{"title":"Granados","description":"\u003cp\u003eEnrique Granados (1867-1916) was a Spanish composer and pianist, one of the major figures in the flowering of Spanish music around 1900. Born in Lleida, he studied in Barcelona and Paris before establishing himself as a performer, teacher and composer.\u003c\/p\u003e\u003cp\u003eHis best-known work is \u003cem\u003eGoyescas\u003c\/em\u003e, a set of piano pieces inspired by the world of Goya, later expanded into an opera. He also wrote songs, chamber music, orchestral pieces and many works for piano.\u003c\/p\u003e\u003cp\u003eGranados’s music is lyrical, poetic and richly coloured, combining Romantic pianism with Spanish rhythm and atmosphere. His writing often suggests elegance, nostalgia and a finely shaded sense of gesture.\u003c\/p\u003e\u003cp\u003eHis death at sea during the First World War cut short a career of deepening promise. Granados remains a central voice in Spanish music, a composer whose piano textures seem brushed with perfume, dust and old sunlight.\u003c\/p\u003e","products":[{"product_id":"paco013","title":"RODRIGUEZ DE ARAGON Granados: Tonadillos al Estilo Antiguo (1954) - PACO013","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eGRANADOS \u003c\/b\u003eTonadillas en estilo antiguo\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in April, 1954\u003cbr\u003eDuration 28:08\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eLola Rodriguez de Aragon\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eFelix Lavilla\u003c\/b\u003e, piano\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO013.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eEvery so often\n a recording comes along of which I have no preconceptions or ideas and \ncompletely blows me away. Such a fabulous recording is this, though I \nshould admit to a pre-existing weakness for Spanish songs for female \nvoice with piano! If this music is unfamiliar to you I would recommend \nyou get to know it immediately, and in the hands of the great Spanish \nsoprano and teacher Lola Rodriguez de Aragon (1910-1984) there can be \nfew better ways of doing so.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eGranados (1867-1916) had set out to found a national school of Spanish music; in his \u003cem\u003eGoyescas\u003c\/em\u003e, music for piano inspired by Goya, he succeeded in capturing the flavour of the music of Madrid. Likewise the \u003cem\u003eTonadillas\u003c\/em\u003e \"in ancient style\" took their inspiration from Goya, in this case scenes painted for the royal tapestries in Madrid.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe original sleevenotes state: \"The word 'Tonadilla' is derived from \u003cem\u003etonada\u003c\/em\u003e, a ballade tune of Castille; and the original \u003cem\u003etonadillas\u003c\/em\u003e were intermezzos for a few singers which became popular in the theatres of Madrid at the beginning of the nineteenth century.\"\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eEach one tells a short story about love, and is given a descriptive title, from \u003cem\u003eThe Lover of Goya\u003c\/em\u003e, addressed to Goya and his painting \"The young lover\" to \u003cem\u003eThe discreet lover\u003c\/em\u003e in which the girl is indifferent to the ugliness of her lover so long as he shows great discretion to \u003cem\u003eThe forgotten lover\u003c\/em\u003e,\n in which the girl bewails that her lover has forgotten her, we run \nthrough the seemingly endless variety of difficulties and joys of young \nlove.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIt should be noted that our source recording does not name the Cor anglais player for the first \u003cem\u003eLa Maja dolorosa\u003c\/em\u003e, and we have been thus far unable to find any further information in this regard.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\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 class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eRODRIGUEZ DE ARAGON\u003c\/b\u003e \u003cb\u003eGranados\u003c\/b\u003e: Tonadillas en estilo antiguo (1954)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGRANADOS \u003c\/b\u003eTonadillas en estilo antiguo\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eLa maja de Goya (The Lover of Goya)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eEl majo tímido (The Shy Lover)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eCallejeo (Wandering)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eEl majo olvidado (The Forgotten Lover)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eEl mirar de la maja (The Lover’s Glance)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAmor y odio (Love and Hate)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eLa maja dolorosa I (The Sad Lover)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eLa maja dolorosa II\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eLa maja dolorosa III\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eLas currutacas modestas (The Modest Belles)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eEl majo discreto (The Discreet Lover)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eEl tra la la y el punteado (The Maiden’s Reply)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded in April, 1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eReleased as London\/Ducretet-Thomson EL 93016\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\u003cp style=\"font-size: 14px;\"\u003eTrack 7 includes an unidentified cor anglais player.\u003cbr\u003eTrack 10 also features \u003cb\u003eFuensanta Sola\u003c\/b\u003e, mezzo-soprano.\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eDuration 28:08\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eLola Rodriguez de Aragon\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eFelix Lavilla\u003c\/b\u003e, piano\u003cbr\u003ewith \u003cb\u003eFuensanta Sola\u003c\/b\u003e Mezzo-Soprano\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eCor Anglais player (unknown)\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\/PACO013.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO013.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":33988884173,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":33988884237,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO013.jpg?v=1489415296"},{"product_id":"pacm090","title":"ROSTROPOVICH Chamber Music, Vol. 1 (1956) - PACM090","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e \"Archduke\" Trio\u003cbr\u003e\u003cb\u003eRACHMANINOV\u003c\/b\u003e Danse Orientale\u003cbr\u003e\u003cb\u003eGRANADOS \u003c\/b\u003eSpanish Dance 5: \"Andaluza\"\u003cbr\u003e\u003cb\u003eCHOPIN\u003c\/b\u003e Introduction \u0026amp; Polonaise\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio Recordings · 1956\u003cbr\u003eTotal duration: 64:47\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMstislav Rostropovich\u003c\/b\u003e, cello\u003cbr\u003e\u003cb\u003eEmil Gilels\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eLeonid Kogan\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eAlexander Dedyukhin\u003c\/b\u003e, piano\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fGramophone Historic Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fBeethoven - Archduke Trio578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"western\"\u003eThis is as accomplished a performance as a glance at \nthe names of the players would lead one to expect. I had not heard Emil \nGilels in chamber music before; he makes a fine partner for Kogan and \nRostropovich and seems to have a very clear idea of the \u003cem\u003eprimus inter pares\u003c\/em\u003e\n role that Beethoven requires him to play in the Archduke Trio. A \nnaturally commanding player, he succeeds in catching just the right air \nof authority here. I hope we shall be offered much more of him in \nchamber music.