnson, Mark Obert-Thorn and Ward Marston for their assistance in \nsourcing these often rare and, again here in three cases, previously \nunissued recordings. The use of new pitch stabilisation techniques, \nalong with careful re-equalisation and noise reduction, has once again \nmade great strides in bringing us closer to the sound of The \nPhiladelphia Orchestra at the time of its earliest recordings, and \ndespite the massive limitations of the acoustic horn recording process, \nthis is a delightful listen from start to finish.\u003c\/p\u003e\u003cp\u003eOne final bonus: Henry Eichheim's \u003cem\u003eChinese Rhapsody\u003c\/em\u003e, never previously issued in the 93 years since it was recorded, appears here to be a world première release.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eJohann STRAUSS II (1825-1899)\u003c\/b\u003e\u003cbr\u003e 1. On the Beautiful Blue Danube (An der schönen, blauen Donau, arr. Stokowski), Op. 314 [4:35]\u003cbr\u003e Recorded May 10, 1919\u003cbr\u003eVictor 74627, matrix: C-22825-4\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eAntonin DVOŘÁK (1841-1904)\u003c\/b\u003e\u003cbr\u003e 2. Symphony No. 9 in E minor, Op. 95 \"From the New World\" - 2nd mvt - largo [4:39]\u003cbr\u003e Recorded May 21, 1920\u003cbr\u003eVictor 74631, matrix: C-24128-4\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eNikolai RIMSKY-KORSAKOV (1844-1908)\u003c\/b\u003e\u003cbr\u003e 3. Scheherazade, Op. 35 - Young Prince and Young Princess [3:45]\u003cbr\u003e Recorded March 25, 1921\u003cbr\u003eVictor 74691, matrix: C-24629-10\u003cbr\u003e 4. Scheherazade, Op. 35 - Festival at Baghdad [4:14]\u003cbr\u003e Recorded May 9, 1919\u003cbr\u003eVictor 74593, matrix: Victor C-22810-4\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eCamille SAINT-SAËNS (1835-1921)\u003c\/b\u003e\u003cbr\u003e 5. Samson et Dalila, Op. 47: Act 3 - Bacchanale [4:16]\u003cbr\u003e Recorded December 6, 1920\u003cbr\u003eVictor 74671, matrix: C-24630-5\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eJean SIBELIUS (1865-1957) \u003c\/b\u003e\u003cbr\u003e 6. Finlandia, Op. 26 [3:52]\u003cbr\u003e Recorded April 18, 1921\u003cbr\u003e Victor 74698, matrix: C-24988-4\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eJohannes BRAHMS (1833-1897)\u003c\/b\u003e\u003cbr\u003e 7. Hungarian Dance No. 1 in G minor transc. Stokowski [3:37]\u003cbr\u003e Recorded May 21, 1920\u003cbr\u003eVictor 1113, matrix: B-24130-3\u003cbr\u003e 8. Symphony No. 3 in F, Op. 90, 3rd mvt. - Poco allegretto [4:16]\u003cbr\u003e Recorded April 18, 1921 \u003cbr\u003eVictor 74722, matrix: C-24125-8\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eRichard STRAUSS (1864-1949) \u003c\/b\u003e\u003cbr\u003e 9. Salome, Op. 54 - Dance of the Seven Veils [7:32]\u003cbr\u003e Recorded December 5, 1921\u003cbr\u003eVictor 74729, 74730, matrices: C-25788-3, C-25789-2\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eFranz SCHUBERT (1797-1828)\u003c\/b\u003e\u003cbr\u003e 10. Moment Musical No. 3 in F minor, D.780 transc. Stokowski [2:18]\u003cbr\u003e Recorded January 28, 1922\u003cbr\u003eVictor 66098, matrix: B-25941-6\u003cbr\u003e 11. German Dances, D.783 [4:42]\u003cbr\u003e Recorded December 4, 1922\u003cbr\u003eVictor 74814, matrix: C-27012-7\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eModest MUSSORGSKY (1839-1881)\u003c\/b\u003e\u003cbr\u003e 12. Khovanshchina - Entr'acte [3:54]\u003cbr\u003e Recorded December 12, 1922\u003cbr\u003eVictor 74803, matrix: C-27069-4\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eHENRY EICHHEIM (1870-1942)\u003c\/b\u003e\u003cbr\u003e *13. Oriental Impressions - 5. Chinese Rhapsody (arr. Stokowski) [5:49]\u003cbr\u003e Recorded May 1, 1923\u003cbr\u003eUnissued, Matrix Nos. B-27909-1\/B-27910-1\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eGiacomo PUCCINI (1858-1921)\u003c\/b\u003e\u003cbr\u003e *14. Madama Butterfly - Act II: Prelude (Waiting music) [3:02]\u003cbr\u003e Recorded 22 December, 1924\u003cbr\u003eUnissued, Matrix No. B-31398-1 or 2\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eRomanus HOFFSTETTER\u003c\/b\u003e (attrib. Haydn, arr. Stokowski)\u003cbr\u003e *15. Quartet in F, Op. 3, No. 5 2nd mvt. - Andante Cantabile    arr. Stokowski [3:03]\u003cbr\u003e Recorded December 31, 1924\u003cbr\u003eUnissued, Matrix No. B-31624-1 or 2\u003cbr\u003e\u003cbr\u003e Recorded at Camden Church Studio (Victor Building no 22), Camden NJ, USA \u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e*Previously unissued\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLeopold Stokowski, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC476.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC476.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":37143706765,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37143706829,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37143706893,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC476_283438c4-475d-4418-be44-24688697eea9.jpg?v=1494336908"},{"product_id":"pasc452","title":"WALTER Rarities: American Columbia Recordings (1941-55) - PASC452","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003eMOZART \u003c\/b\u003e Symphony No. 41, ‘Jupiter’\u003cb\u003e\u003cbr\u003eSCHUBERT \u003c\/b\u003e Symphony No. 5\u003cb\u003e\u003cbr\u003eSCHUBERT \u003c\/b\u003e Symphony No. 8, ‘Unfinished’\u003cbr\u003e\u003cb\u003eJ. STRAUSS II\u003c\/b\u003e Emperor Waltz\u003cb\u003e\u003cbr\u003eBRAHMS \u003c\/b\u003e Song of Destiny\u003cbr\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003e Symphony No. 8\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003eTotal duration: 2hr 18:46\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eColumbia Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBruno Walter,\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe best is saved for last here, in the form of an absolutely crackerjack performance of the Dvořák Eighth Symphony578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOnce again, doughty Pristine Audio \nbravely steps into the breach to fill in a gaping hole in the \ndiscography of famous performances that the holders of the original \nrecordings have failed to address. In this case, we are provided with \nsuperior transfers of wartime and post-war Columbias by Bruno Walter \nthat did not make it into either Sony’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBruno Walter Edition\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n or any of its other domestic issues of Walter recordings. Foreign \nreleases of these renditions have been spotty or non-existent; indeed, \ntwo items (the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCosì fan tutte \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture\n and the Schubert Fifth Symphony) make their debuts on CD here. Since \nWalter rerecorded all of these works except for the Mendelssohn \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMSND\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e Scherzo in stereo (the omission of that from the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBW Edition\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n being a strange oversight), reissuance of these recordings was \nevidently not seen by Sony as either a necessity or a priority. Also, \nwith one very significant exception, Walter made superior recordings of \nthe four symphonies included in this set, and so there has not been a \npent-up demand among collectors (apart from die-hard Walterians such as \nmyself) for their renewed availability either. Pristine Audio is \ntherefore all the more to be commended for its intrepid endeavors to \nrestore worthwhile materials to a limited audience. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAmong Mozart’s last six symphonies, the\n Symphony No. 41 is unique in Walter’s discography in two ways: Of the \nlast four, it is the only one of which he made four rather than three \nstudio recordings, and it is the only one of the six for which there is \nno surviving live performance for comparison. This 1945 recording, the \nsecond of the quartet, was dropped from Columbia’s catalog once Walter \nre-waxed the work with the New York Philharmonic in 1956; it did appear \non a long out-of-print CD on the defunct Lys label (LYS 338), along with\n the Mendelssohn \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMSND\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Scherzo likewise included in this set. It is also the briskest of the \nfour, being marginally faster than his 1938 account with the Vienna \nPhilharmonic, most notably in the finale. The 1956 version is slower by a\n good half-minute in each movement but the Minuet, and the 1960 stereo \nversion with the Columbia Symphony adds about another half-minute more \nto all four movements. Consequently, this earlier performance (which \nalso sounds as if it may have used a reduced string section), while \nhardly HIP influenced, is more in line with current tastes for leaner, \nmore lithe Mozart and is of not inconsiderable interest. I would still \nrank it behind Walter’s other efforts, however. The New York \nPhilharmonic in 1945 does not have the lovely tonal sheen of the (very \nwell recorded) Vienna Philharmonic, though it outpoints the Europeans in\n the fugal finale; the 1956 performance (my overall first choice) has \nfar better recorded sound and more stylishly crisp and powerful playing;\n while the 1960 studio account, if somewhat slow and beefy by today’s \nstandards, has a stupendous account of the finale that makes it a \nmust-have. This transfer is far superior to the previous Lys issue, \nhaving much greater body and warmth. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCosì fan tutte \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture\n was a filler side in the original 78-rpm issue of the “Jupiter”; it \nalso briefly appeared in an extremely rare three-disc 45-rpm set as a \nfiller to Walter’s 1950 recording of Beethoven’s Fifth Symphony. Again, \nthere are three other studio accounts—a 1924 Berlin acoustic, a 1954 \nremake with the New York Philharmonic, and a 1961 stereo version with \nthe Columbia Symphony—plus a live 1954 New York Philharmonic broadcast. \nLeaving aside the sonically outdated acoustic rendition and the (as \nalways) somewhat slower stereo account, the middle three recordings are \ninterpretively almost identical, with the 1954 studio version having the\n edge sonically. But, no matter which recording one chooses of either \nthe symphony or the overture, one is treated to Walter’s uniquely \nwinsome and humane way with Mozart, with its nonpareil combination of \nwarm lyricism, vigorous heft, and good humor. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs noted above, this is the first \nappearance on CD of this 1955 account of the Schubert Fifth, a work \nWalter recorded in stereo with the West Coast version of the Columbia \nSymphony in 1960, as distinct from this earlier East Coast ensemble \ncomprised mostly of a stripped-down New York Philharmonic. (There is \nalso a live 1940 broadcast with the NBC Symphony in dry, constricted \nStudio 8-H sound.) Walter’s Schubert was of a piece with his Mozart in \nits unapologetic, full-blooded Romanticism that never fell prey to \ndistensions of the melodic line or gauche ritardandos. The two studio \nversions are virtually identical in the first three movements, with the \nstereo version having the edge for its warmer, richer sound; however, \nthe finale of the monaural account is appreciatively faster (5:54 vs. \n6:21), whereas the later stereo version comes off as a bit sluggish. If \nbetween the two the stereo account still gets the nod overall, the \nrestoration of the earlier account is a valuable corrective and \nsupplement to that version that fully warrants its return to the active \ncatalog. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe evergreen\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Kaiserwaltz\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n of Johann Strauss, Jr., my absolute favorite of all his waltzes, was \napparently Walter’s favorite as well, for it is the only Strauss waltz \nof which he made three studio recordings (there are also hat tricks for \nthe Overtures to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDie Fledermaus\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Der Zigeunerbaron\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e),\n supplemented by a 1944 New York Philharmonic broadcast account. This \none-off effort from 1942 was previously issued on a Smithsonian \nCollection CD (RD 103-7 \/ A-24739). If Walter’s final studio version \nfrom 1956 again holds the sonic edge, this is arguably a superior \naccount interpretively, with all the Viennese lilt one could possibly \ndesire. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe second disc opens with Walter’s \n1947 recording of the Schubert “Unfinished.” Of the works featured in \nthis set, this has by far the most generous representation in Walter’s \ndiscography: three studio recordings, with the Vienna Philharmonic \n(1936), the Philadelphia Orchestra (1947), and the New York Philharmonic\n (1960), plus live broadcasts with the New York Philharmonic (1942, \n1945, and 1960, the first two circulating privately and the third issued\n on Wing WCD27 in Japan and long out of print), the Bavarian State \nOrchestra (1950, released by Orfeo), the Chicago Symphony (1958, issued \nby that orchestra in a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCollector’s Choice\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n edition), and the Vienna Philharmonic (1960, on Music \u0026amp; Arts). The \n1947 rendition released here by Pristine—along with an account of \nBeethoven’s “Pastorale,” one of only two commercial recordings Walter \nmade with the “fabulous Philadelphians”—was issued by Sony, but only in \nFrance (5081742), in a pairing with the Dvořák Eighth Symphony also \nincluded here. As usual, the late performances, postdating Walter’s \nMarch 1957 heart attack, are significantly broader in their tempos—e.g.,\n 10:21 \/ 12:07 vs. 10:57 \/ 13:53 for the two movements of the 1947 and \n1960 studio accounts, respectively. For a balance between interpretive \nand sonic factors, the three most desirable accounts are these two later\n studio versions and the unusually taut (for Walter) 1950 Munich \nperformance. As all three are excellent, and captured in good sound for \ntheir respective dates, a choice between them is largely subjective: The\n Munich account offers incisive drama and the New York one beautifully \nsustained autumnal songfulness, with that from Philadelphia occupying a \nhappy medium. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs noted above, the Mendelssohn Scherzo\n is unique to Walter’s studio discography, though a 1948 New York \nPhilharmonic broadcast account has also been released on LP and CD by \nthe NYP and Music \u0026amp; Arts. It was originally a filler side to the \n78-rpm release of the fabled recording of the Mendelssohn Violin \nConcerto that Walter made with Nathan Milstein, which enjoyed the signal\n honor of being the first recording ever to be issued on LP. (In 1998 \nSony issued a special promotional reproduction of that LP on CD: SSK \n5770.) The performance is a delight, and as with the aforementioned \n“Jupiter” Symphony once again this Pristine transfer is far superior to \nits CD predecessor from Lys. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Brahms \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSong of Destiny\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e—sung in English, hence that title rather than the original German \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSchicksalslied\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e—is\n a particular Walter rarity for an unusual reason. Originally recorded \non December 15, 1941—with pointed symbolic reference to the attack on \nPearl Harbor eight days before—it was issued on LP (numbered SL 156) as a\n filler to Walter’s first studio recording of the Beethoven Ninth, on \nthe flip side of the disc containing the finale. However, Walter was \ndissatisfied with the finale of the Beethoven, and seized an opportunity\n to rerecord just that movement in 1953. Columbia then offered to \nexchange the new version of the Ninth (numbered SL 186), paired instead \nwith Walter’s 1942 recording of Beethoven’s Eighth Symphony, for free to\n anyone who sent back in his or her copy of the old version, and so \nsignificantly fewer copies of the Brahms have survived as a result. In \nhis NYP discography, fellow \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n critic James H. North notes a previous ultra-scarce Japanese Sony issue\n (SRCR-8733), of which I can find no other trace, so presumably that is \nlong out of print and this is the only available issue. The \nEnglish-language text is available on Pristine’s web site. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe best is saved for last here, in the\n form of an absolutely crackerjack performance of the Dvořák Eighth \nSymphony. While Walter would go on to record a warmly genial, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003egemütlich\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n account in stereo in 1961, many listeners may be surprised at this 1947\n performance, which positively bristles with the kind of restless, \nfebrile energy and energetic thrust associated instead with Toscanini. \nMarried as that is to Walter’s trademark lyricism of the singing line \nand robust, full-bodied orchestral palette, the result is a singularly \nstriking and compelling rendition that stays long in the memory. (There \nis also a superlative broadcast account with the New York Philharmonic \ndating from February 1948, two months after this studio recording. \nInterpretively it is perhaps my favorite of Walter’s three renditions; \nit is preserved from acetate discs in tolerable sound, but sonically it \ndoes not compete with either of the two studio versions.) \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs with the Schubert “Unfinished” \ndiscmate that was also on the French Sony issue, restoration engineer \nMark Obert-Thorn has left in more LP surface noise in the Dvořák than \ndid Sony. A choice between the two transfers is a matter of taste; while\n I welcome the quieter background and less prominent treble of the Sony \nrelease, I also find on repeated hearings that Obert-Thorn’s approach \nhas left in more instrumental color, which gives the Schubert in \nparticular a greater sense of drama and animation. Much the same careful\n and intelligent approach has been taken to the other transfers \nthroughout, always to the benefit of the performances. Pristine’s cover \nart for this issue is exceptionally striking and attractive. While the \nprimary appeal of this set may indeed be to committed Walterians, all \ncollectors of great historic performances owe it to themselves to \nacquire this set for the Dvořák in particular; highly recommended.