\u003c\/p\u003e\u003cp class=\"western\"\u003eNot many years ago we used to be told quite \nregularly—and with some truth— that good chamber music playing could \nnever be hoped for from a collection of virtuosi. From an ad hoc \ncollection, no: the careless throwing together of soloists’ \ntemperaments, such as we witnessed from time to time at international \nfestivals, could scarcely be expected to generate much light. But the \njuxtaposition of strong musical personalities in chamber music can \ncreate excitement when properly managed. It does so here. Kogan, \nRostropovich and Gilels play as one mind but at the same time as a mind \nwith three facets; the performance benefits considerably from the \nindividuality each retains.\u003c\/p\u003e\u003cp class=\"western\"\u003eThe playing as a whole is very strong and direct \n(though never forced or obvious) and I think that anyone expecting \nsoulfulness and \u003cem\u003eInnigkeit\u003c\/em\u003e above all in the Archduke might at \nfirst find the performance a little unsatisfying. Yet it is never \ninflexible: there is nothing relentless about any of the tempi and one \ngets the impression that there’s always time for the detail in the music\n to make effect. It is possibly a little lower in emotional temperature \nthan, say, the performance by Schneider, Casals and Istomin (Philips \nmono GBL5639) that I wrote about so enthusiastically in May last year. \nI’m still very taken with that record, in spite of the mediocre \nrecording quality. I must admit, however, that the tempi on this new one\n are far more likely to find general acceptance. Casals started the \nScherzo very slowly and made much of it sound almost rustic; with \nRostropovich and his colleagues the movement achieves a more natural \nlilt— a little less magic, perhaps, but an altogether easier flow. (It \nis worth mentioning, too, that they observe the double repeat, a fact \nwhich makes their fairly brisk tempo seem essential; the Prades players \non the other hand opted for a simple A В A + coda form and, as I’ve \nsaid, filled it out at a very deliberate pace—textually this can hardly \nbe correct.) In the slow movement the Russians stick close to the \u003cem\u003eandante cantabile mа però con moto \u003c\/em\u003eBeethoven\n asked for; Schneider, Casals and Istomin attempted the near-impossible \nhere and brought off a moving, wonderfully rapt adagio.\u003c\/p\u003e\u003cp class=\"western\"\u003eIt is probably not going to be very illuminating to \npursue comparisons further. This new record arrived rather late for \nreview and I haven’t had time to play it more than once. I doubt, \nthough, whether subsequent hearings would cause me to modify my initial \nimpression, which is of a perceptive, noble and justly proportioned \ninterpretation almost impeccably executed. But I’m also quite sure that I\n shall continue to delight in the old Philips record and to find equal, \nif different, pleasures there. The only general fault I can level at \nthis Russian performance is that its dynamic range is rather restricted.\n This may be the fault of the recording, not of the players: though \nadequate in all respects it is not strikingly good in any and the \nquality of the sound does vary quite noticeably.\u003cbr\u003e \u003c\/p\u003e\u003cp\u003e\u003cb\u003eReview by S.P., The Gramophone\u003c\/b\u003e, August 1963 - \u003cem\u003eLe Chant du Monde\u003c\/em\u003e LP issue\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM090.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eMstislav Rostropovich made a large number \nof recordings for release in the Soviet Union at the start of his \ncareer. Many of these were picked up by Western record companies either \nat the time or since, but there remain undiscovered treasures still to \nbe found. Here we mix the known and the unknown. It's no surprise to \nfind the Archduke turned up in the UK in the early 60s, and it's been \nreissued since. But I can find no solid account of two of the three \nrecordings with Alexander Dedyukhin that I discovered on a Soviet \ncompilation LP of recordings by the cellist and which we present here. \nBoth LPs were in very good condition, though the Soviet pressings \nweren't quite up to contemporary Western standards. XR remastering has \ndone wonders for the rather dim original sound quality, and these \nrecordings really are a delight to hear as a result.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\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 class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eROSTROPOVICH\u003c\/b\u003e Chamber Music, Vol. 1 (1956)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Trio No. 7 in B flat, Op. 97 \"Archduke\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Scherzo (Allegro)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Andante cantabile ma però con moto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro moderato — Presto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eEmil Gilels\u003c\/b\u003e piano\u003cbr\u003e\u003cb\u003eLeonid Kogan\u003c\/b\u003e violin\u003cbr\u003e\u003cb\u003eMstislav Rostropovich\u003c\/b\u003e cello\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded Moscow, 1956\u003cbr\u003eTransfer from Melodiya ND 03456-03457\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eRACHMANINOV Danse Orientale in A minor, Op.2, No.2\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRachmaninov: Danse Orientale in A minor, Op. 2, No. 2\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:18)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGRANADOS (arr. Pekker) Danzas Españolas No. 5 - 'Andaluza'\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eGranados: (arr. Pekker) Danzas Españolas No. 5 — 'Andaluza'\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:39)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eCHOPIN Introduction and Polonaise brillante in C, Op.3\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eChopin: Introduction and Polonaise brillante in C, Op. 3\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:06)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eTracks 5–7:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eMstislav Rostropovich\u003c\/b\u003e cello\u003cbr\u003e\u003cb\u003eAlexander Dedyukhin\u003c\/b\u003e piano\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded December 1956, Polskie Nagrania, Warsaw, Poland\u003cbr\u003eTransfer from Melodiya 33D-027828\u003c\/span\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM090.