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames A. Altena  \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan class=\"TIMESb\"\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003eThis article originally appeared in Issue 39:4 (Mar\/Apr 2016) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC452.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eA double-CD collection of some of Bruno Walter's rarest recordings\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"All\n collectors of great historic performances owe it to themselves to \nacquire this set for the Dvořák in particular; highly recommended\" - \nFanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cspan\u003eThis collection brings together eight recordings by Bruno \nWalter which have seen scant, if any, availability in the CD era.  All \nstem from studio sessions for US Columbia, and range from among his \nearliest recordings in America (Brahms) to one of his last of the \npre-stereo era (Schubert 5th).  Some have seen limited CD reissue by \nSony in France and Japan (Schubert 8th, Dvořák) or Japan only (Brahms), \nwhile the remainder have never had an “official” CD release.  Two of the\n recordings (Schubert 5th, \u003cem\u003eCosì\u003c\/em\u003e Overture) have apparently never even had an \u003cem\u003eun\u003c\/em\u003eofficial CD release on independent labels.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe reasons for the unavailability of these recordings generally involve remakes in improved sound.  The Mozart \u003cem\u003eJupiter\u003c\/em\u003e and \u003cem\u003eCosì\u003c\/em\u003e\n Overture, both stemming from the same 1945 session, are a case in \npoint.  This was the second of four commercial recordings Walter would \nmake of the symphony; he had previously recorded it with the Vienna \nPhilharmonic, and would go on to remake it with the New York \nPhilharmonic on tape in 1956, and with the (West Coast) Columbia \nSymphony Orchestra in stereo in 1960.  While the latter two have stayed \nintermittently in the catalog, this earlier version was forgotten.  This\n recording of the \u003cem\u003eCosì\u003c\/em\u003e Overture was Walter’s first, but he \nwould go on to remake it in mono with the East Coast CoSO in 1954, then \nwith their West Coast counterpart in stereo in 1960.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eSimilarly, the mono 1955 Schubert Fifth with the East Coast \nCoSO, another first Walter recording, was replaced five years later with\n a stereo West Coast version.  The Strauss waltz was one more item which\n Walter had previously recorded in Vienna.  He would go on to remake it \nyet again with the New York CoSO in 1956, and that has been the one \nreissued ever since.\u003c\/span\u003e\u003cspan\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe Schubert \u003cem\u003eUnfinished\u003c\/em\u003e is one of only two commercial recordings Walter made with the Philadelphia Orchestra.  (The other, Beethoven’s \u003cem\u003ePastoral\u003c\/em\u003e,\n is available on Pristine PASC 067.)  Another item originally recorded \nin Vienna, it was remade with the New York Philharmonic in stereo in \n1958.  The Mendelssohn Scherzo is the only item on the program which \nonly exists in a single recording.  It was made at the same session as \nthe Mendelssohn Violin Concerto with Milstein and Walter as the set’s \nfiller side.  \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe Brahms \u003cem\u003eSchicksalslied\u003c\/em\u003e, sung here in English, was \nrecorded at Walter’s third session with the Philharmonic held during the\n first year he recorded with them, 1941.  Its dour message (“[W]e have \nbeen fated\/To find no rest here on earth\/They vanish, they falter\/Our \nsuffering brothers”) may have been programmed by Walter in sympathy with\n the innocent victims caught up in the wars raging in Europe and Asia; \nbut it found a new resonance at this session, held eight days after the \nattack on Pearl Harbor.  Walter would remake the work in stereo in Los \nAngeles in 1961.\u003c\/span\u003e\u003cspan\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe final recording was Walter’s first of two versions of the \nDvořák Eighth.  He would go on to remake it in stereo with the West \nCoast CoSO in 1961, but would not eclipse the tremendous vitality of \nthis electrifying version.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan\u003eMOZART:  Symphony No. 41 in C major, K.551 ‘Jupiter’\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e           \u003cbr\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cbr\u003eRecorded 23 January 1945 in Carnegie Hall, New York\u003cbr\u003eMatrix nos.:  XCO-34181\/7\u003cbr\u003eFirst issued on Columbia 12070\/3-D in album M-565\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eMOZART:  Così fan tutte, K.588 – Overture\u003c\/b\u003e \u003cbr\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003eRecorded 23 January 1945 in Carnegie Hall, New York\u003cbr\u003eMatrix nos.:  XCO-34188\u003cbr\u003eFirst issued on Columbia 12073-D in album M-565\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan\u003e\u003cb\u003eSCHUBERT:  Symphony No. 5 in B flat, D.485\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003eColumbia Symphony Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eRecorded 5, 6 \u0026amp; 8 October 1955 in the Columbia 30th Street Studios, New York\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eFirst issued on Columbia ML-5156\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eJ. STRAUSS II:  Emperor Waltz, Op. 437\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan\u003eRecorded 18 April 1942 in Liederkranz Hall, New York\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMatrix nos.:  XCO-32733\/4\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eFirst issued on Columbia 11854-D\u003c\/span\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e\u003cspan\u003eSCHUBERT:  Symphony No. 8 in B minor, D.759 ‘Unfinished’\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eRecorded 2 March 1947 in the Academy of Music, Philadelphia\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMatrix nos.:  XCO-37428\/33\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eFirst issued on Columbia 12639\/41-D in album MM-699\u003c\/span\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eMENDELSSOHN:  \u003cem\u003eA Midsummer Night’s Dream\u003c\/em\u003e, Op. 61 – Scherzo\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cbr\u003eRecorded 16 May 1945 in Carnegie Hall, New York\u003cbr\u003eMatrix no.:  XCO-34746\u003cbr\u003e First issued on Columbia 12145-D in album M-577\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan\u003e\u003cb\u003eBRAHMS:  Song of Destiny (\u003cem\u003eSchicksalslied\u003c\/em\u003e), Op. 54\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003eWestminster Choir\u003c\/span\u003e\u003c\/b\u003e (John Finley Williamson, director)\n\u003cp\u003e\u003cb\u003e\u003cspan\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eRecorded 15 December 1941 in Liederkranz Hall, New York\u003cbr\u003eMatrix nos.:  XCO-32178\/90\u003cbr\u003eFirst issued on Columbia 11801\/2-D in album X-223\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eDVOŘÁK:  Symphony No. 8 in G major, Op. 88\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cbr\u003e Recorded 28 November 1947 in Carnegie Hall, New York\u003cbr\u003eMatrix nos.:  XCO-39465\/72\u003cbr\u003eFirst issued on Columbia 12883\/6-D in album M-770\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eBruno Walter 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(+MP3)","offer_id":37144707469,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC321.jpg?v=1658307628"},{"product_id":"pasc331","title":"HARTY conducts Dvořák, Brahms, Liszt, Smetana (1927-33) - PASC331","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eSMETANA \u003c\/b\u003eThe Bartered Bride - Overture\u003cbr\u003e\u003cb\u003eLISZT\u003c\/b\u003e Hungarian Rhapsody No. 12\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eHungarian Dance No. 5\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eHungarian Dance No. 6\u003cbr\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003eCarnival Overture\u003cbr\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003eSymphony No. 9\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eDVOŘÁK\u003c\/strong\u003e Slavonic Dance No. 1\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan style=\"font-size: 10px;\"\u003eStudio recordings, 1927-33\u003c\/span\u003e\u003cspan style=\"font-size: 10px;\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 65:36\u003c\/span\u003e\u003cspan style=\"font-size: 10px;\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eLondon Philharmonic Orchestra\u003cbr\u003eHallé Orchestra\u003cbr\u003eMyra Hess, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eSir Hamilton Harty, \u003c\/b\u003epiano, conductor \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fTransfers that astound with their life and color578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHamilton Harty (Sir Hamilton to you Brits) lived \nfrom 1879 to 1941. He led Manchester’s Hallé Orchestra from 1920 to 1933\n and the London Symphony from 1932 to 1935, after which his conducting \ncareer was cut short by illness. As a composer, he was best known for \nhis arrangements of Handel’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eWater Music\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRoyal Fireworks Music\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n which became the standard versions played throughout the world, until \nthe period-practices movement consigned them to oblivion. Harty’s 1933 \nrecording of the Overture to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Bartered Bride\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e supports his reputation as a spirited interpreter, and the London Philharmonic plays impeccably. It is so fine, so absolutely \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eright\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, that, sight unseen, I would have sworn it to be by a Czech orchestra and\/or conductor.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe 12th \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHungarian Rhapsody\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n may be the most dreadful piece of so-called classical music I’ve ever \nbeen forced to listen to. Perversely, it receives the finest sound here;\n although the distortion of the strings is typical for its time, \nwoodwinds and harp solos belie its 1931 date by half a century, with \nvirtually no surface noise. The performances of the Brahms dances strike\n me as nothing special and have some mushy attacks. Harty’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCarnival Overture\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is unusually well-balanced, capturing its high spirits, as most \nperformances do, but also relaxing appropriately for its tender moments,\n as few do. A lack of ambient reverberation enables us to hear a few \ndetails obscured by most modern recordings.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003ePaul Ingram waxed ecstatic over these Dvořák performances (on the Hallé Orchestra’s own label) in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n 28:4, saying he would rather hear this 1927 “New World” than any later \nrecording. I won’t go that far, but I understand his point: This is a \nwell-played performance that avoids most extraneous effects, including \nsome tempo changes that have become consensus. This leaves a first \nimpression that the performance is too fast (33:41, with no exposition \nrepeat), but on a second hearing, Harty seems eminently right. Having \nset the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro molto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n for the exposition, Dvořák wrote no tempo indications (according to my \n1937 score). Harty errs only in speeding up for the final 29 measures of\n the coda. Unfortunately, the opening chord of the Largo is not \ntogether, the only serious blemish in the performance. A few phrases in \nthe finale sound awkward; perhaps consensus has since smoothed over an \nodd moment or two—the matter is too subtle for me to decipher in the \nscore. Again Harty races through the coda; this time it sounds like a \ncheap trick, something one might do in a live performance but not on a \nrecording. Such a distinction was probably not yet recognized by most \nperformers at that time.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe bonus track has Myra Hess and Harty playing the original piano four-hands version of a Dvořák \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSlavonic Dance.\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e They are obviously enjoying themselves, as do we.  \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 has produced transfers that \nastound with their life and color. There is considerable distortion in \nthe strings, but that was common to such early electrical recordings. \nSince Obert-Thorn goes to great lengths to find the best possible \nsources, these are probably the best we will ever get. In his (always \nfascinating) notes, he claims that the symphony, after many pitch \ncorrections and “volume adjustments to correct the frequent gain-riding \nof the original engineers,” has the best recorded sound of anything \nhere. It certainly captures the fine hall ambience. As producer of his \nCD, he has cleverly put the recordings (except the bonus track) in \nreverse chronological order—from 1933 to 1927—so that our ears may \nadjust gradually to the ancient recordings, preparing us for this disc’s\n \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epièce de résistance\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, the “New World.” \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames H. North  \u003c\/span\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 36:1 (Sept\/Oct 2012) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC331.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003e\"The work and the interpreters are as happily met as one could wish\" The Gramophone\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eSir Hamilton Harty demonstrates why his Hallé was \"the soundest orchestra in the country\" in 1928!\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThe sources for the present transfers were primarily \nAmerican Columbia pressings from the late 1920s through the late 1930s a\n “Royal Blue” shellac copy for the Smetana; a combination of a blue \n“microphone” label pressing and a laminated Australian Columbia for the \nLiszt; “Full-Range” era copies of the Brahms pieces and the Dvorak \nSlavonic Dance; a “Viva-Tonal” pressing of the Carnival Overture; and a \nc.1935 “large-label post-Viva” set for the New World Symphony, with two \nsides taken from a “Viva” copy.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe New World posed particular restoration problems in \nthat it required not only significant pitch corrections throughout each \nside, but also volume level adjustments to counteract the frequent \ngain-riding of the original engineers. Once fixed, however, this early \nset rather surprisingly revealed the best recorded sound of any of the \ndiscs, with a level of detail and breadth of frequency range associated \nwith recordings made a decade later.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSMETANA \u003c\/strong\u003eThe Bartered Bride - Overture \u003cspan class=\"bodymidarial\"\u003e[\u003ca href=\"http:\/\/en.wikipedia.org\/wiki\/The_Bartered_Bride\" target=\"_blank\"\u003enotes\u003c\/a\u003e \/ \u003ca href=\"http:\/\/imslp.org\/wiki\/The_Bartered_Bride,_JB_1:100_%28Smetana,_Bedrich%29\" target=\"_blank\"\u003escore\u003c\/a\u003e]\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 17 November 1933 in EMI Abbey Road Studio No. 1\u003cbr\u003eMatrix nos. CAX 6995-2 and 6996-1 • First issued on Columbia DX 562\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003eLondon Philharmonic Orchestra\u003c\/strong\u003e \u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eSir Hamilton Harty \u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003econductor\u003c\/span\u003e \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eLISZT \u003c\/strong\u003e(arr. Doppler) Hungarian Rhapsody No. 12 \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e[\u003ca href=\"http:\/\/en.wikipedia.org\/wiki\/Hungarian_Rhapsodies\" target=\"_blank\"\u003enotes\u003c\/a\u003e \/ \u003ca href=\"http:\/\/imslp.org\/wiki\/Hungarian_Rhapsodies,_S.244_%28Liszt,_Franz%29\" target=\"_blank\"\u003escore\u003c\/a\u003e]\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 10 April 1931 in the Central Hall, Westminster\u003cbr\u003eMatrix nos. WAX 6060-3 and 6061-2 • First issued on Columbia LX 132\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBRAHMS\u003c\/strong\u003e (arr. Parlow) Hungarian Dance No. 5\u003c\/span\u003e \u003cspan class=\"bodymidarial\"\u003e[\u003ca href=\"http:\/\/en.wikipedia.org\/wiki\/Hungarian_Dances_%28Brahms%29\" target=\"_blank\"\u003enotes\u003c\/a\u003e \/ \u003ca href=\"http:\/\/imslp.org\/wiki\/21_Hungarian_Dances_%28Orchestra%29,_WoO_1_%28Brahms,_Johannes%29\" target=\"_blank\"\u003escore\u003c\/a\u003e]\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBRAHMS\u003c\/strong\u003e (arr. Parlow) Hungarian Dance No. 6 \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e[\u003ca href=\"http:\/\/en.wikipedia.org\/wiki\/Hungarian_Dances_%28Brahms%29\" target=\"_blank\"\u003enotes\u003c\/a\u003e \/ \u003ca href=\"http:\/\/imslp.org\/wiki\/21_Hungarian_Dances_%28Orchestra%29,_WoO_1_%28Brahms,_Johannes%29\" target=\"_blank\"\u003escore\u003c\/a\u003e]\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 11 February 1929 in Free Trade Hall, Manchester \u003cbr\u003eMatrix nos. WA 8539-2 and 8540-1 • First issued on Columbia 5466\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eDVOŘÁK\u003c\/strong\u003e Carnival Overture \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e[\u003ca href=\"http:\/\/en.wikipedia.org\/wiki\/Carnival_Overture_%28Dvo%C5%99%C3%A1k%29\" target=\"_blank\"\u003enotes\u003c\/a\u003e \/ \u003ca href=\"http:\/\/imslp.org\/wiki\/Carnival_Overture,_Op.92_%28Dvo%C5%99%C3%A1k,_Anton%C3%ADn%29\" target=\"_blank\"\u003escore\u003c\/a\u003e]\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 30 April 1927 in Free Trade Hall, Manchester \u003cbr\u003eMatrix nos. WRAX 2556-1 and 2557-2 • First issued on Columbia L 2036\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eDVOŘÁK\u003c\/strong\u003e Symphony No. 9 in E minor, Op. 95 (“From the New World”)\u003c\/span\u003e \u003cspan class=\"bodymidarial\"\u003e[\u003ca href=\"http:\/\/en.wikipedia.org\/wiki\/Symphony_No._9_%28Dvor%C3%A1k%29\" target=\"_blank\"\u003enotes\u003c\/a\u003e \/ \u003ca href=\"http:\/\/imslp.org\/wiki\/Symphony_No.9,_Op.95_%28Dvor%C3%A1k,_Anton%C3%ADn%29\" target=\"_blank\"\u003escore\u003c\/a\u003e]\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 2 May 1927 in Free Trade Hall, Manchester \u003cbr\u003eMatrix nos WRAX 2671-2, 2672-1, 2673-1, 2674-1, 2675-2, 2676-1, 2677-2, 2678-2, 2679-2 and 2680-2 \u003cbr\u003eFirst issued on Columbia 9770 through 9774\u003c\/span\u003e\u003cspan class=\"body\"\u003e \u003cbr\u003e\u003cstrong\u003e\u003cbr\u003eHallé Orchestra\u003cbr\u003eSir Hamilton Harty \u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003econductor\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eDVOŘÁK\u003c\/strong\u003e Slavonic Dance No. 1 in C major, Op. 46, No. 1\u003c\/span\u003e \u003cspan class=\"bodymidarial\"\u003e[\u003ca href=\"http:\/\/en.wikipedia.org\/wiki\/Slavonic_Dances\" target=\"_blank\"\u003enotes\u003c\/a\u003e \/ \u003ca href=\"http:\/\/imslp.org\/wiki\/Slavonic_Dances,_Op.46_%28Dvor%C3%A1k,_Anton%C3%ADn_Leopold%29\" target=\"_blank\"\u003escore\u003c\/a\u003e]\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 17 October 1933 in EMI Abbey Road Studio No. 3 \u003cbr\u003eMatrix no.: CA 14066-1 • First issued on Columbia DB 1235\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003eMyra Hess \u0026amp; Sir Hamilton Harty \u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003epiano duet\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eCover artwork based on a photograph of Sir Hamilton Harty, c.1920\u003cbr\u003e\u003cbr\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source material\u003cbr\u003e\u003cbr\u003eTotal duration: 65:36\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\/PASC331.