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM090.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":37144225485,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37144225549,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37144225613,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37144225741,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM090.jpg?v=1494337612"},{"product_id":"pakm029","title":"SORIANO Granados: Danzas Españolas (1956) - PAKM029","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eGRANADOS \u003c\/b\u003eDanzas Españolas\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eOriginally released in 1956\u003cbr\u003eDuration 55:28\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eGonzalo Soriano\u003c\/b\u003e, piano\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM029.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cem\u003e\"a very good recording that reproduces faithfully the subtlety of his tonal shadings. Highly commended\" - The Gramophone\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIn considering recordings such as this, I \noften find it instructive to return to the reviews of the time. I am \nlucky to have been provided with no less than three cuttings of \ncontemporary British reviews of this LP following its release in 1956, \nfrom which I wish to quote liberally:\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\"\u003cem\u003eWritten over a long period of time, \nGranados's Spanish Dances range through the full field of Spanish \nregional music. Villa-Lobos, in his Nonet, aimed to provide \"A Rapid \nImpression of All Brazil\", Granados does something of the same sort for \nSpain. The Dances make fascinating listening, animated and various, some\n better than others, though none of them dull. The earlier Westminster \nset was rather two-dimensional. Gonzalo Soriano, known to LP for his \u003c\/em\u003eNights in the Gardens of Spain\u003cem\u003e,\n plays with a much greater sense of rhythmic finesse, daring freedoms \nnot essayed by José Echaniz in his more straightforward reading, and \ninvesting the music with irresistible liveliness and colour. \nFortunately, he gets a very good recording that reproduces faithfully \nthe subtlety of his tonal shadings. Highly commended.\u003c\/em\u003e\u003cem\u003e\"  \u003c\/em\u003e(A.P., Gramophone November 1956)\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\"\u003cem\u003eEasily the best performance of the \nSpanish dances yet issued; also the best recording. Soriano combines \npoetic feeling with a supreme command of the Spanish musical idioms. \nNote the delicate and fanciful treatments of the trills in No. 2, the \nwell-known \u003c\/em\u003emalaguena\u003cem\u003e - far and away ahead of all rivals; and \nthis sets the tone for the whole collection. The recording also wins \ncomfortably over its predecessors: it has both warmth and clarity and \nresides behind absolutely silent surfaces... The present record might \nwell be the finest issue of Spanish piano music to come from any \nsource.\" \u003c\/em\u003e(Burnett James, source TBC)\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\"Performance: \u003cem\u003eBrilliant \u003c\/em\u003e - Recording: \u003cem\u003eVery good. \u003c\/em\u003e \u003cbr\u003e General Review: \u003cem\u003eThis\n performance has a bigger range and more pianistic interest than \nprevious LP issues of the Spanish Dances. Soriano points the contrasts \nin Nos. 5, 6 and 9 more effectively than his predecessors and these \nnumbers are accordingly more exciting than usual. His Nos. 1 and 7 are \nthoughtful and delicate, but he also reveles in the richness of No. 8. \nNo. 10 is taken unusually fast but is none the less convincing for that.\n He shows throughout at judicious blend of Spanish colouring with \ntraditional pianism which one feels must be very close to Granados' \nintentions.\"\u003c\/em\u003e (Andrew Pavolvsky, Record News[?])\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\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 class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eSORIANO\u003c\/b\u003e \u003cb\u003eGranados\u003c\/b\u003e: Danzas Españolas (1956)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGRANADOS \u003c\/b\u003eDanzas Españolas\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNo. 1 in G major (Galante)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNo. 2 in C minor (Orientale)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNo. 3 in D major (Zarabanda)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNo. 4 in G major (Villanesca)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNo. 5 in E minor (Andalusa (Playera))\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNo. 6 in D major (Jota (of Alcaniz))\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNo. 7 in G major (Jota of Valencia)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNo. 8 in C major (Asturiana)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNo. 9 in B flat major (Mazurca)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNo. 10 in G major (Melancólica)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNo. 11 in G minor (Zambra)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNo. 12 in A minor (Arabaesca)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eOriginally released in 1956 on Ducretet-Thompson LP DTL.93101\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003eTransfer and digital remastering by Peter Harrison at disc2disk,\u003cbr\u003ePristine Audio Natural Sound by Andrew Rose, March 2007\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eDuration 55:28\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eGonzalo Soriano\u003c\/b\u003e, piano\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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(+MP3)","offer_id":40478102669,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO013_36a4975e-c404-41ff-a805-c573d329c9d9.jpg?v=1657119944"},{"product_id":"pasc648","title":"CASALS plays Elgar \u0026 Brahms (1926-1945) - PASC648","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eELGAR \u003c\/b\u003eCello Concerto\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eCello Sonata No. 2\u003cbr\u003eplus music by \u003cb\u003eFAURÉ, GODARD, GRANADOS, SAINT-SAËNS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1926-1945\u003cbr\u003eTotal duration: 72:42\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePau Casals\u003c\/b\u003e, cello\u003cbr\u003e\u003cb\u003eMieczyslaw Horszowski\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eNicolai Mednikov\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eBBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eSir Adrian Boult\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC648.