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC331.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eDVOŘÁK New World Symphony\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eThe Dvorak is thus divided: first movement on one record ; second on three sides ; Scherzo on sides 6 and 7 ; Finale on last three sides. This re-recording is in the same hands as the original performance. The Hallé, in the opinion of most critics, is at present the soundest orchestra in the country, and though it would be possible to add even to it certain graces of style, there is no better example of cohesion, of the rich fruits of careful, consistent and long-continued work under a wise and balanced conductor, to be heard amongst us. The strings sometimes are a little rough (that is not a prominent quality in this performance, though), and the woodwind has not quite the polish of our best London men—Murchie, Goossens, H. Draper, for instance. The wind chorus is not easily to be beaten for well bound, round, sweet playing. I find the solo bits in the Largo somewhat loud. This movement might conceivably be made still more winsome. The strings never bite too much, and don't become shrill. There is room for plenty of personal preference as to how this work should be interpreted. For myself, I should have liked just a shade more of spaciousness for the tunes; but that isn't a grumble. Indeed, I have none to make. The work and the interpreters are as happily met as, knowing both intimately, one could wish.\u003cbr\u003e\u003cbr\u003eK. K., The Gramophone, May 1928\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":13469262348349,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":13469262381117,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC331_72ef0907-fad1-494e-8f48-7b1c016f9a15.jpg?v=1543333076"},{"product_id":"pasc331-cd","title":"HARTY conducts Dvořák, Brahms, Liszt, Smetana (1927-33) - PASC331 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478143117,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478143181,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC331_e909078a-d47e-4549-95fd-1ffbc1acb1f9.jpg?v=1658307950"},{"product_id":"pasc383","title":"OSSY RENARDY The Complete Columbia Recordings (1938\/39) - PASC383","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eVARIOUS COMPOSERS\u003c\/b\u003e Short pieces\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e \u003c\/strong\u003e\u003cspan style=\"font-size: 10px;\"\u003eStudio recordings, 1938-39\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 73:53 \u003c\/span\u003e\u003cbr\u003e\u003cb\u003eOssy Renardy \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eWalter Robert \u003c\/b\u003eand \u003cb\u003eLeo Taubman \u003c\/b\u003epiano\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fA flexible, insightful stylist as well as an impressive technician. Urgently recommended. 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003ePristine’s insert provides the dates (all in 1938 \nand 1939, when the self-taught Ossy Renardy—Oskar Reiss—hadn’t even \nreached the age of 20), the matrix numbers, and Columbia’s original \ncatalog numbers for the pieces in its collection. Mark Obert-Thorn made \nthe transfers, from “first edition ‘Full-Range’ label Columbia shellacs”\n and, in the case of Dvořák’s Sonatina and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSlavonic Dance\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n from a “pre-war ‘Gold’ label set;” the 78s appear here in their \nentirety, according to the notes, for the first time since their \noriginal release.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eCorelli’s Sonata in E Minor represents Renardy’s \nrecording debut; he deploys from its very first notes a tone of \ncommanding vibrancy. That tone and his crisp trills in the first \nmovement, his architectural sense in the second, his natural lyricism in\n the third, and his stately elegance in the Finale raise the performance\n above the level of mannered romanticism in pre-historical readings of \nthe works. Renardy’s reading of Giovanni Benedetto Platti’s Sonata in E \nMinor (possibly a flute sonata, arranged by Philipp Jarnach), with \nWalter Robert as pianist—as he would be in the rest of the Columbia \nrecordings—displays a similar warmth and refinement in the slow \nmovement. In Carl Flesch’s arrangement of a movement from Handel’s Te \nDeum, Renardy rises above the ponderous, glowing on the G-string and \nplaintive in the upper registers.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eRenardy takes a brisk tempo in the opening \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro molto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e of Schubert’s Sonata No. 1, but that doesn’t prevent him from oozing \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGemütlichkeit\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n from every one of the music’s pores. He fashions a similarly \nsympathetic reading of the slow movement without kneading the middle \npassages’ tempos; and his flashing quicksilver in the running rapid \nnotes makes the finale seem very brilliant indeed, even though he \ndoesn’t deploy electrifyingly crisp off-the-string bowings elsewhere in \nthe movement. Renardy recorded only the last two movements of the \ncomposer’s Sonata No. 3—arguably a more developed work—bringing to the \nFinale an irresistible lyricism. The violinist’s recording of Paganini’s\n Sonata, op. 3\/6—sparkling in its second movement, with bright \npassagework in the upper registers featuring brilliant, even, left-hand \npizzicatos—has appeared in Sony’s release on CD of early recordings by \nRenardy and Michael Rabin.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe recorded sound in Dvořák’s Sonatina seems even\n more immediate than the generally quiet though vibrant transfers that \nprecede it in the program. Renardy seems to have had an affinity for the\n composer, in a redolent yet commanding reading of the first movement, a\n throbbing, nostalgic (yet not mannered) one of the second, a starchy \none of the third, and a strutting one of the Finale’s march-like \nsections. The rhythmic vitality of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSlavonic Dance\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e’s double-stopped sections creates an impression of breath-bating virtuosity. Willy Burmester’s confection, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eViennese Serenade\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n seems charming—a description few have given his works in recent \nyears—and Renardy makes it easy to understand why they once enjoyed such\n a wave of popularity. Franz von Vecsey’s Caprices have also been \nlargely forgotten (Ruggiero Ricci and others have resurrected \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe Vent\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e), but it sounds positively effervescent in Renardy’s reading.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003ePablo Sarasate’s ethnic compositions also appeared\n in Sony’s collection (with transfers by Andreas Meyer); but for \nPristine, Mark Obert-Thorn has produced a more noise-free, \nsqueaky-clean, and three-dimensional representation of Renardy’s \ninstrument. In \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdios, montañas mias\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, Renardy smolders more darkly than does David Oistrakh (Oistrakh’s reading makes the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ezortzico\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n seem more like a bonbon by Fritz Kreisler). It’s probably not necessary\n to repeat, once again, the difference in the way in which Sarasate \nhimself played his works and the way others conceived them; but I will, \nanyway. So \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRomanza Andaluza\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n in this slightly cut-down version, comes across as fiery and passionate\n rather than cool and elegant. And while the opening sections of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eJota Navarra\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e could hardly be more coruscating, the middle section grows languid (though appealingly so) in Renardy’s reading. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eZapateado\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n may not radiate so many lumens in Renardy’s version than it does in \nSarasate’s own or Jascha Heifetz’s, but it’s engaging in its own way.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eNot everyone may share the opinion of a violinist I\n know who reveres Renardy’s performance of Brahms’s Violin Concerto as \narguably the greatest of all time, but the collective weight of these \nearly recordings reveals him to be a flexible, insightful stylist as \nwell as an impressive technician. Urgently recommended. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eRobert Maxham  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 37:2 (Nov\/Dec 2013) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC383.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eOssy Renardy's complete Columbia recordings together for the first time\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eFabulous Obert-Thorn transfers of the young Renardy's pre-war gems\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eOssy Renardy was born Oskar Reiss in Vienna on April 26, 1920. Except for some early training given by a neighbor, he was self-taught. He first played publicly at the age of eleven, and two years later toured Italy with a troupe of variety entertainers. His manager suggested that he adopt “Ossi Renardi” as a more Italian-sounding name, which the violinist later amended when he returned to Vienna. Victor de Sabata heard him perform in Milan in 1934, and invited him to play as soloist with the Vienna Philharmonic, which began his international career.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eHe made his American début at a Town Hall recital in New York in January, 1938. Two months later, a few weeks before his 18th birthday, he entered the Columbia studios to make his first recordings. (The Corelli Sonata from that session appears to have been his only Columbia disc to have also been released outside the USA.) In the fall, he returned to the studio with a new accompanist for a series of recordings which would conclude the following March.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eIn October of 1939, he caused a sensation at Carnegie Hall by performing all of the Paganini Caprices in the version with piano accompaniment arranged by Ferdinand David. Early in the following year he went over to the Victor label, where he made the première recording of the complete set of Caprices as well as several short encores (all reissued on Biddulph LAB 061-62, nla).\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAmerica’s entry into World War II saw Renardy take up American citizenship and join the Army, where he played 490 USO concerts for servicemen. Restarting his career after the war, he signed with Decca in the UK in 1948, where his first recording (and his only one with orchestra) was the Brahms Concerto with Munch and the Concertgebouw (Pristine Audio PASC 013). He followed this up over the next two years with recordings of two unaccompanied Bach Sonatas and a selection of encores, most of which have been reissued on Testament SBT 1292.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eReturning to America, he made his final recordings for Remington (the Franck and Ravel Sonatas and a new version of the Paganini Caprices, again with piano). He died in an automobile accident while leaving a recital in New Mexico on December 3, 1953.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe sources used for the transfers were all first edition “Full-Range” label Columbia shellacs except for the Dvořák items, which came from a pre-war “Gold” label set. While some sides have appeared on previous LP and CD issues, this is the first time the entire series has been reissued since its first appearance on 78s.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eCORELLI\u003c\/strong\u003e Sonata No. 8 in E minor, Op. 5, No. 8*\u003c\/span\u003e \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Recorded 4 March 1938\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Matrix nos. XCO 22498-1 and 22499-1\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e First issued on Columbia 69152-D\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003ePLATTI\u003c\/strong\u003e (arr. Jarnach) Sonata No. 1 in E minor \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Recorded 7 November 1938 and 3 January 1939\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Matrix nos. XCO 23651-3 and 23652-2\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e First issued on Columbia 69655-D\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eHANDEL\u003c\/strong\u003e (arr. Flesch) Prayer (from \u003cem\u003eTe Deum\u003c\/em\u003e) \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Recorded 6 October 1938\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Matrix no. CO 23554-1\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e First issued on Columbia 17119-D\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSCHUBERT\u003c\/strong\u003e Sonatina No. 1 in D major, D384, Op. 137, No. 1\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Recorded 7 November 1938\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Matrix nos. XCO 23551-1, 23552-2 and 23553-1\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e First issued on Columbia 69403-D and 69404-D in album X-116\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSCHUBERT\u003c\/strong\u003e Sonatina No. 3 in G minor, D408, Op. 137, No. 3\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Recorded 3 January 1939\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Matrix no. XCO 23505-2\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e First issued on Columbia 69404-D in album X-116\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003ePAGANINI\u003c\/strong\u003e Sonata No. 12 in E minor, Op. 3, No. 6\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Recorded 6 October 1938\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Matrix no. CO 23556-1\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e First issued on Columbia 17132-D\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eDVOŘÁK\u003c\/strong\u003e Sonatina in G minor, Op. 100\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Recorded 13 January 1939\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Matrix nos. XCO 23968-2, 23969-2 and 23970-1\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e First issued on Columbia 69543-D and 69544-D in album X-129\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eDVOŘÁK\u003c\/strong\u003e (arr. Press) Slavonic Dance in G minor, Op. 46, No. 8\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Recorded 29 March 1939\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Matrix no. WXCO 24285-1\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e First issued on Columbia 69544-D in album X-129\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBURMESTER\u003c\/strong\u003e Serenade (\u003cem\u003e“Viennese Serenade”\u003c\/em\u003e)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Recorded 6 October 1938\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Matrix no. CO 23557-1\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e First issued on Columbia 17132-D\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eVECSEY\u003c\/strong\u003e Caprice No. 2 (\u003cem\u003e“Cascade”\u003c\/em\u003e)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Recorded 6 October 1938\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Matrix no. CO 23555-1\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e First issued on Columbia 17119-D\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSARASATE\u003c\/strong\u003e Adios, montañas mias, Op. 37\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Recorded 29 March 1939\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Matrix no. WXCO 24284-2\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e First issued on Columbia 69622-D in album X-134\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSARASATE\u003c\/strong\u003e Danzas Españolas (Nos 3, 4, 6**)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Recorded 3 January and **29 March 1939\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Matrix nos. XCO 23595-3, 23596-3 and WXCO 24286-1\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e First issued on Columbia 69621-D and 69622-D in album X-134\u003c\/span\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003eOssy Renardy\u003c\/strong\u003e violin\u003cbr\u003e \u003cstrong\u003eWalter Robert\u003c\/strong\u003e and \u003cstrong\u003e*Leo Taubman\u003c\/strong\u003e piano\u003c\/p\u003e\n\u003cp class=\"bodymidarial\"\u003eAll recordings made in the Columbia Studios, New York City\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003e Cover artwork based on a photograph of Ossy Renardy\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eSpecial thanks\u003c\/strong\u003e to Nathan Brown, David Hermann, Charles Niss and Jon Samuels\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 73:53 \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\/PASC383.