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    \"Pablo Casals is probably the most astonishing figure of any musician of our\n    day, all the more astonishing because everything he achieves is so simple\n    and is always naturally right; and it may be because he has the most\n    sensitive ear possible, and he uses it all the time. But, of course, his\n    also very passionate nature, which he has entirely under control, is\n    probably, with his upbringing, the cause of his greatness. He is a most\n    typical Catalan, which must not be confused with Spaniards proper - they\n    are as different as the Celts are from the Anglo-Saxons - and you must know\n    that the education there is all in the hands of the monks, who give their\n    pupils a complete training in Gregorian Music, which is a wonderful\n    foundation to any musical training. As a matter of fact, Casals wrote a\n    number of choral works in his youth, and a cycle, called The Twelve Months,\n    which I heard two summers ago when I was spending my holiday at Vendrell\n    (Casals' native town near Tarragona), and which contains some lovely music.\n    He wanted to be a composer, and although he studied the violin first he was\n    attracted towards the 'cello only because, when he saw one for the first\n    time at his father's house, he thought the shape of it was so fine! He does\n    not spend much time on practising the 'cello, but he learns everything\n    mentally from the score. Conducting is really what he enjoys most, and,\n    apart from his work, what he likes best is to be at San Salvador by the sea\n    smoking his pipe after lunch at the little casino (only a cafe), where he\n    plays games of \u003ci\u003etrezilio \u003c\/i\u003e(a most complicated card game) with his friends\n    during the holidays.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    I had the pleasure of spending a wonderful day there two years ago on the\n    occasion of a fete that was given to Casals by the \"Commune,\" to which he\n    had presented a piece of ground on the sea front to be used for the\n    national dance - the \u003ci\u003eSardana\u003c\/i\u003e. Casals was at the height of happiness, all\n    the people there gathered on the new \"Place Publique,\" where the Cobla of\n    Barcelona had assembled and was going to play the ritual music - for\n    Catalans the \u003ci\u003eSardana \u003c\/i\u003eis almost a religious rite - it is the most\n    reverential form of dancing I have watched; men dance it together with very\n    serious expressions; women join in the happy circle as the dance goes on,\n    and the whole effect is most impressive. As an expression of rhythm it is\n    also unequalled.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    This little snapshot I took just before the dance began shows Casals with\n    his two nieces-his violinist brother Enrique's children. Casals, who thinks\n    also a great deal of sport, has built a tennis court next to his villa, and\n    as it is the only one for miles around, he allows anybody who likes to come\n    and play on it. He himself used to play a very good game although he had so\n    little training, but his head work was so strong that he always managed to\n    score. As he wrote on [\u003ci\u003ea\u003c\/i\u003e] photograph of the Trio taken years ago with the\n    Hungarian composer, Em. Moor, \"C'est moi qui gagne \" - which is Casals'\n    real motto.\"\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cb\u003eAndré Mangeot\u003c\/b\u003e, \u003ci\u003eThe Gramophone\u003c\/i\u003e, December 1927\n\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003ci\u003e(André Louis Mangeot (25 August 1883 – 11 September 1970) was a French-born violinist and impresario. He founded the International String Quartet in 1919, to which he invited the young John Barbirolli to become its cellist. This specialised in modern works, especially by young British composers. They made the first recording of Maurice Ravel’s String Quartet in 1927 and collaborated in the first (broadcast) performance of Benjamin Britten’s Phantasy Quartet in 1933. Later he formed the André Mangeot Quartet in 1947.)\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 style=\"font-size: 24px;\"\u003e\u003cb\u003eCASALS \u003c\/b\u003eplays \u003cb\u003eElgar\u003c\/b\u003e \u0026amp; \u003cb\u003eBrahms\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eELGAR \u003c\/b\u003eCello Concerto in E minor, Op. 85\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e 1st mvt. - Adagio; Moderato\u003cspan style=\"font-size: 12px;\"\u003e (7:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 2nd mvt. - Lento; Allegro molto\u003cspan style=\"font-size: 12px;\"\u003e (4:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 3rd mvt. - Adagio\u003cspan style=\"font-size: 12px;\"\u003e (4:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 4th mvt. - Allegro; Moderato; Allegro, ma non troppo; Poco più lento; Adagio\u003cspan style=\"font-size: 12px;\"\u003e (11:15)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eSir Adrian Boult\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003erec. 14 October 1945\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eCello Sonata No. 2 in F major, Op. 99\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 1st mvt. - Allegro vivace\u003cspan style=\"font-size: 12px;\"\u003e (9:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 2nd mvt. - Adagio affettuoso\u003cspan style=\"font-size: 12px;\"\u003e (8:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 3rd mvt. - Allegro passionato\u003cspan style=\"font-size: 12px;\"\u003e (7:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 4th mvt. - Allegro molto\u003cspan style=\"font-size: 12px;\"\u003e (4:29)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMieczyslaw Horszowski\u003c\/b\u003e, piano\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003erec. 28 November 1936\u003cbr\u003e\u003cb\u003eBONUS TRACKS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cb\u003eFAURÉ-CASALS\u003c\/b\u003e Après un rêve\u003cspan style=\"font-size: 12px;\"\u003e (3:03)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003erec. 20 January 1926\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cb\u003eGODARD \u003c\/b\u003eBerceuse (from Jocelyn)\u003cspan style=\"font-size: 12px;\"\u003e (4:41)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003erec. 20 January 1926\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cb\u003eGRANADOS-CASSADÓ\u003c\/b\u003e Goyescas - Intermezzo\u003cspan style=\"font-size: 12px;\"\u003e (4:32)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003erec. 28 February 1927\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cb\u003eSAINT-SAËNS\u003c\/b\u003e The Swan (from Carnival of the Animals)\u003cspan style=\"font-size: 12px;\"\u003e (2:44)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003erec. 31 January 1928\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNicolai Mednikov\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003ePau Casals\u003c\/b\u003e, cello\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR Remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Pau Casals taken in 1917\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 72:42\u003c\/b\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\/PASC648.