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC383.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":2855151304730,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps mono MP3","offer_id":2855151337498,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC383_4021528d-7092-4d93-a625-6189cb96172b.jpg?v=1510334937"},{"product_id":"pasc383-cd","title":"OSSY RENARDY The Complete Columbia Recordings (1938\/39) - PASC383  - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478178381,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478178445,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC383.jpg?v=1658309305"},{"product_id":"pasc398","title":"PIATIGORSKY plays Walton and Dvorák Cello Concertos (1957\/60) - PASC398","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eWALTON \u003c\/b\u003eCello Concerto\u003c\/span\u003e\u003cbr\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eDVORAK \u003c\/b\u003eCello Concerto in B minor, Op. 104\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded in stereo, 1957 \u0026amp; 1960\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 72:08\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eGregor Piatigorsky, \u003c\/b\u003ecello\u003cb\u003e\u003cbr\u003eBoston Symphony Orchestra\u003cbr\u003eCharles Munch, \u003c\/b\u003econductor\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe Walton is capable of thriving with several different approaches and, needless to say, it does with Piatigorsky and Munch578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHow nice: What may be my two favorite cello \nconcertos, though not necessarily my favorite performances of them, on \none very good-sounding CD. I wonder how many of our readers have nearly \ntwice as many recordings of the Walton Concerto as they do of the \nDvořák, which is the case with me. Gregor Piatigorsky commissioned the \npiece and gave the world premiere in Boston, with Charles Munch \nconducting, in 1957. Shortly thereafter, they recorded it for RCA; the \nLP coupling was Bloch’s\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Schelomo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n When it was transferred to CD, it was coupled with the Dvořák Concerto.\n Piatigorsky’s grandson, himself a cellist, told me that, when they \ndigitalized the recording, for some reason RCA used an outtake of one of\n the two last movement cadenzas that had a mistake in it. I assume that \nAndrew Rose used the LP to make this fine CD. The first movement begins \nwith a long, meandering theme that returns throughout the movement \nsometimes echoing themes from the orchestra. Walton stirs things up into\n an agreeable stew. Like his earlier Viola and Violin concertos, this \none has a flashy, tricky Scherzo framed by outer movements that, at \nleast, start at moderate-to-slow tempos. For contrast, Walton offers a \nslower theme that evokes Kurt Weill’s “Speak Low.” The last movement is a\n theme and variations (Walton calls them “improvisations”), two of which\n take the form of solo cadenzas. It’s a striking touch. Then, as in his \nprevious two string concertos, Walton ties things up with a reminiscence\n of the opening theme.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn preparation for this review, I auditioned nine \nrecordings: Műller-Schott\/Previn, Ma\/Previn, Cohen\/Litton, \nStarker\/Slatkin, Lloyd Webber\/Marriner, Wallfisch\/Thomson, Hugh\/Daniel, \nFournier\/Walton, and (Jamie) Walton\/Briger. Actually, I could live with \nany of them, from the expansive Hugh\/Daniel and Cohen\/Litton to the \nrestrained Lloyd Webber\/Marriner to the austere Starker\/Slatkin to the \nhard-driving Fournier\/Walton. Like almost any good piece, the Walton is \ncapable of thriving with several different approaches and, needless to \nsay, it does with Piatigorsky and Munch. The cellist’s big hands easily \nencompass the fingerboard, his bowing arm is true, and he handles all \nthe solo trickery that Walton throws at him with dispatch. Munch \nprovides an aggressive accompaniment which supports his soloist quite \nnicely. Although Piatigorsky believed in the piece, he was dissatisfied \nwith the subdued ending and wanted something more decisive. Walton \neventually accommodated him, but the cellist died before he could \nperform it. Basically, the change involves the insertion of a brief \nlouder passage for the orchestra before the Concerto fades out quietly. \nIt’s really not much of a change but, for the curious, Jamie Walton \n(presumably no relation) was enterprising enough to record it. On his \nCD, you can also program the piece to conclude with the original ending.\n Given that I like all the performances, I suppose couplings would be \ndecisive if I didn’t want multiple recordings.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMost \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n subscribers, I would imagine, already have at least one recording of \nthe Dvořák Concerto. He actually wrote a much earlier one, but the \nB-Minor Concerto is so dominant that it’s simply referred to as \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethe\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Dvořák Cello Concerto. I suppose many people know that one of the \nstimuli that brought the piece about was Dvořák’s attendance at the \nworld premiere of the Cello Concerto No. 2 by his colleague at the \nNational Conservatory in New York, Victor Herbert. Brahms was so taken \nby Dvořák’s piece that he reputedly said that, if he had known one could\n write such a good cello concerto, he might have written one himself. I \nrealize that our reactions to performances are largely subjective. \nObjectively, I can hear that Piatigorsky is the master of his instrument\n and that Munch and the Boston Symphony provide a strong, spirited \naccompaniment. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSub\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ejectively,\n the cellist’s performance strikes me as jaded, as if he’s played the \npiece so much that he’s almost on automatic pilot. I’m sure he wasn’t, \nbut I was unmoved by what I heard and I suspect that, while the piece \nobviously engaged his formidable abilities, it failed to engage his \nsympathies. I may be wrong, but there it is. Given the number of \nrecordings of this Concerto that are available, I wouldn’t even dare to \nrecommend one but I think this one, for all its obvious virtues, resides\n somewhere in the middle of the pack. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 37:5 (May\/June 2014) of Fanfare Magazine\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC398.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eWalton's Cello Concerto - the world première: \u003c\/span\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003e\"Piatigorsky is almost beyond praise\" \u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan class=\"bodymid\"\u003e\u003cem\u003e \u003cspan style=\"font-size: 18px;\"\u003eGregor Piatigorsky's cello sounds superb in these new XR remasters of Boston classics\u003c\/span\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003ePiatigorsky's recording of Willam Walton's Concerto for Cello and Orchestra, which the cellist had commissioned and given the work's first performance of just days before this recording was made, also with the Boston Symphony Orchestra under Munch was criticised at the time for its recording balance - the Gramophone's reviewer noting that: \"Piatigorsky is throughout made to sound as close to us as he would be to the conductor in the concert-hall, and the result is a completely unnatural balance between soloist and orchestra.\" I am inclined both to agree and disagree with this diagnosis - the balance between soloist and orchestra is good, in my opinion, yet Piatigorsky does sound curiously exposed in the original. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003eThis, I believe, is partly a result of the tonal balance of the recording cutting some of the lower-end warmth of the cello, leaving it a little disembodied, thin and stark. It's also a rather dry recording, thus exacerbating this problem - like the human voice, the cello responds well to complementary acoustic resonances in the performance space, and here they were lacking, leaving the instrument sounding rather disconnected. These are both shortcomings I've tackled in this XR remaster, and I think most listeners will agree that a most delicious sound is the result - lively, crisp and well-balanced. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003eThe Dvorák, although a more successful recording to begin with, saw similar criticisms upon its release, and here we find similar improvements in top end clarity and lower-mid warmth - especially in the solo cello - as well as overall balance perception. \u003cbr\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" align=\"center\"\u003e\u003cspan class=\"bodymid\"\u003e\u003cem\u003e\u003cspan class=\"bodymid\"\u003e\u003cem\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003e\u003cstrong\u003eWALTON Cello Concerto\u003c\/strong\u003e \u003c\/strong\u003e\u003cbr\u003eRecorded 28 January 1957, Symphony Hall, Boston\u003cbr\u003eProducer: Richard Mohr, Engineer: Lewis Layton\u003cbr\u003eFirst issued on in the UK as Columbia RB16027\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e\u003cstrong\u003eDVORAK Cello Concerto in B minor, Op. 104\u003c\/strong\u003e \u003c\/strong\u003e\u003cbr\u003eRecorded 22 February 1960, Symphony Hall, Boston\u003cbr\u003eProducer: Max Wilcox, Engineer: John Crawford\u003cbr\u003eFirst issued on in the UK as Columbia SB2114\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cstrong\u003eGregor Piatigorsky, \u003c\/strong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003ec\u003cstrong\u003eello\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003eBoston Symphony Orchestra\u003cbr\u003eCharles Munch, \u003c\/strong\u003e\u003c\/strong\u003econductor\u003cstrong\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eProducer and Audio Restoration Engineer: Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Piatigorsky\u003cbr\u003e\u003cbr\u003eTotal duration: 72:08\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC398.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC398.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e1. \"First of all I must say how glad I am that Walton’s ’Cello \nConcerto is at last available on records in this country. I don’t think \nthat it is an entirely successful piece: in the first and second \nmovements he manages to give a convincingly fresh treatment to material \nthat has fascinated him ever since the Viola Concerto of 1928-9, but l \nam more than ever sure that the third movement is broken-backed; it is \nin the form of variations-plus-coda, but the two longish passages for \nthe solo ’cello do not keep the argument going, and there is no \ninevitability about the return of the main theme from the first \nmovement, only a feeling that Walton could not think of anything better.\n Nevertheless it is an accessible work by a distinguished composer, and \nthe British public should not have had to wait so long for a recording \nof it that has been available for some time in America.\u003cbr\u003e\u003cbr\u003eUnfortunately\n I have to modify this welcome straightaway with a complaint about the \nrecording—a complaint that I am getting as tired of making as I am sure \nyou are of reading. Piatigorsky is throughout made to sound as close to \nus as he would be to the conductor in the concert-hall, and the result \nis a completely unnatural balance between soloist and orchestra. It is \nnot that we don’t want to hear the details of Piatigorsky’s magnificent \nplaying; they are well worth listening to, and I am sure that \nprofessional ’cellists will be torn between envy and admiration at the \nmasterly way he deals with the technical difficulties Walton has \nprovided for him. But neither this concerto nor Schelomo on the other \nside is a mere display piece. To over-emphasise the soloist’s \ncontribution in this way ruins the continuity of the musical argument, \nand I am driven to the conclusion that whoever agreed to this \nmicrophone-balance had no real understanding of the music.\u003cbr\u003e\u003cbr\u003eAgainst\n these mechanical faults (and one or two others, such as obvious \ntape-joins and changes of level) must be set the quality of the \nperformance, and as I have already suggested, Piatigorsky is almost \nbeyond praise. It was he who commissioned this concerto in the first \nplace, and he gives the impression of loving every note of it. The \norchestral playing is also technically as good as one would expect, and \nif there is a certain lack of sensuous warmth about it this may well be \nthe fault of the recording. Schelomo demands the very greatest intensity\n from the strings at climaxes, and that is certainly what we get here. \nAll in all, then, this is a record that is well worth having for the \nsake of the music and the performance, but one that could have been much\n more pleasing to listen to.\"\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodymid\"\u003e\u003cem\u003e\u003cem\u003e\u003cstrong\u003eJ.N., The Gramophone\u003c\/strong\u003e\u003cbr\u003eSeptember 1959\u003cbr\u003e\u003c\/em\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e2. \"My second Boston disc features the distinguished Russian \ncellist Gregor Piatigorsky as soloist in a first recording of a work \nwritten for, and dedicated to, him—Walton’s Cello Concerto. It was \nrecorded on January 28th, 1957, three days after the first performance, \nand has all the freshness of inspiration that characterizes premiere \nrecordings. Both Munch and Piatigorsky seem tuned to Walton's \nbitter-sweet lyricism and the Boston strings in particular play most \nbeautifully, especially in the third movement, an ‘improvisational’ set \nof variations (which last as long as the first two movements put \ntogether) with a haunting epilogue. The sound is remarkably good and \nmuch better than on the LP.\u003cbr\u003e\u003cbr\u003eThe coupled Dvorak Concerto, which \nestablishes a very close rapport indeed between conductor and soloist, \nis less well balanced. Here, the microphones are rather too close to the\n cello, revealing that the soloist’s intonation is not always quite \nimmaculate. That said, the whole performance has an introspective poetic\n feeling, of music being born on the wing as it is played, which is not \nto imply any lack of ardour. The orchestral sound is vivid and, again, \nthe remastering is impressive.\"\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"bodymid\"\u003e\u003cem\u003e\u003cem\u003e\u003cstrong\u003eI.M., Gramophone\u003c\/strong\u003e\u003cbr\u003eApril 1993\u003c\/em\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":34279453389,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34279453517,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34279453645,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC398.jpg?v=1489768531"},{"product_id":"pasc398-cd","title":"PIATIGORSKY plays Walton and Dvorák Cello Concertos (1957\/60) - PASC398 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478185101,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478185165,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC398_c1087dbc-6618-43a5-ad73-cee0cc011a91.jpg?v=1658309635"},{"product_id":"pasc238","title":"BEECHAM in Seattle, Volume 2: Dvořák and Mendelssohn (1943) - PASC238","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eDVORAK \u003c\/b\u003eCello Concerto\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMENDELSSOHN \u003c\/b\u003eSymphony No. 3 \"Scottish\"\u003c\/span\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded 1943\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 77:21 \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eMischel Cherniavsky, \u003c\/b\u003ecello\u003cb\u003e\u003cbr\u003eSeattle Symphony\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eSir Thomas Beecham\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fFascinating documents of performances the likes of which you simply don’t hear anymore578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis, the second CD in Pristine’s series of live \nrecordings from Sir Thomas Beecham’s stint as music director of the \nSeattle Symphony, is arguably the more valuable; its contents consist of\n two major works, neither one of which Beecham recorded in the studio. \nReaders are referred to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n 34:1, where I described the circumstances under which these recordings \nwere made, and the heroic measures Pristine’s Andrew Rose has taken in \nrestoring them to some semblance of listenability.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eDvořák was one of the composers whose work Beecham\n championed; his studio recordings, however, include none of the most \npopular compositions, but rather three items—the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSlavonic Rhapsody \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eNo. 3, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Golden Spinning Wheel\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n and the Symphonic Variations—that were virtually unknown at the time. \nThe first two of these were premiere recordings. (He also recorded two \nof the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLegends\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e \nfrom Dvořák’s op. 59 in 1935.) A live 1959 version of the Eighth \nSymphony was issued by HMV, and is currently available on BBC Legends \n4154.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eDespite his reputation for eccentricity, and even \nfor artistic intransigence, Beecham was also known as an accommodating \naccompanist. So, the idiosyncrasies in this performance of the Cello \nConcerto must rest mostly at the feet of the soloist. Mischel \nCherniavsky was a Ukrainian-born cellist, a member of a prominent piano \ntrio along with his two brothers from 1901 through 1934, and a citizen \nof Canada, although he lived there only briefly. His brother Jan, \nhowever, the trio’s pianist, settled in Vancouver, which may explain \nMischel’s appearance in nearby Seattle. In any event, Cherniavsky’s \ntempos are highly irregular, with many gear shifts and rubatos. In \ncontrast to Beecham’s vigorous opening \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003etutti\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n the cello entrance in the first movement is quite deliberate, and the \nbig second tune is taken much more slowly. Tempos are similarly elastic \nin the finale, where the soloist doesn’t always concern himself with \nstaying in sync with the orchestra! All told, at more than 42 minutes, \nit’s a very expansive reading of the concerto; Piatigorsky’s \nmore-or-less contemporary studio version with Ormandy totals about \n36:30. The 42 minutes, incidentally, do not include a highly unfortunate\n gap: the closing \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003etutti\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n of the first movement, which the recordist (using acetate discs) didn’t\n get. Otherwise, Cherniavsky does a reasonably creditable job with the \ndemanding solo part, although he certainly doesn’t belong to the ranks \nof top-flight soloists.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eBeecham’s devotion to Mendelssohn’s music is well \ndocumented, but he never committed the “Scottish” Symphony to disc. His \nreading of this piece, at least on that October day in 1943, is \nenergetic—including some of the shouts for which live Beecham \nperformances are legendary—and no-nonsense. The first-movement Allegro \nis brisk; a typical Beecham moment is the phrasing in the cellos leading\n into the recapitulation. The tempo of the scherzo is uncompromising, \nand the Adagio third movement never dawdles. Even the grand coda to the \nsymphony is unsentimental, and moves energetically to the end. This \nrecording unfortunately has three gaps, one leading into the \nfirst-movement coda, a bigger gap in the scherzo, and another at the \nopening of the finale.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eFinally, it must be said that the wartime Seattle \nSymphony was a far cry from the orchestras Beecham founded in England \nand conducted in most of his recordings: the London Philharmonic (from \n1932 to 1940 and for a brief period in 1944–45) and the Royal \nPhilharmonic (from 1946 to 1959, the year of his last recordings at age \n80). In particular, the solo wind writing in the Dvořák exposes some \nserious weaknesses that Beecham would not have tolerated under normal \ncircumstances.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs with the first volume, these recordings sound \nunbelievably good considering their age and the source (a cassette dub \nof a second-generation open-reel dub of the original acetates, which \nthemselves were probably taken down from an AM broadcast). Still, \nallowances need to be made, especially for those gaps. If these sonic \ndrawbacks don’t scare you away, you’ll find these to be fascinating \ndocuments of performances the likes of which you simply don’t hear \nanymore. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eRichard A. Kaplan  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 35:2 (Nov\/Dec 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC238.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eBeecham in Seattle - the unheard live recordings, continued!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003e\"I was informed there was an emergency, so I emerged...\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eWe are lucky to have any recordings whatsoever of Beecham in Seattle - union disputes precluded any commerical recordings during Beecham's time with the orchestra. To the best of our knowledge there remain three CDs-worth of live material, captured at the start of the 1943 season and preserved first on acetate discs (since melted down), then open-reel tape (since lost), backed up onto more open reel tape (now almost unplayable) and casssette tape. Thus the humble cassette proves the best remaining source of these historic recordings, and it is from excellent transfers of these, supplied by a collector who wishes to remain anonymous, that I have worked.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eSince our first volume was issued, and the recording credited to a local radio station, further information has come to light which suggests that it was Beecham himself who commissioned the recordings in order to silence his critics locally. This may go some way to explaining the lack of continuity in the present volume, where non-overlapped side changes have resulted in a number of short gaps. My guess is that these were planned for between-movement intervals, but on more than one occasion here the recording time ran out before the movement had ended.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThat said, the overall recording quality, post-XR remastering, is astonishing in both works, specially given the provenance of these recordings, with clarity, frequency and dynamic ranges, and up-front vitality that any commercial producer in 1943 would have been more than proud of..\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e    \u003cb\u003eDVORAK \u003c\/b\u003eCello Concerto in B minor, Op. 104, B. 191\u003cbr\u003e   \u003cb\u003e Mischel Cherniavsky, \u003c\/b\u003ecello\u003cbr\u003e    Evening concert, October 18th, 1943\u003cbr\u003e    Music Hall Theatre, Seattle\u003cbr\u003e\u003cbr\u003e    \u003cb\u003eMENDELSSOHN \u003c\/b\u003eSymphony No. 3 \"Scottish\" in A Minor, op. 56\u003cbr\u003e    Evening concert, October 11th, 1943\u003cbr\u003e    Music Hall Theatre, Seattle\u003cbr\u003e\u003cbr\u003e    Played by \u003cb\u003eSeattle Symphony\u003c\/b\u003e\u003cbr\u003e    conductor \u003cb\u003eSir Thomas Beecham\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e    Transcribed from tape copies of Beecham's own original acetates\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, August 2010\u003cbr\u003eCover artwork based on a photograph of Sir Thomas Beecham\u003cbr\u003e\u003cbr\u003eTotal duration: 77:21 \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover 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Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":34499981837,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34499981965,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34499982093,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34499982221,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC238.jpg?v=1490094484"},{"product_id":"pasc238-cd","title":"BEECHAM in Seattle, Volume 2: Dvořák and Mendelssohn (1943) - PASC238 - 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PASC246","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eDouble Concerto\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBOCCHERINI \u003c\/b\u003eCello Sonata No. 4\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eDVORAK \u003c\/b\u003eCello Concerto\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"bodymidarial\" style=\"font-size: 10px;\"\u003eRecorded Barcelona 1929 and Prague 1937\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 75:27 \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePablo Casals, \u003c\/b\u003ecello\u003cb\u003e\u003cbr\u003eJacques Thibaud, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eBlas Net, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003ePablo Casals Orchestra, Alfred Cortot\u003cbr\u003eCzech Philharmonic Orchestra, Geroge Szell \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fUrgently recommended mainly for the Dvořák578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003ePristine Audio, the love child of audio engineer and restorer \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epar excellence\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Bob [\u003ci\u003esic\u003c\/i\u003e] Rose, is a label dedicated to reclaiming recordings from various \nsources and, through his proprietary “XR” remastering process, \nrevitalizing them to as “pristine” a state as possible. Sometimes, as it\n turns out, the realm of the possible falls short of the perfect, and \nsuch is the case here with these Casals recordings that have long made \nthe rounds in various issues and transfers on a number of different \nlabels.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Dvořák concerto as presented here is, for \nexample, not entirely of a piece. Rose explains in his detailed notes \nthat the source for this famous 1937 Casals-Szell team-up was a vinyl \ntranscription on a white-label test pressing that appeared to be in mint\n condition. Deciding to subject it to his “XR” process, Rose was \nimpressed by the new life it brought to the recording. But the finished \nproduct we have on this disc includes “a couple of short sections from \nalternative sources” that Rose felt compelled to drop in where “top-end \nquality was less than excellent.” He fails to tell us what those \n“alternative sources” are, though I suspect they’re other pressings of \nthe same performance, since I’m not aware of another Dvořák concerto \nfrom Casals besides this one with Szell.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Brahms “Double” dates back even further to the\n 1929 recording Casals made in Barcelona with violinist Jacques Thibaud \nand Alfred Cortot conducting Casals’ own orchestra. For this “XR” \nremastering, Rose relied on Pristine Audio’s collection of 78s, stating \nthat “the XR process not only opened out upper frequencies and harmonics\n beyond those normally heard, it also unleashed an unusually rich \nacoustic from the recording venue which had been somewhat squashed \nbefore.”  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Boccherini sonata, probably the best known and\n most often recorded of the composer’s sonatas for cello and keyboard, \nis also taken from vintage 1929 78s, which again according to Rose, \nrevealed “much clarity, warmth, and a lovely reverberant acoustic to \ncomplement the instruments,” after undergoing the “XR” treatment.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWith due respect, and without meaning in any way \nto impugn or disparage Rose’s process or his accomplishments, I have to \nsay that there is only so much one can do to resuscitate the Brahms and \nBoccherini. I’m actually not quite old enough to have experienced the 78\n rpm era. By the time I began collecting records in the late 1950s, the \n33-1\/3 rpm LP had already been around for well over a decade. I’m \nguessing that by 1929 most, if not all, recordings were being made using\n the newer electrical, as opposed to the older acoustic, methods. Still,\n commendable as Rose’s efforts are, there is a constricted boxed-in and \ncovered, blanketed, woolly sound to both of these recordings that makes \nit more difficult to appreciate some of the subtleties in Casals’ \nplaying, as well as Thibaud’s in the Brahms.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Dvořák, in contrast, except for some frequency\n loss at the top and bottom, as well as some dynamic compression, sounds\n remarkably close to a modern recording. No music critic who wishes to \nbe taken seriously would deny Pablo Casals’ role as the preeminent \ncellist and perhaps \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethe\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n seminal force in the cello world during the first half of the 20th \ncentury. And this recording of the Dvořák is proof of why. It’s simply \nincredible. Szell and Casals take the first-movement Allegro quite \nfast—13:33, compared to what became a slower normal of around 15 minutes\n in 1962 with Starker’s and Doráti’s Mercury recording (15: 08), a \ntiming that persisted into the next generation of cellists with Yo-Yo \nMa’s and Masur’s 1995 Sony recording (15: 04). More recently, the tempo \nhas slowed still further with Gautier Capuçon’s and Paavo Järvi’s 2008 \nVirgin Classics recording (16:20).  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eBut it’s not just Casals’ upbeat tempo; his \ntechnique is of virtuosic authority and command, and his tone, even on \nthis recording, emerges full-bodied and refulgent. Nor is there much in \nthe way of the kind of rhapsodic romanticizing one hears in the \ncellist’s Bach suites where there was no one to ride herd on him. I \nsuspect in this case that Szell, not one to indulge loitering in his \nsoloists, had much to do with moving things along. The result is a \nperformance of enormous thrust and power that, frankly, lends Dvořák’s \npopular score a much more dramatic slant than it has taken on in more \nrecent soporific readings. Casals lunges at the passage in octaves near \nthe end of the movement with a devil-may-care abandon, and the devil \nvery nearly gets his due, but the cellist manages to sail through it \nunscathed.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eEven the lovely, unhurried lyricism of the Adagio \nis not drawn out. Compare Casals\/Szell at 10:32 to Starker\/Doráti at \n11:11, Ma\/Masur at 12:34, and the almost catatonic Capuçon\/Järvi at \n12:50. Casals and Szell rout all but one of the others, too, in the \nfinale, romping through it at 11:55. Here Starker and Doráti are \nactually faster by eight seconds at 11:47, but Ma and Masur take 12:50, \nand Capuçon and Järvi bring up the rear, limping in lame-legged at \n13:18.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI’m not suggesting that there aren’t other \nversions of the Dvořák concerto worthy of consideration, but Casals and \nSzell are obligatory for anyone who loves the work and is serious about \nthe cello. While this recording, as mentioned, has long been available \nin a number of pressings on various labels—EMI, Dutton \nLaboratories\/Vocalion, Pearl, and Opus Kura—I believe Bob Rose has \nworked his special magic through his “XR” process on this Pristine Audio\n remastering. Urgently recommended mainly for the Dvořák, though \nlisteners willing to make allowances for the less than ideal sound will \nalso find much to appreciate in the Brahms and Boccherini. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJerry Dubins  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:6 (July\/Aug 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC246.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eClassic cello recordings from one of the all-time greats\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eCasals sounds incredibly fresh in these new XR-remastered transfers\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThe major concerto recordings of Pablo Casals, in particular that of the Dvorák \u003cem\u003eCello Concerto\u003c\/em\u003e of 1937, have been staples of the classical catalogue ever since their original releases. At the time of writing there are several issues available in different transfers by different labels, and it is surely fair, therefore, to ask why the world needs yet another transfer.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe truth of the matter is that this release came out of an instance of pure curiosity on my part. I had received, in amongst a major collection of LP records, a vinyl transcription of the Dvorák on a white-label test pressing that appeared to have been barely, if ever, played. I confess I have no idea whether this transfer was released, and if so, when - it was simply to serve as a quick and easy means of subjecting the recording to an XR remastering test - I certainly was not expecting the results of this to merit issue.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eHowever, the LP transfer turned out to be much better than I had expected, and the XR remastering brought such new life to it that I decided to persevere with it, needing only to drop in a couple of short sections from alternative sources where top-end quality was less than excellent. Sitting close by was another test pressing, this time the Boccherini \u003cem\u003eCello Concerto No 9\u003c\/em\u003e with Casals conducting and Maurice Gendron playing. Investigations suggested that this was the first time Boccherini's original - rather than Grützmacher's bastardised version - had been recorded, and that it dated from 1958 but appeared since to have disappeared from the catalogue. I quickly got to work on this stereo recording with the intention of partnering it with the Dvorák, only to discover at the last minute that the erudite and well-respected author of the notes from which I'd taken the recording date was out by a matter of two years, and that the recording itself would remain in copyright until 2012.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eTurning - in need of some other recording to add to this release - to the Pristine Audio collection of 78s, I dug out the older recording of Brahm's \u003cem\u003eDouble Concerto\u003c\/em\u003e. As it dates from 1929 my hopes were less high than for the Dvorák, but despite some noisier sides I was extremely impressed with how these came out. The XR process not only opened out upper frequencies and harmonics beyond those normally heard, it also unleashed an unusually rich acoustic from the recording venue which had been somewhat squashed before.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe \u003cem\u003eDouble Concerto \u003c\/em\u003erecording contains clues as to why the XR process can be so successful in reviving older cello recordings - whereas the cello's harmonics are generally quite well represented in the limited frequency range of 1929 recording equipment, there are points where Thibaud's highest harmonics have a tendency to distort and thus produce a less pleasant sound. That said, it's still a remarkably clear and balanced recording for its day, and now far clearer and cleaner than ever before.\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003eFinally, as a result of recent diligent cataloguing work of the darker recesses of our collection by our archivist, I discovered the Boccherini disc tucked away in a large album of mixed 78s and in very good condition. As it was recorded in Barcelona shortly after the Brahms I decided to add it to the concerto recordings as a kind of musical stepping stone between the larger works. Again the remastering process brought out much clarity, warmth and a lovely reverberant acoustic to complement the instruments.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Double Concerto for Violin and Cello, Op. 102\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e Jacques Thibaud, \u003c\/b\u003eviolin\u003cbr\u003e \u003cb\u003ePablo Casals Orchestra\u003c\/b\u003e \u003cb\u003e\u003cbr\u003e \u003c\/b\u003econductor\u003cb\u003e Alfred Cortot\u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded in Barcelona, 10-11 May, 1929. First issued as HMV DB1311014, matrices CJ2156-63 \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e\u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBOCCHERINI\u003c\/b\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodybigblue\"\u003eCello Sonata No. 4 in A, G4 \u003c\/span\u003e\u003cbr\u003e \u003cb\u003eBlas Net,\u003c\/b\u003e piano\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded in Barcelona, 16-17 June, 1929. First issued as HMV DB1392, matrices CJ2275-6 \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eDVORAK\u003c\/b\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodybigblue\"\u003eCello Concerto in B minor, B191\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eCzech Philharmonic Orchestra \u003cbr\u003e \u003c\/b\u003econductor\u003cb\u003e George Szell\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded in Prague, 28 April, 1937. First issued as HMV DB3288-92, matrices 2HC220-9 \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cb\u003ePablo Casals, \u003c\/b\u003ecello\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eTransfer \u0026amp; XR remastering by Andrew Rose at Pristine Audio, September 2010\u003cbr\u003eCover artwork based on a photograph of Pablo Casals\u003cbr\u003e\u003cbr\u003eTotal duration: 75:27 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC246.