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC648.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":39501487931453,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205524341070,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205524373838,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC648.jpg?v=1638886257"},{"product_id":"pasc648-cd","title":"CASALS plays Elgar \u0026 Brahms (1926-1945) - PASC648 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC648.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205524308302,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC648_831440f9-12bd-4a2b-ae3a-779e9f292a0e.jpg?v=1658751791"},{"product_id":"pasc757","title":"JORDÁ conducts Spanish Music (1950\/1959) - PASC757","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eFALLA \u003c\/b\u003eEl sombrero de tres picos\u003cbr\u003e\u003cb\u003eALBÉNIZ \u003c\/b\u003e(\u003ci\u003eOrch. Arbós\u003c\/i\u003e) Ibéria Suite\u003cbr\u003e\u003cb\u003eTURINA \u003c\/b\u003eLa Procesión del Rocío\u003cbr\u003e\u003cb\u003eGRANADOS \u003c\/b\u003e(\u003ci\u003eOrch. de Grignon\u003c\/i\u003e) Danzas españolas\u003cbr\u003e\u003cb\u003eFALLA \u003c\/b\u003eLa Vida Breve - Danza Española No. 1\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1950 \u0026amp; 1959\u003cbr\u003eTotal duration: 71:56\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBarbara Howitt\u003c\/b\u003e (\u003ci\u003emezzo-soprano\u003c\/i\u003e)\u003cbr\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eEnrique Jordá\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC757.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eManuel de Falla\u003c\/b\u003e’s \u003ci\u003eEl sombrero de tres picos \u003c\/i\u003e(\u003ci\u003eThe Three-Cornered Hat\u003c\/i\u003e) began life in 1917 as a modest pantomime with voice and chamber orchestra, based on Pedro Antonio de Alarcón’s picaresque novella of the same name. It was transformed two years later into a full ballet when the impresario Sergei Diaghilev commissioned Falla to expand it for his Ballets Russes. The resulting work, premiered in London in 1919 with designs by Pablo Picasso, stands as one of the high points of Spanish musical impressionism—a brilliant fusion of Andalusian colour, rhythmic vitality, and classical sophistication.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eFalla’s score celebrates the earthy exuberance of Spanish folk tradition. Castanets snap, guitars strum, and the pulse of flamenco underpins much of the music, yet it is all filtered through the composer’s refined harmonic palette and structural mastery. Melodies rooted in folk song are transformed into dazzling orchestral dances: the \u003ci\u003eFarruca\u003c\/i\u003e, \u003ci\u003eJota\u003c\/i\u003e, and \u003ci\u003eSeguidillas\u003c\/i\u003e explode with rustic energy, while moments of tenderness—especially in the miller’s wife’s music—reveal Falla’s gift for lyricism. Few works have captured so completely the spirit of Spain without resorting to pastiche.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe story itself is a farce of flirtation and comeuppance. A lecherous magistrate (whose titular hat denotes his rank) attempts to seduce a miller’s wife while her husband is away, only to be humiliated and exposed in a series of comic reversals. Falla’s music matches the humour beat for beat: sly woodwind figures accompany the magistrate’s pompous entrances, while raucous brass and percussion underline his ultimate disgrace. Beneath the comedy, however, lies Falla’s subtle portrayal of dignity and defiance in the common folk—a theme that resonated deeply in early 20th-century Spain.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003ci\u003eEl sombrero de tres picos\u003c\/i\u003e remains a cornerstone of the Spanish orchestral repertoire, as exhilarating in the concert suite versions as in its full theatrical form. It bridges the worlds of concert hall and dance stage with rare brilliance, capturing in sound the sunlit wit and passion of Spain itself. Its collaboration with Picasso and Diaghilev also ensured a permanent place in the crosscurrents of modernism, where visual art, dance, and music fused into a singular Mediterranean vibrancy.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eEnrique Jordá\u003c\/b\u003e was one of Spain’s most cosmopolitan conductors, admired for his flair, rhythmic energy, and advocacy of Hispanic repertoire. Born in San Sebastián in 1911, he studied in Madrid and began conducting in the 1930s, but the turbulence of the Civil War pushed him to pursue an international career. After wartime years in South America, where he worked extensively in Argentina and Uruguay, Jordá rose rapidly as a guest conductor in Europe and the United States, gaining a reputation for his vivid interpretations and electric presence on the podium.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHis big breakthrough came in 1954 when he became music director of the San Francisco Symphony, a post he held until 1963. There he brought a fresh, modern outlook to programming, championing contemporary music and introducing audiences to new composers from both sides of the Atlantic. Under his leadership the orchestra made several pioneering stereo recordings for RCA Victor, many of which showcased his dynamic, highly charged approach—particularly in the Latin repertoire he made his own.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eJordá’s style was unmistakable: rhythmically incisive, full of colour and spontaneity, sometimes even daringly impulsive. Critics occasionally noted that his interpretative passion could spill into volatility, but few denied the excitement he generated in performance. His collaborations with artists such as Clifford Curzon, for instance, in works by Falla and Ravel, reveal a conductor capable of both sensitivity and fire—a blend perfectly suited to the sensual brilliance of Spanish impressionism.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAfter his American years, Jordá returned to Europe, continuing to guest-conduct widely and record prolifically. He remained a tireless advocate for Spanish music, conducting \u003ci\u003eEl amor brujo\u003c\/i\u003e, \u003ci\u003eNoches en los jardines de España\u003c\/i\u003e, and \u003ci\u003eEl sombrero de tres picos\u003c\/i\u003e throughout his career. Though his name is less often mentioned today than some of his contemporaries, his recordings—especially those for Decca and RCA—testify to a musician of immense personality, whose energy and warmth captured something essential of Spain’s spirit in the concert hall.