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC246.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":34506338573,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34506338701,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34506338829,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34506338957,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC246_4842765f-0489-4f66-8f7a-706677fa3ebe.jpg?v=1490101518"},{"product_id":"pasc246-cd","title":"CASALS plays Brahms, Dvorák and Boccherini (1929\/37) - PASC246 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478222541,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478222605,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC246_e4194bbd-8314-4e19-a2b8-c942e28f78da.jpg?v=1658245073"},{"product_id":"pasc110","title":"BOULT Impressions of Albert Sammons (1957) - PASC110","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBOUL\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003eT \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eImpressions of Albert Sammons\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 11px;\"\u003eBroadcast in 1957 on the BBC Home Service \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 11px;\"\u003eTotal duration: 29:46 \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eAlbert Sammons, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003e\u003c\/b\u003ePresented by \u003cb\u003eSir Adrian Boult \u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC110.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cspan class=\"bodybig\" style=\"font-size: 24px;\"\u003e\u003cem\u003eSir Adrian Boult presents a tribute to the violinist Sammons \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;\"\u003eRare 1957 BBC radio broadcast unearthed \u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003e \u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eIn this radio programme, broadcast on the BBC Home Service in late 1957, Boult looks back at the life of one of the greatest British violinists, Albert Sammons, who died on 24th August of that year, through reminiscences and recordings. Sammons had retired from the concert stage a decade earlier through ill health, and thus these recordings date largely from his heyday in the 30's and 40's.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe examples chosen include major English violin concertos, which both Sammons and Boult championed throughout their careers - the Delius concerto was written for Sammons, who performed it with Boult for its première recording. We also hear Sammons alongside another stalwart of the era, the violist Lionel Tertis, in Mozart's Sinfonia Concertante, before exploring the chamber music of Fauré and Rubbra and an arrangement of a Dvorak song.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe programme is presented as broadcast, including opening and closing announcements, as recorded onto a specially made double-sided acetate LP disc, apparently cut by the MSS Recording Company Ltd of Colnbrook, Buckinghamshire, England (typed white paper labels cover the original MSS label, but the writing underneath is just discernable). In restoring this I've dealt with much of the surface noise on the record, though some remains at times, and have endeavoured to 'dust off' Sir Adrian's spoken introductions with some re-equalisation. The musical excerpts remain largely as broadcast, and include two minor dropouts present on the LP copy, though I have tackled some of the nastier sections of the original 78rpm discs used to make the programme.\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\u003eIntroduction and \u003cb\u003eELGAR\u003c\/b\u003e: Violin Concerto\u003cbr\u003e\u003cb\u003eDELIUS\u003c\/b\u003e: Violin Concerto\u003cbr\u003e\u003cb\u003eMOZART\u003c\/b\u003e: Sinfonia Concertante (a Pristine Audio remaster of this recording is available here)\u003cbr\u003e\u003cb\u003eFAURÉ\u003c\/b\u003e: Violin Sonata No. 1\u003cbr\u003e\u003cb\u003eRUBBRA\u003c\/b\u003e: Violin Sonata No. 2\u003cbr\u003e\u003cb\u003eDVORAK\u003c\/b\u003e: Songs My Mother Taught Me\u003cbr\u003eConclusion\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAlbert Sammons, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003e\u003c\/b\u003ePresented by \u003cb\u003eSir Adrian Boult \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eBroadcast in 1957 on the BBC Home Service\u003cbr\u003eTransferred from a private acetate 12\" LP recording\u003cbr\u003eRestoration and remastering by Andrew Rose at Pristine Audio, April 2008\u003cbr\u003eCover artwork based on a photograph of Albert Sammons\u003cbr\u003e\u003cbr\u003eTotal duration: 29:46\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC110.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC110.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":34653802381,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34653802445,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC110_89f94702-e27d-403a-9590-d24a6e130385.jpg?v=1490263424"},{"product_id":"pasc110-cd","title":"BOULT Impressions of Albert Sammons (1957) - PASC110 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478267341,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478267405,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC110_939dc36c-083e-42df-901b-2805471e2689.jpg?v=1658241296"},{"product_id":"pasc045","title":"FIRKUSNY Dvorák: Piano Concerto No. 1 (1954) - PASC045","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp align=\"left\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDVORÁK \u003c\/b\u003ePiano Concerto No. 1\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"left\"\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded\u003c\/span\u003e\u003cspan style=\"font-size: 10px;\"\u003e in 1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eDuration: 36:23\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp align=\"left\"\u003e\u003cb\u003eRudolf Firkusny, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003e The Cleveland Orchestra\u003cbr\u003e \u003c\/b\u003eConducted by \u003cb\u003eGeorge Szell\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC045.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"left\"\u003eThe Piano Concerto in G Minor was the first of the three concertos that Dvorák composed, and is by far the least known. It is usually dismissed as \"second-rate\" and remains the poor orphan of his major works. Such phrases as \"a concerto for two right hands\", \"flaccid\", and \"botched\" have been used by its critics - of whom there have been many. As recently as 1943, Alec Robertson, a British critic who patently adored Dvorak, bad-mouthed the concerto like this:\u003cbr\u003e \u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\u003ci\u003e\"Over this score might well be written 'a warning to young composers. The piano passage-work sounds as if Dvorak had... weighed out his ingredients fairly accurately, but mixed them with the heavy hand of an inexpert cook.\"\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003eHmm. Perhaps we should judge for ourselves.\u003cbr\u003e \u003cbr\u003e Composed in about six weeks of 1876, one of the the young composer's goals was to help consolidate his position in the musical establishment with a major concerto for a reputed soloist, and this was achieved with its first performance by the pianist Karel Slavkovský in 1878. It was a period in which Dvorak's international reputation blossomed.\u003cbr\u003e \u003cbr\u003e Dvorak, however, seems to have been unsatisfied with the work and, as his compositional style developed, continued to revise and improve it until the publication of the score in 1883. Nor was this the end of the story: the pianist Vilem Kurz made several stylistic changes to the solo part, particularly by using octave doubling (a la Liszt) to give a greater depth to the melodic line.\u003cbr\u003e \u003cbr\u003e Which brings us to Rudolf Firkusný. If such a work ever needed a champion this one found it in Firkusny. And what a champion! A native Czech, he had studied with Janácek, Josef Suk, Cortot and Schnabel. Settled in the United States, almost single-handedly he resurrected the concerto (and made his own revisions to the piano part!). Four studio recordings by him were released, plus two others taken from radio broadcasts. \u003cbr\u003e \u003cbr\u003e The first of the Firkusny recordings, made on the 9th and 11th April 1954, shows a freshness of approach coupled with the fervency of an advocate, and Firkusny was ideally partnered - and, you might say, tempered - by the characteristically disciplined conducting of George Szell and his Cleveland orchestra.\u003cbr\u003e \u003cbr\u003e As happened too often, the advent of stereo in 1958 pushed companies to concentrate on the new format and to re-examine their catalogues, and this monophonic version soon went into the archives. Although reviewers have commented that none of Firkusny's later recordings matched its performance it has, as far as we can tell, been unavailable since then.\u003cbr\u003e \u003cbr\u003e In the mid-1950s, the American Columbia company's catalogue was distributed in Europe by Philips, and we were fortunate enough to have a mint test pressing of the Philips disk available for our restoration. Although it has the characteristics of seemingly all Columbia recordings in the Severance Hall of that vintage (thin string tone being one), we think it's come up remarkably well.\u003cbr\u003e \u003cbr\u003e And, to return to where we began, what about the music? Well... Listen to the second movement, with its deep serenity, its pre-echos of the slow movement of the New World symphony (written fifteen years later); to the third characteristically Dvorakian movement with its folksy themes; and if this is \"second rate\" Dvorak one can only sympathise with the many \"first-rate\" composers who could never match it! \u003c\/p\u003e\n\u003cp\u003eNotes by Peter Harrison\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDVORÁK \u003c\/b\u003ePiano Concerto No. 1 in G minor, Op. 33\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"left\"\u003e\u003cb\u003eRudolf Firkusny, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003e The Cleveland Orchestra\u003cbr\u003e \u003c\/b\u003eConducted by \u003cb\u003eGeorge Szell\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003eRecorded in 9th and 11th April, 1954 \u003cbr\u003eSeverance Hall, Cleveland\u003cbr\u003e Released in 1955 as Columbia ML 4967\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cbr\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan style=\"color: #000000; font-family: Arial,Helvetica,sans-serif;\"\u003eDuration 36'23\"\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC045.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC045.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":36191282701,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC045.jpg?v=1492596257"},{"product_id":"pasc045-cd","title":"FIRKUSNY Dvorák: Piano Concerto No. 1 (1954) - PASC045 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478376141,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205567365454,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC045_fe52c858-7edb-452c-bbc8-373c78de29f1.jpg?v=1657717412"},{"product_id":"pasc047","title":"TALICH Dvořák: Symphony No. 6 (1938) - PASC047","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDV\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003eORA\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eK \u003c\/b\u003eSymphony No. 6\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 10px;\"\u003eReco\u003c\/span\u003e\u003cspan style=\"font-size: 10px;\"\u003er\u003c\/span\u003e\u003cspan style=\"font-size: 10px;\"\u003eded \u003c\/span\u003e\u003cspan style=\"font-size: 10px;\"\u003ein 1938\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eDuration\u003c\/span\u003e\u003cspan style=\"font-size: 10px;\"\u003e: 43:03\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCzech Philharmonic Orchestra\u003cbr\u003e \u003c\/b\u003eConductor: \u003cb\u003eVaclav Talich\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fBill Rosen's Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fTalich conveys a pastoral, spiritual quality that is so appropriate for this symphony578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eWhen I was in my 20's (1950's), it was thought\n that Dvorak had composed only five symphonies and I was amazed that #1 \n(#6) was of such high quality. The symphony has one of the most \nentrancing openings in all music: as if the earth is taking a few \nbreaths before the first theme arrives. And what a theme: so relaxed, so\n rustic, so redolent of forests and air and flowers. And then the theme \ntightens up and is given as a rhythmically powerful and full-throated \nfortissimo. The symphony is magnificent throughout with a fiery scherzo \nand a finale that presents a new and original mood and brings an \nemotionally satisfying end to the work. After I learned that five \nsymphonies had preceded this work, its masterful craftmanship was \nexplained.\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eI prefer the Czech Philharmonic and Czech \nconductors in this work. The Czech Philharmonic has such prominent and \nrustic-sounding woodwinds and woodwinds are very important to Dvorak's \ntextures, often giving the first statements of the theme. I can resist \nthe brilliance of the Berlin Philharmonic with Kubelik; they are a \nlittle too sophisticated and string-driven for this work. Czech \nconductors know how to let Dvorak breathe and impart a certain lilt and \nrubato that I think is essential.\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eI have compared the first movement of the \nDvorak 6th in three performances, all with the Czech Philharmonic, all \nwith Czech conductors:\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e1. Talich (1938) (Pristine Audio)\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e2. Neuman (1983) (Supraphon)\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e3. Ancerl (1966) (Supraphon)\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eThe Neuman can be easily dispensed with. It is\n rather matter-of-fact, has a heavy bass emphasis and, because detail is\n not highlighted, seems slower than the other two. It is very difficult \nto choose between the Ancerl and the Talich. The Ancerl is very dynamic \nand forward moving with thrilling fortissimi and brass and tympany to \nthe fore. Yet, he does let the phrases breathe and the woodwinds are \nclear and forward. A splendid performance. Yet, Talich has something \ndifferent. The beginning is very moderate as if the earth is awakening. \nWhile the fortissimi are loud enough, they never seem to call attention \nto themselves. There is never a hurry. A crucial moment is the \ntransition to the development where the strings linger in a mysterious \npassage. The true climax is saved for the coda where the brass blare \nurgently and then quiet down for the end.\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eI do not want to imply any great superiority \nof the Talich over the Ancerl, and in spite of Pristine Audio's very \ncapable remastering, the Ancerl far outpoints the Talich in sound. But \nthe Talich conveys a pastoral, spiritual quality that is so appropriate \nfor this symphony and that is perhaps no no longer possible to create in\n the 21st century.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC047.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eHow many symphonies did Dvorak write? The simple answer is nine - but it would not seem to be so simple to the listening public at the time of this recording, which is clearly labelled \"Symphony No. 1 in D major, Op. 60\". Indeed for many years there were just five officially numbered symphonies, with the other four published posthumously (the manuscript of the first had been lost to the composer himself). Thus the composer referred himself to this as his first symphony; we've chosen for the sake of clarity to use the modern numbering system, which started to be used in the late 1950s. (There is much opportunity for confusion - the 'New World' Symphony has variously been numbered 5, 8 and 9!)\u003c\/p\u003e\n\u003cp\u003eThis symphony, rather less well known than it perhaps deserves, shows both the influence of Brahms' 2nd Symphony, particularly in the outer movements, though the central two are pure Dvorak, with a beautiful, stirring Adagio second movement, and the wonderful Scherzo, remeniscent of his Slavonic Dances. Indeed when the work was premiered, its enthusiastic reception led to the third movement being played again as an encore, and it's that movement which we've chosen to highlight here.\u003c\/p\u003e\n\u003cp\u003eThe recording here, made in Abbey Road in 1938, is one which has roots leading right back to the composer himself. Talich, whose name was synonymous with the Czech Philharmonic for nearly forty years, had both heard Dvorak play and met the composer as a young man. His handling of Dvorak's music, arguably that of the greatest Czech composer, is second to none, and the orchestra is superb, with all but two of the ten sides done in the first take. Wonderful music-making to savour!\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDV\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003eORA\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eK \u003c\/b\u003eSymphony No. 6 in D major, Op. 60\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCzech Philharmonic Orchestra\u003cbr\u003e \u003c\/b\u003eConductor: \u003cb\u003eVaclav Talich\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded in 1938, released (as Symphony No 1) on 5 HMV 78s, DB.5932-5936\u003cbr\u003e Matrix numbers 2EA.6846-6850, 2EA.7151-7155\u003cbr\u003e Takes: 1, 1, 2A, 1A, 1, 2A, 1, 1, 1A, 1\u003cbr\u003e\u003cbr\u003e \u003cspan style=\"color: #000000;\"\u003eDuration 43:03\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC047.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC047.