\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 style=\"font-size: 24px;\"\u003e\u003cb\u003eJORDÁ \u003c\/b\u003econducts Spanish Music\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eFALLA \u003c\/b\u003eEl sombrero de tres picos\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Introduction\u003cspan style=\"font-size: 12px;\"\u003e (1:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cb\u003ePart 1\u003c\/b\u003e - Afternoon\u003cspan style=\"font-size: 12px;\"\u003e (2:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e The Procession\u003cspan style=\"font-size: 12px;\"\u003e (3:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Dance of the Miller's Wife (Fandango)\u003cspan style=\"font-size: 12px;\"\u003e (2:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e The Corregidor\u003cspan style=\"font-size: 12px;\"\u003e (0:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e The Miller's Wife\u003cspan style=\"font-size: 12px;\"\u003e (0:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e The Grapes\u003cspan style=\"font-size: 12px;\"\u003e (4:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cb\u003ePart 2\u003c\/b\u003e - The Neighbour's Dance (Seguidillas)\u003cspan style=\"font-size: 12px;\"\u003e (3:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e The Miller's Dance (Farruca)\u003cspan style=\"font-size: 12px;\"\u003e (3:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e The Bodyguard\u003cspan style=\"font-size: 12px;\"\u003e (0:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e The Miller's Wife\u003cspan style=\"font-size: 12px;\"\u003e (1:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e The Clock\u003cspan style=\"font-size: 12px;\"\u003e (1:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Dance of the Corregidor\u003cspan style=\"font-size: 12px;\"\u003e (1:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e The Corregidor and the Miller's Wife\u003cspan style=\"font-size: 12px;\"\u003e (2:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e The Miller\u003cspan style=\"font-size: 12px;\"\u003e (2:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e Final Dance (Jota)\u003cspan style=\"font-size: 12px;\"\u003e (6:12)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBarbara Howitt\u003c\/b\u003e (\u003ci\u003emezzo-soprano\u003c\/i\u003e)\u003cbr\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eALBÉNIZ \u003c\/b\u003e(\u003ci\u003eOrch. Arbós\u003c\/i\u003e) Ibéria Suite\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e Book 1 - 2. El Puerto\u003cspan style=\"font-size: 12px;\"\u003e (4:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e Book 2 - 3. Triana\u003cspan style=\"font-size: 12px;\"\u003e (4:35)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTURINA \u003c\/b\u003eLa Procesión del Rocío, Op. 9\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e 1. Triana en fête\u003cspan style=\"font-size: 12px;\"\u003e (2:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e 2. La Procession\u003cspan style=\"font-size: 12px;\"\u003e (5:40)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGRANADOS \u003c\/b\u003e(\u003ci\u003eOrch. de Grignon\u003c\/i\u003e) Danzas españolas\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e 5. Andaluza\u003cspan style=\"font-size: 12px;\"\u003e (4:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e 2. Oriental\u003cspan style=\"font-size: 12px;\"\u003e (4:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e 6. Rondalla aragonesa\u003cspan style=\"font-size: 12px;\"\u003e (4:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e \u003cb\u003eFALLA \u003c\/b\u003eLa Vida Breve - Danza Española No.1\u003cspan style=\"font-size: 12px;\"\u003e (3:12)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eEnrique Jordá\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Enrique Jorda\u003cbr\u003e\u003cb\u003eEl sombrero de tres picos\u003c\/b\u003e\u003cbr\u003erecorded Walthamstow Assembly Hall, 23-24 November 1959\u003cbr\u003ePresented in stereo\u003cbr\u003e\u003cb\u003eOther recordings\u003c\/b\u003e\u003cbr\u003erecorded La Maison de la Mutualité, Paris, 28 February 1950\u003cbr\u003ePresented in Ambient Stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 71:56\u003c\/b\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\/PASC757.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC757.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 \u0026 Ambient Stereo 24-bit FLAC","offer_id":55095290757454,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo \u0026 Ambient Stereo 16-bit FLAC","offer_id":55205503402318,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo \u0026 Ambient Stereo MP3","offer_id":55205503435086,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC757_5bc2f6da-b409-4797-b0a2-01bef2b959f1.jpg?v=1763113276"},{"product_id":"pasc757-cd","title":"JORDÁ conducts Spanish Music (1950\/1959) - 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orchestral excerpts\u003cbr\u003e\u003cb\u003eTURINA \u003c\/b\u003eDanzas fantásticas, Op. 22\u003cbr\u003e\u003cb\u003eRIMSKY-KORSAKOV \u003c\/b\u003eCapriccio espagnol, Op. 34\u003cbr\u003e\u003cb\u003eGRANADOS \u003c\/b\u003eAndaluza - Danza española No. 5 in E minor, Op. 37\u003cbr\u003e\u003cb\u003eMOSZKOWSKI \u003c\/b\u003eSpanish Dances, Book 1, Op. 12\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, Paris 1953 and London 1956-57\u003cbr\u003eTotal duration: 1hr 19:11\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eAtaúlfo Argenta\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC774.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAtaúlfo Argenta’s career was one of the most brilliant and cruelly abbreviated in twentieth-century conducting. Born in Castro Urdiales in 1913, he first established himself as a pianist, studying in Madrid and Liège before further work in Germany brought him into contact with Carl Schuricht, who encouraged him towards the podium. Argenta’s rise was rapid. By 1947 he was sharing the direction of the Orquesta Nacional de España, and from 1950 he appeared regularly with the Orchestre de la Société des Concerts du Conservatoire in Paris. He also built an extensive recorded legacy in zarzuela, helping to preserve a repertory that was then poorly represented on disc. His sudden death in January 1958, aged only forty-four, halted a career that was plainly moving onto the widest international stage.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis collection brings together two complementary portraits of Argenta in Spanish and Spanish-inspired repertoire. The Paris recordings, made in mono in 1953, place him before a French orchestra in music by Albéniz and Turina. The later London sessions, recorded in stereo at Kingsway Hall over New Year 1956-57, show him commanding the London Symphony Orchestra in works by Rimsky-Korsakov, Granados and Moszkowski. Heard together, they move from Spain imagined by Spanish composers to Spain refracted through the colourful imagination of outsiders.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAlbéniz composed \u003cem\u003eIberia\u003c\/em\u003e between 1905 and 1909 as a cycle of twelve piano pieces, each demanding extraordinary refinement of rhythm, colour and touch. The five selections heard here were orchestrated by Enrique Fernández Arbós, who transformed the piano’s layered sonorities into a glittering orchestral fabric without losing their intricate rhythmic life. \u003cem\u003eEvocación\u003c\/em\u003e opens in a haze of memory; \u003cem\u003eEl Puerto\u003c\/em\u003e dances with bright coastal energy; \u003cem\u003eEl Corpus en Sevilla\u003c\/em\u003e grows from solemn procession to ecstatic celebration; \u003cem\u003eTriana\u003c\/em\u003e captures the swagger and pulse of Seville’s famous quarter; and \u003cem\u003eEl Albaicín\u003c\/em\u003e evokes Granada’s old Moorish district with hypnotic, nocturnal intensity. Argenta understands that this music needs both atmosphere and backbone: the perfume never obscures the dance.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eTurina’s \u003cem\u003eDanzas fantásticas\u003c\/em\u003e, written in 1919 and inspired by José Más’s novel \u003cem\u003eLa orgía\u003c\/em\u003e, offers three sharply contrasted visions. \u003cem\u003eExaltación\u003c\/em\u003e is founded on the Aragonese jota; \u003cem\u003eEnsueño\u003c\/em\u003e turns to the asymmetrical sway of the Basque zortziko; and \u003cem\u003eOrgía\u003c\/em\u003e erupts in an Andalusian farruca, full of heat, brilliance and barely contained abandon. Argenta binds the suite together with a strong dramatic curve, making the final dance feel not merely festive but inevitable.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eRimsky-Korsakov’s \u003cem\u003eCapriccio espagnol\u003c\/em\u003e is Spain seen through the eyes of a Russian master orchestrator. Its five linked sections set Asturian melodies amid a succession of instrumental solos, flashing percussion, guitar-like string writing and dazzling changes of colour. Argenta’s performance became one of the celebrated early stereo showpieces, valued not only for its spectacular sound but for the conductor’s ability to make virtuoso display feel rhythmically alive rather than merely decorative. Reviewing the original Decca programme, Paul Serotsky called it “a joy from start to finish” and praised its “peerless evocation” of Spanish character.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eGranados’s \u003cem\u003eAndaluza\u003c\/em\u003e provides a more intimate interlude, its supple melody and gently insistent rhythm handled with affectionate simplicity. Moszkowski’s \u003cem\u003eSpanish Dances\u003c\/em\u003e, originally written for piano duet and later orchestrated by Philipp Scharwenka and Valentin Frank, belong to the nineteenth-century European tradition of imagined Spain. They may be less authentically local than Albéniz or Turina, but their melodic abundance, deft scoring and buoyant rhythms make an irresistible finale.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAcross both orchestras and two very different recording environments, Argenta’s signature remains unmistakable: rhythmic lift, vivid colour, elegance without fuss, and excitement that never becomes crude. These performances preserve a conductor working at white heat, with an instinctive command of the music’s accent and gesture. In this new XR remastering, their brilliance, warmth and extraordinary vitality can once again take centre stage.\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 style=\"font-size: 24px;\"\u003e\u003cb\u003eARGENTA\u003c\/b\u003e conducts España\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eParis recordings (46:14)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eALBÉNIZ\u003c\/b\u003e \u003ci\u003eIberia\u003c\/i\u003e - orchestral excerpts\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Book 1 No. 1 - Evocación\u003cspan style=\"font-size: 12px;\"\u003e (5:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Book 1 No. 3 - El Corpus en Sevilla\u003cspan style=\"font-size: 12px;\"\u003e (8:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Book 2 No. 3 - Triana\u003cspan style=\"font-size: 12px;\"\u003e (4:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Book 1 No. 2 - El Puerto\u003cspan style=\"font-size: 12px;\"\u003e (4:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Book 3 No. 1 - El Albaicín\u003cspan style=\"font-size: 12px;\"\u003e (7:18)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003ci\u003eOrchestrated by Enrique Fernández Arbós\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTURINA\u003c\/b\u003e \u003ci\u003eDanzas fantásticas\u003c\/i\u003e, Op. 22\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e I. Exaltación\u003cspan style=\"font-size: 12px;\"\u003e (5:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e II. Ensueño\u003cspan style=\"font-size: 12px;\"\u003e (6:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e III. Orgía\u003cspan style=\"font-size: 12px;\"\u003e (4:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eAtaúlfo Argenta\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded at Maison de la Mutualité, Paris\u003cbr\u003e12, 14-17 \u0026amp; 19 October 1953 (mono)\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eLondon recordings (32:57)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e \u003ci\u003eCapriccio espagnol\u003c\/i\u003e, Op. 34\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e I. Alborada\u003cspan style=\"font-size: 12px;\"\u003e (1:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e II. Variazioni\u003cspan style=\"font-size: 12px;\"\u003e (4:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e III. Alborada\u003cspan style=\"font-size: 12px;\"\u003e (1:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e IV. Scena e canto gitano\u003cspan style=\"font-size: 12px;\"\u003e (4:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e V. Fandango asturiano\u003cspan style=\"font-size: 12px;\"\u003e (3:18)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cb\u003eGRANADOS \u003c\/b\u003e\u003ci\u003eAndaluza\u003c\/i\u003e - Danza española No. 5 in E minor, Op. 37\u003cspan style=\"font-size: 12px;\"\u003e (4:08)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMOSZKOWSKI\u003c\/b\u003e \u003ci\u003eSpanish Dances\u003c\/i\u003e, Book 1, Op. 12\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e No. 1 in C major\u003cspan style=\"font-size: 12px;\"\u003e (1:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e No. 2 in G minor\u003cspan style=\"font-size: 12px;\"\u003e (4:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e No. 3 in A major\u003cspan style=\"font-size: 12px;\"\u003e (2:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e No. 4 in B flat major\u003cspan style=\"font-size: 12px;\"\u003e (2:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e No. 5 in D major\u003cspan style=\"font-size: 12px;\"\u003e (3:03)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003ci\u003eOrchestrated by Valentin Frank (Nos. 1, 3 \u0026amp; 4) and Philipp Scharwenka (Nos. 2 \u0026amp; 5)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eAtaúlfo Argenta\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded at Kingsway Hall, London\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e31\u003c\/span\u003e December 1956 \u0026amp; 1 January 1957 (stereo)\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR Remastered by Andrew Rose\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 1hr 19:11\u003c\/b\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\/PASC774.