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":37198796365,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC047_5572fdc4-41f7-4de6-8aec-d6cf3344dad3.jpg?v=1494407460"},{"product_id":"pasc047-cd","title":"TALICH Dvořák: Symphony No. 6 (1938) - 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this is purest Dvorak as delivered by a conductor who had known the composer and heard him conduct. This recording, surely, is the closest reflection we have to the music as heard and conceived by its composer, with the Czech Philharmonic on absolutely top form.\u003c\/p\u003e\n\u003cp\u003eWritten in 1884-5 for the Philharmonic Society of London, the Seventh Symphony, then numbered second in Dvorak's canon (and not renumbered until well after this recording was made), was premièred under the composer's baton in London on 22nd April, 1885, and soon became a popular favourite in England. Writing some seventy years later, the authors of 1955's The Record Guide note: \"\u003ci\u003eAfter No. 5 \u003c\/i\u003e[the then numbering of the 'New World' Symphony]\u003ci\u003e, this is \nunquestionably Dvorak's finest symphony, and some musicians prefer it \neven to the 'New World'. It is swarthy music, with tragedy lurking in \nthe background - and unusual mood for the happy-natured Dvorak; but the \nmaterial, which is very fully and imaginatively worked, is deeply \ncharacteristic.\u003c\/i\u003e\"\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDV\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003eORA\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eK \u003c\/b\u003eSymphony No. 6 in D major, Op. 60\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCzech Philharmonic Orchestra\u003cbr\u003e \u003c\/b\u003eConductor: \u003cb\u003eVaclav Talich\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded in 1938, \u003c\/span\u003ereleased as HMV DB.3685-3689\u003cbr\u003eMatrix numbers: 2EA.7160-7169, all first takes except side five, take two\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003cbr\u003e \u003cspan style=\"color: #000000;\"\u003eDuration: 35:38\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC048.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC048.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":37198838093,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC048.jpg?v=1494407487"},{"product_id":"pasc048-cd","title":"TALICH Dvořák: Symphony No. 7 (1938) - PASC048 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478377933,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205566742862,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC048_0b0b71e0-904c-4c2d-b975-69d9dc0adbfa.jpg?v=1657717463"},{"product_id":"pasc060","title":"JANIGRO Dvořák: Cello Concerto (1953) - PASC060","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDVOŘÁK \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eCello Concerto\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded in 195\u003c\/span\u003e\u003cspan style=\"font-size: 10px;\"\u003e3\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eDuration \u003c\/span\u003e\u003cspan style=\"font-size: 10px;\"\u003e40:30\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eAntonio Janigro, \u003c\/b\u003ecello\u003cb\u003e\u003cbr\u003e Orchestra of the Vienna State Opera\u003cbr\u003e \u003c\/b\u003eConducted by \u003cb\u003eDean Dixon\u003c\/b\u003e\u003cbr\u003e \u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC060.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eDvorak's Cello Concerto is without doubt one of the greatest of them all, with perhaps only Elgar's challenging for supremacy, and in the view of some critics is the composer's finest work, \"the crowning achievement of Dvorak's copious and warm-hearted genius\" according to 1955's The Record Guide.\u003c\/p\u003e\n\u003cp\u003eWritten in the United States through the winter of 1884-5, and then finalised with a revision of the final sixty bars some months later when the composer had returned to Bohemia, there are conflicting stories about the genesis of the Concerto, though both firmly point to American cellists as the source of Dvorak's stimulus. It is likely that the work was originally intended to have an America première, but this came to nothing when the cellist Hanus Wihan, which whom Dvorak had make a successful tour in1891-2, was refused permission to modify the solo part with his own cadenzas.\u003c\/p\u003e\n\u003cp\u003eThus the première took place in London on 19th March, 1896, with the composer conducting the Philharmonic and Leo Stern as soloist, and it would be a further nine months before the US première took place in Boston.\u003c\/p\u003e\n\u003cp\u003eUntil now, this site has represented the recordings of Milan-born cellist Antonio Janigro (1918-89) with his chamber music partnership with Fournier and Badura-Skoda, and with the Brahms Double Concerto, again with Jean Fournier. Here at last we get a chance to hear the great man with the spotlight on him alone - and what a magnificent perfomance this is, brought back to life once again by the magical studio wizardry of Peter Harrison.\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDVOŘÁK \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eConcerto for Cello and Orchestra in B minor, Op. 104\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eAntonio Janigro, \u003c\/b\u003ecello\u003cbr\u003e\u003cp\u003e\u003cb\u003e Orchestra of the Vienna State Opera\u003cbr\u003e \u003c\/b\u003eConducted by \u003cb\u003eDean Dixon\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eRecorded Spring 1953\u003c\/p\u003e\u003cp\u003eIssued as Westminster LPs WL5225, XWN18517\u003c\/p\u003e\u003cp\u003eDuration 40:30\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\/PASC060.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC060.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":36257979981,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":55205564678478,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC060.jpg?v=1492680273"},{"product_id":"pasc060-cd","title":"JANIGRO Dvořák: Cello Concerto (1953) - PASC060 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478388557,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205564645710,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC060_34885b3c-db94-4f09-882d-2203a300b1c3.jpg?v=1657717819"},{"product_id":"pasc073","title":"FEUERMANN Dvorák: Cello Concerto (1928\/9) - PASC073","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDVOŘÁK \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e \u003c\/b\u003eCello Concerto\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1928\/29\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eDuration 33:23\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eEmanuel Feuermann, \u003c\/b\u003ecello\u003cb\u003e\u003cbr\u003e Berlin State Opera Orchestra\u003cbr\u003e \u003c\/b\u003econducted by \u003cb\u003eMichael Taube\u003c\/b\u003e\u003cbr\u003e \u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is a miraculous reconstruction578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI’ve always thought it odd that this 1928–1929 \nParlophone recording of the Dvořák Cello Concerto, with its boxy sound \nand ragged orchestral playing, is considered a classic while Feuermann’s\n 1940 radio broadcast conducted by Leon Barzun (once available on a \nPhilips CD) is largely ignored. Granted, the 1940 performance has the \nusual problems of early-1940s broadcasts, but the sound is for the most \npart more natural and more uniform than on this version, and a sound \nwizard like Andrew Rose of Pristine Classical could, I am sure, make it a\n dozen times more vivid.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThat being said, this is a miraculous \nreconstruction, especially of the third movement, which was recorded 17 \nmonths after the first two in an entirely different studio with a horrid\n microphone setup. The orchestra sound was tolerable, but Feuermann’s \ncello was grotesquely distorted, the rich, burnished tone twisted into a\n scratchy, bottomless whine. Mr. Rose had to make some important choices\n here in his restoration process, and I believe he has chosen well. By \nboosting certain specific bass frequencies and cutting some in treble, \nhe has made the orchestra sound a bit odd and boxy but not too \nunnatural. As compensation, Feuermann’s cello sounds much more normal.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe work itself is not, to my ears, the most \ninteresting of those for cello and orchestra, but considering the dearth\n of solo cello concertos it suffices as a tonal, well-loved showpiece. \nThe conductor, Michael Taube, was a personal friend of Feuermann’s who \nalso acted as pianist on some of his recordings, and the two are in \ncomplete musical sympathy. Of the few recordings I have heard of this \nwork, Feuermann’s approach remains my favorite, being well inflected but\n less fussy than that of some other cellists.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eOkay, complaint time. Thirty-three minutes is a \ncheesy playing time for a CD, no matter how lovingly restored. For the \nasking price, Mr. Rose could have included at least four more short \nitems from the early Feuermann catalog in desperate need of his touch, \nnamely the Bruch \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eKol Nidrei\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, Saint-Saëns’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro appassionato\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, Granados’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDanse espagnole\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and David Popper’s wonderful \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHungarian Rhapsody\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. Taken on its own terms, however, you will never hear this famous performance sound as good as it does here. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eLynn René Bayley  \u003c\/span\u003e\n\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003ch4\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 31:3 (Jan\/Feb 2008) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC073.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eDvorak's Cello Concerto is without doubt one of the greatest of them all, with perhaps only Elgar's challenging for supremacy, and in the view of some critics is the composer's finest work, \"the crowning achievement of Dvorak's copious and warm-hearted genius\" according to 1955's The Record Guide.\u003c\/p\u003e\n\u003cp\u003eWritten in the United States through the winter of 1884-5, and then finalised with a revision of the final sixty bars some months later when the composer had returned to Bohemia, there are conflicting stories about the genesis of the Concerto, though both firmly point to American cellists as the source of Dvorak's stimulus. It is likely that the work was originally intended to have an America première, but this came to nothing when the cellist Hanus Wihan, which whom Dvorak had make a successful tour in1891-2, was refused permission to modify the solo part with his own cadenzas.\u003c\/p\u003e\n\u003cp\u003eThus the première took place in London on 19th March, 1896, with the composer conducting the Philharmonic and Leo Stern as soloist, and it would be a further nine months before the US première took place in Boston.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"bodybigblue\"\u003eThis Recording and its Remastering\u003c\/p\u003e\n\u003cp class=\"body\"\u003eFeuermann's Dvorak Cello Concerto was the first recording of the work in its entirety, though it was recorded on two separate sessions more than a year apart, and these recordings were issued separately. We are lucky that the first two movements were so well recorded, especially given the early date of this electric recording (the microphone method had only started to take over from acoustic horn recording some 3 years earlier).\u003c\/p\u003e\n\u003cp class=\"body\"\u003eHowever, the later session sounds like a technical disaster - everything the engineers got right in the first session seemed to go wrong in the second - poor treble response, excessive hiss, and just about nothing in the bass and lower mid-range below (200Hz) - just the frequencies one wishes to find with a cello recording.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThis has therefore been a particularly troublesome restoration, and one which I've considered abandoning on a number of occasions as not coming up to scratch. Trying a conventional transfer and restoration of these discs is a tricky matter - to attempt to apply XR processing and bring out previously hidden frequencies whilst correcting those that are clear is exceptionally difficult, and the results are, in places, indicative of the origins of the source material.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eHowever, on balance I decided to go ahead and issue the recording, as the overall effect of both the remastering and of Feuermann's stunning performance is simply too good to leave to one side.\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDVOŘÁK \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e \u003c\/b\u003eCello Concerto in B minor, Op. 104\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eEmanuel Feuermann, \u003c\/b\u003ecello\u003cbr\u003e\u003cp\u003e\u003cb\u003e Berlin State Opera Orchestra\u003cbr\u003e \u003c\/b\u003econducted by \u003cb\u003eMichael Taube\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eRecorded 30 April 1928 and (3rd mvt.) 27 September 1929\u003cbr\u003e Transfer from UK Parlophone 78s E.10856-8 and E.11071-2\u003cbr\u003e Matrix Numbers 20748-53 and 21582-4.\u003cbr\u003e Transfer and Pristine Audio XR remastering by Andrew Rose, March-May 2007\u003cbr\u003e \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000; font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eDuration 33:23\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover 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Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":36278393357,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":55205562777934,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC073.jpg?v=1492699392"},{"product_id":"pasc073-cd","title":"FEUERMANN Dvorák: Cello Concerto (1928\/9) - PASC073 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478403853,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205562581326,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC073_b7cd4d9c-d3b9-42b1-84be-d2314dbc2c92.jpg?v=1657718144"},{"product_id":"pasc080","title":"TOSCANINI The Barber Première Concert (1938) - PASC080","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eGRAENER \u003c\/b\u003eDie Flöte von Sanssouci\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBARBER \u003c\/b\u003eAdagio for Strings - world première performance\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBARBER \u003c\/b\u003eEssay for Orchestra No. 1 - world première performance\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003eIbéria\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003eSymphony No. 9, \"From the New World\"\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded live in 1938\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 88:25\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eNBC Symphony Orchestra \u003cbr\u003e \u003c\/b\u003econducted by \u003cb\u003eArturo Toscanini \u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC080.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 24px;\"\u003eThe 1938 Barber Première Concert\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003eWe used two different source recordings in order to put together for the first time a complete record of this historic concert. Part One was recorded from an off-air test disc, Part Two from a re-broadcast of NBC's master lacquers. As such there is a slight discrepancy in sound quality, with marginally higher hiss levels on the first disc. Copies of the first half of this concert have circulated amongst collectors for some time, and the Graener has been issued on CD. I also believe the Debussy and Dvorak recordings surfaced on LPs some years ago, but never onto CD.\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThis new restoration tackles some of the inherent problems of the aircheck disc for the first time, using audio technology not previously available to restoration engineers to remove or dramatically reduce radio interference and also tackle various hum frequencies and assorted radio whistles present throughout the original master. It has also been possible to fix a number of drop-outs in the recordings we were presented with, which had been dubbed onto open-reel tape some years ago. The original recordings were of course mono, but the tape hiss from later transfers was wide and stereo. I have narrowed the stereo field of this hiss, though some very mild stereo spread may still be evident in upper frequencies.\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eCD ONE\u003cbr\u003eGRAENER \u003c\/b\u003eDie Flöte von Sanssouci\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBARBER \u003c\/b\u003eAdagio for Strings - world première performance\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBARBER \u003c\/b\u003eEssay for Orchestra No. 1 - world première performance\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003eIbéria\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eCD TWO\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003eSymphony No. 9, \"From the New World\"\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cb\u003eNBC Symphony Orchestra \u003cbr\u003e \u003c\/b\u003econducted by \u003cb\u003eArturo Toscanini \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eBroadcast live on 5th November, 1938, NBC Studio 8H, New York\u003cbr\u003e Disc One taken from aircheck discs\u003cbr\u003e Disc Two taken from NBC master lacquer discs \u003cbr\u003e Pristine Audio XR remastering by Andrew Rose, June 2007\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e \u003cbr\u003e \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000; font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eDurations 49:42, 38:43\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC080.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC080.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":2951316373530,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":55205561303374,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205561336142,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC080_ec525f93-7655-42d6-afe9-e262ee12dcf9.jpg?v=1510940852"},{"product_id":"pasc080-cd","title":"TOSCANINI The Barber Première Concert (1938) - PASC080 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD with case \u0026 artwork (+MP3)","offer_id":40478410445,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2CD only in plastic sleeve (+MP3)","offer_id":55205561073998,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC080.jpg?v=1657718336"},{"product_id":"pasc503","title":"MILSTEIN Rarities: Lalo, Mendelssohn, Dvořák (1936-47) - PASC503","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eLALO \u003c\/b\u003eSymphonie espagnole\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMENDELSSOHN \u003c\/b\u003eViolin Concerto\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003eViolin Concerto\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 11px;\"\u003eRecorded 1936-47\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 11px;\"\u003eTotal duration: 66:17\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 11px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eNathan Milstein\u003c\/b\u003e, violin\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eThe Philadelphia Orchestra\n\u003cbr\u003e\u003c\/b\u003econducted by\u003cb\u003e Eugene Ormandy\u003cbr\u003e\u003c\/b\u003e\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n    Philharmonic-Symphony Orchestra of New York\u003cbr\u003e\u003c\/b\u003econducted by\u003cb\u003e Arturo Toscanini\u003cbr\u003e\u003c\/b\u003econducted by\u003cb\u003e Leopold Stokowski\u003c\/b\u003e\u003cbr\u003e\n\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC503.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    This collection brings together three rarities in the Milstein discography.\n    The Lalo with Ormandy has remained unreissued (at least officially) since\n    the 78 rpm era. As with many older violinists (Heifetz, Huberman), Milstein\n    plays the four-movement version, omitting the Intermezzo.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Mendelssohn fragments document the only recorded collaboration between\n    Milstein and Toscanini. It was performed during one of the Maestro’s last\n    concerts as music director of the New York Philharmonic. Toscanini’s\n    breakneck tempo in the finale shows that his later broadcast with Heifetz\n    (on Pristine PASC 278) was not an interpretive anomaly.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Dvořák is a double rarity in that it is not only the sole recording of\n    a Milstein performance with Stokowski, but it is also previously unissued.\n    Additionally, it expands Stokowski’s slim discography of that composer’s\n    works beyond the “New World” Symphony, the Serenade for Strings and a\n    single Slavonic Dance. The conductor’s inimitable voice can be heard saying\n    “Bravo” at the end of the performance.\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\u003eLALO: Symphonie espagnole, Op. 21\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. 1st Mvt. – Allegro non troppo (7:28)\n\u003c\/p\u003e\n\u003cp\u003e\n    2. 2nd Mvt. – Scherzando (3:53)\n\u003c\/p\u003e\n\u003cp\u003e\n    3. 4th Mvt. – Andante (6:14)\n\u003c\/p\u003e\n\u003cp\u003e\n    4. 5th Mvt. – Rondo (6:37)\n\u003c\/p\u003e\n\u003cp\u003e\n    Recorded 19 November 1944 \u0026amp; 15 March 1945 in the Academy of Music,\n    Philadelphia\n\u003c\/p\u003e\n\u003cp\u003e\n    Matrix nos.: XCO-33852\/57\n\u003c\/p\u003e\n\u003cp\u003e\n    First issued on Columbia 12064\/66-D in album M-564\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eMENDELSSOHN: Violin Concerto in E minor, Op. 64 (excerpts)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    5. 2nd Mvt. – Andante (5:34)\n\u003c\/p\u003e\n\u003cp\u003e\n    6. 3rd Mvt. – Allegro non troppo; Allegro molto vivace (5:54)\n\u003c\/p\u003e\n\u003cp\u003e\n    Recorded during the performance of 29 March 1936 in Carnegie Hall, New York\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\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDVOŘÁK: Violin Concerto in A minor, Op. 53\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    7. 1st Mvt. – Allegro ma non troppo (10:24)\n\u003c\/p\u003e\n\u003cp\u003e\n    8. 2nd Mvt. – Adagio (11:12)\n\u003c\/p\u003e\n\u003cp\u003e\n    9. 3rd Mvt. – Allegro giocoso (8:59)\n\u003c\/p\u003e\n\u003cp\u003e\n    Recorded during the performance of 26 October 1947 at Carnegie Hall, New\n    York\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eNathan Milstein (violin)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e1 – 4: The Philadelphia Orchestra ∙ Eugene Ormandy\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\n        5 – 6: Philharmonic-Symphony Orchestra of New York ∙ Arturo Toscanini\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\n        7 – 9: Philharmonic-Symphony Orchestra of New York ∙ Leopold Stokowski\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\n\u003c\/p\u003e\n\u003cp\u003e\n    Pitch stabilisation and additional noise reduction (Mendelssohn, Dvořák):\n    Andrew Rose\n\u003c\/p\u003e\u003cp\u003eCover artwork based on a photograph of Nathan Milstein\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    Total Timing: 66:17\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC503.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC503.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fBiography578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003cstrong\u003eNathan Milstein\u003c\/strong\u003e\n    (1904 –1992) was a Ukranian-born American virtuoso violinist. Widely\n    considered one of the finest violinists of the 20th century, Milstein was\n    known for his interpretations of\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Johann_Sebastian_Bach\" title=\"Johann Sebastian Bach\"\u003e\n        Bach's\n    \u003c\/a\u003e\n    solo violin works and for works from the\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Romantic_music\" title=\"Romantic music\"\u003e\n        Romantic\n    \u003c\/a\u003e\n    period. He was also known for his long career: he performed at a high level\n    into his mid-80s, retiring only after suffering a broken hand.\n\u003c\/p\u003e\n\u003cp\u003e\nMilstein was born in    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Odessa\" title=\"Odessa\"\u003eOdessa\u003c\/a\u003e,\n    then part of the\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Russian_Empire\" title=\"Russian Empire\"\u003e\n        Russian Empire\n    \u003c\/a\u003e\n    , the fourth child of seven, to a middle-class Jewish family with virtually\n    no musical background. It was a concert by the 11-year-old\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Jascha_Heifetz\" title=\"Jascha Heifetz\"\u003e\n        Jascha Heifetz\n    \u003c\/a\u003e\n    that inspired his parents to make a violinist out of Milstein. He started\n    violin studies with the eminent pedagogue\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Pyotr_Stolyarsky\" title=\"Pyotr Stolyarsky\"\u003e\n        Pyotr Stolyarsky\n    \u003c\/a\u003e\n    , also the teacher of\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/David_Oistrakh\" title=\"David Oistrakh\"\u003e\n        David Oistrakh\n    \u003c\/a\u003e\n    . When Milstein was 11,\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Leopold_Auer\" title=\"Leopold Auer\"\u003e\n        Leopold Auer\n    \u003c\/a\u003e\n    invited him to become one of his students at the\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Saint_Petersburg_Conservatory\" title=\"Saint Petersburg Conservatory\"\u003e\n        St. Petersburg Conservatory\n    \u003c\/a\u003e\n    . Milstein may in fact have been the last of the great Russian violinists\n    to have had personal contact with Auer. He also studied with\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Eug%C3%A8ne_Ysa%C3%BFe\" title=\"Eugène Ysaÿe\"\u003e\n        Eugène Ysaÿe\n    \u003c\/a\u003e\n    in Belgium.\n\u003c\/p\u003e\n\u003cp\u003e\n    Milstein met\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Vladimir_Horowitz\" title=\"Vladimir Horowitz\"\u003e\n        Vladimir Horowitz\n    \u003c\/a\u003e\nin 1921 when he played a recital in    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Kiev\" title=\"Kiev\"\u003eKiev\u003c\/a\u003e.\n    Milstein and Horowitz performed together throughout the\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Soviet_Union\" title=\"Soviet Union\"\u003e\n        Soviet Union\n    \u003c\/a\u003e\n    and struck up a lifelong friendship. In 1925, they went on a concert tour\n    of Western Europe together. Milstein made his American debut in 1929 with\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Leopold_Stokowski\" title=\"Leopold Stokowski\"\u003e\n        Leopold Stokowski\n    \u003c\/a\u003e\n    and the\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Philadelphia_Orchestra\" title=\"Philadelphia Orchestra\"\u003e\n        Philadelphia Orchestra\n    \u003c\/a\u003e\n    . He eventually settled in New York and became an American citizen. He\n    toured repeatedly throughout Europe, maintaining residences in London and\n    Paris.\n\u003c\/p\u003e\n\u003cp\u003e\n    A transcriber and composer, Milstein arranged many works for violin and\n    wrote his own\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Cadenza\" title=\"Cadenza\"\u003e\n        cadenzas\n    \u003c\/a\u003e\n    for many concertos. He was obsessed with articulating each note perfectly\n    and would often spend long periods of time working out fingerings which\n    would make passages sound more articulated.\n\u003c\/p\u003e\n\u003cp\u003e\n    A recital he gave in Stockholm in July 1986 proved to be his final\n    performance. It was recorded in its entirety, and shows the remarkable\n    condition of his technique at age 82. A fall shortly afterwards in which he\n    severely broke his left hand ended his career. He died of a heart attack in\n    London on December 21, 1992, 23 days before his 89th birthday.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cem\u003e(Notes adapted from Wikipedia)\u003c\/em\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":38089440589,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205556453710,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC503.jpg?v=1495449531"},{"product_id":"pasc503-cd","title":"MILSTEIN Rarities: Lalo, Mendelssohn, Dvořák (1936-47) - PASC503 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478421389,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205556420942,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC503_f376dbee-178c-4742-b76d-26738a17d209.jpg?v=1658744452"},{"product_id":"pasc504","title":"BEECHAM at the Royal Festival Hall, Volume 2: Mendelssohn, Ghedini, Dvořák (1959) - PASC504","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMENDELSSOHN \u003c\/b\u003eOverture: The Fair Melusine\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eGHEDINI \u003c\/b\u003eMusica da Concerto per Viola ed Archi\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eDVOŘÁK  \u003c\/b\u003eSymphony No. 8\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 11px;\"\u003eRecorded live in 1959\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 11px;\"\u003eTotal duration: 70:43\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eFrederick Riddle, \u003c\/b\u003eviola\u003cb\u003e\u003cbr\u003eRoyal Philharmonic Orchestra\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eSir Thomas Beecham\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC504.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eThis is the second of three volumes dedicated to the two concerts given on 25 October and 8 November 1959 by Sir Thomas Beecham and his Royal Philharmonic Orchestra at London's Royal Festival Hall and captured in excellent mono by the BBC Transcription Service. Whilst these recordings preserved the main body of both concerts, it would appear that only the encores from the second concert have survived, which alas deprives us of the opportunity to hear Beecham's Delius one more time. Whilst some of these recordings have been previously issued on the BBC Legends label, the sound quality heard on the present releases is considerably improved thanks in no small part to XR remastering. Here the orchestral timbre is much more realistic, the hard, harsh edges of the original recordings have been softened, and a rich body of sound restored. Our series also includes recordings never previously issued. I have elected to remove the announcements dubbed on by the BBC for later rebroadcast. The length of both concerts has required a certain amount of juggling in order to fit three single-CD volumes.      \u003c\/p\u003e\u003cp\u003e\u003cb\u003eAndrew Rose\u003c\/b\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\u003e1 \u003cb\u003eMENDELSSOHN \u003c\/b\u003eOuvertüre zum Märchen von der schönen Melusine, Op. 32  (10:50)\u003cbr\u003e\u003cbr\u003e2 \u003cb\u003eGHEDINI \u003c\/b\u003eMusica da Concerto per Viola ed Archi (1953)  (23:37)\u003cbr\u003e\u003cb\u003eFrederick Riddle\u003c\/b\u003e    viola \u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDVOŘÁK  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 8 in G major, Op. 88\u003c\/span\u003e\u003cbr\u003e3 1st mvt. - Allegro con brio  (9:59)\u003cbr\u003e4 2nd mvt. - Adagio  (10:42)\u003cbr\u003e5 3rd mvt. - Allegretto grazioso - Molto vivace  (6:55)\u003cbr\u003e6 4th mvt. - Allegro ma non troppo  (8:40)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eRoyal Philharmonic Orchestra    \u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eSir Thomas Beecham\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Sir Thomas Beecham\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDvořák\u003c\/b\u003e\u003cbr\u003eRecorded 25 October 1959\u003cbr\u003e\u003cbr\u003e\u003cb\u003eMendelssohn \u0026amp; Ghedini\u003c\/b\u003e\u003cbr\u003eRecorded 8 November 1959\u003cbr\u003e\u003cbr\u003eRecorded at the Royal Festival Hall\u003cbr\u003eLondon by BBC Transcription Services\u003cbr\u003e\u003cbr\u003eTotal duration: 70:43    \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC504.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC504.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fPress Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-size: 24px;\"\u003eBeecham, the beneficent host at the feast\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBy Neville Cardus\u003c\/span\u003e\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003eThe Guardian, October 27, 1959\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    SIR THOMAS BEECHAM returned to London’s routine concert scene on Sunday\n    night, and the crowded audience in the Festival Hall, falling at once under\n    the old spell, was rejuvenated into a fresh awareness of unburdened musical\n    delight. At the end of the programme, hardly anybody in the audience got up\n    from his or her seat or showed the slightest intention of going home. Even\n    the critics stayed on—and no conductor, no musician, alive or dead, has\n    received a rarer tribute than that.\n\u003c\/p\u003e\n\u003cp\u003e\n    Sir Thomas spoke to us, saying, “I suppose you are all waiting for an\n    encore?” In a single voice the packed multitude roared “Yes!” and then Sir\n    Thomas said, “This is a matter requiring some thought. I know only a few\n    pieces.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    One of his secrets is that he draws the audience into his circle. Other\n    great conductors work on another dimension, so to say, withdrawn to a level\n    to which we dare not approach intimately. Sir Thomas is the beneficent host\n    at a feast to which we have been invited. He is the connoisseur. Moreover,\n    during this present age, in which music every day seems more and more in\n    danger of becoming an austere science, or one of the many means of\n    disseminating education and culture, he reminds us that the art originally\n    was designed to give pleasure to civilised men and women. Sunday's audience\n    went home happy. Seldom have I seen so many English people leaving a\n    concert hall as happy.\n\u003c\/p\u003e\n\u003cp\u003e\n    Sir Thomas presented a programme which with other conductors might not have\n    been free of tedious moments. The “Clock” symphony of Haydn was followed by\n    Lalo's G minor symphony, a work hardly consistently engrossing, though not\n    without agreeable periods linking it to Chausson (who also wrote a symphony\n    now sadly neglected here). Next we heard the G major Symphony of Dvorak.\n    Sir Thomas found the right approach to each of these pieces from its first\n    phrases, and though every bar was suffused by his own personality,\n    Beechamised unmistakably, yet each composer spoke, or rather sang, in his\n    own voice.\n\u003c\/p\u003e\n\u003cp\u003e\n    Even Sir Thomas's manner, his movements, changed as he modulated from Haydn\n    to Lalo. In the Haydn symphony he bent down, stroking the music\n    affectionately. For Lalo he became physically more upright and rhetorical.\n    For an octogenarian he was wonderfully animated and active. No conductor\n    equals him in the way he curves a melody, floats in on the orchestra’s\n    surface, passes it on to another instrumental group, all the time keeping\n    the rhythm fluid and unbroken. The Royal Philharmonic Orchestra plays\n    constantly and always admirably in the Festival Hall; but under Sir Thomas\n    it is enriched by a more luminous, more rounded texture which loses\n    nothing, but gains, in distinction of inner parts.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Dvorak symphony was unfolded in all its charming variety; pastoral\n    poetry mingled with tones evoking legend and history, the wood-wind bubbled\n    with the joy of playing. Here, perhaps, lies the essential Beecham\n    secret—his baton calls up the spirit of delight and it is answered freely\n    and generously. It is a fascinating prospect that within the next\n    twenty-four hours or so, the Festival Hall will have heard music conducted\n    by Sir Thomas and by Klemperer—two artists worlds apart. Compared with the\n    difference, and temperamental distances between them, the North and South\n    Poles are next door neighbours. But what a proof we have in Sir Thomas and\n    Klemperer of the rich musical climate which nurtured them. As an encore Sir\n    Thomas conducted an unfamiliar piece by Delius—“ Sleigh Bells.\" Why does he\n    not give us much more of Delius nowadays?\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":38932525325,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205556093262,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205556126030,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC504.jpg?v=1712065868"},{"product_id":"pasc504-cd","title":"BEECHAM at the Royal Festival Hall, Volume 2: Mendelssohn, Ghedini, Dvořák (1959) - PASC504 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Still available in Virtual Box Set PABX001","offer_id":47884588122446,"sku":null,"price":14.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205556060494,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC504_35141332-a2fb-459a-b1b6-576bbe103b75.jpg?v=1712065759"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/collections\/Dvorak.jpg?v=1495803493","url":"https:\/\/www.pristineclassical.com\/collections\/composer-dvorak.oembed?page=9","provider":"Pristine Classical","version":"1.0","type":"link"}