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC774.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 \u0026 Ambient Stereo 24-bit FLAC","offer_id":60146946834766,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo \u0026 Ambient Stereo 16-bit FLAC","offer_id":60146946867534,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo \u0026 Ambient Stereo MP3","offer_id":60146946900302,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC774_7bf2b603-1dd4-4831-b66c-4abd8bc617e3.jpg?v=1786938683"},{"product_id":"pasc774-cd","title":"ARGENTA conducts España (1953\/57) - PASC774 - CD","description":"overviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CD (+MP3)","offer_id":60146908758350,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":true},{"title":"CD only in plastic sleeve (+MP3)","offer_id":60146907906382,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC774_060bf5aa-1487-4077-a717-12cfb011987d.jpg?v=1784208659"},{"product_id":"pabx055","title":"PABLO CASALS - The Pristine Collection - PABX055","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBACH\u003c\/b\u003e Suites for Solo Cello, BWV 1007–1012\u003cbr\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Double Concerto for Violin and Cello, Op. 102; Cello Sonata No. 2 in F major, Op. 99\u003cbr\u003e\u003cb\u003eBOCCHERINI\u003c\/b\u003e Cello Sonata No. 4 in A, G4\u003cbr\u003e\u003cb\u003eDVOŘÁK\u003c\/b\u003e Cello Concerto in B minor (1937 and 1960 recordings; the latter in stereo)\u003cbr\u003e\u003cb\u003eELGAR\u003c\/b\u003e Cello Concerto in E minor, Op. 85\u003cbr\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Cello Concerto in A minor, Op. 129\u003cbr\u003e\u003cb\u003eSCHUBERT\u003c\/b\u003e Piano Trio No. 1 in B flat, D898\u003cbr\u003eShorter works by \u003cb\u003eFAURÉ\u003c\/b\u003e, \u003cb\u003eGODARD\u003c\/b\u003e, \u003cb\u003eGRANADOS\u003c\/b\u003e and \u003cb\u003eSAINT-SAËNS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio and live recordings, 1926–1960\u003cbr\u003eTotal duration: 6:13:29\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePablo Casals\u003c\/b\u003e, cello\u003cbr\u003e\u003cb\u003eJacques Thibaud\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eAlfred Cortot\u003c\/b\u003e, piano and conductor of the \u003cb\u003ePablo Casals Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBlas Net\u003c\/b\u003e, \u003cb\u003eMieczyslaw Horszowski\u003c\/b\u003e and \u003cb\u003eNicolai Mednikov\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eCzech Philharmonic Orchestra\u003c\/b\u003e, conducted by \u003cb\u003eGeorge Szell\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBBC Symphony Orchestra\u003c\/b\u003e, conducted by \u003cb\u003eSir Adrian Boult\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePrades Festival Orchestra\u003c\/b\u003e, conducted by \u003cb\u003eEugene Ormandy\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eFestival Casals Orchestra of Puerto Rico\u003c\/b\u003e, conducted by \u003cb\u003eAlexander Schneider\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM021.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS Bach: Suites for Solo Cello (1936-39) - PACM074\u003c\/summary\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eCasals' finest recordings as never heard before\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eXR remastering strips away the decades to reveal incredible detail and nuance\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003eWhen one considers all of the recordings made in the \npost-1925 electrical recording era, but before the development of full \nfrequency range recordings in the 1940s, there can be few instruments \nmore suited to the restrictions of the technology at the time than the \ncello. The range of frequencies required to capture it well, thanks to \nits low register, generally falls within the capabilities of 1930 disc \nrecording, and this makes it a prime candidate for XR remastering. I've \nalready had considerable success with Casals - his 1938 recording of the\n Dvorák Cello Concerto (PASC 246) beat all others, old and new, to \nbecome Gramophone's recommended recording of the work in February 2011.\u003cbr\u003e\u003cbr\u003eHowever, nothing prepared me for the possibilities lying\n hidden in the grooves of his Cello Suites recordings of 1936 to 1939, \nwhich have surpassed all expectations. I was already familiar with \nissues on both EMI and Naxos (the latter a considerable improvement on \nthe former), but neither offers the listener the full-bodied tone of \nCasals' cello, the crispness of his sound, the sense of immediacy and \nclarity which lay hidden in these recordings for so many decades.\u003cbr\u003e\u003cbr\u003eMy first task was to take the disparate recordings and \nbring some homogeneity to the sound of the instrument - each suite was \ninitially processed separately, using a common reference in order to \niron out differences in the recording equipment and locations used \nduring the recording sessions. Thereafter I brought them together to \ncontinue what was at times a tricky restoration - revealing so much \nmusical detail also reveals much else that is unwanted. Occasionally \nthis may still be heard, but it should not distract you from one of the \nmost remarkable restorations it has been my pleasure to undertake.\u003cem\u003e\u003cbr\u003e\u003cbr\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e\u003c\/em\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS plays Brahms, Dvorák and Boccherini (1929\/37) - PASC246\u003c\/summary\u003e\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\n\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\n\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS plays Elgar \u0026amp; Brahms (1926-1945) - PASC648\u003c\/summary\u003e\u003cp\u003e\n    \"Pablo Casals is probably the most astonishing figure of any musician of our\n    day, all the more astonishing because everything he achieves is so simple\n    and is always naturally right; and it may be because he has the most\n    sensitive ear possible, and he uses it all the time. But, of course, his\n    also very passionate nature, which he has entirely under control, is\n    probably, with his upbringing, the cause of his greatness. He is a most\n    typical Catalan, which must not be confused with Spaniards proper - they\n    are as different as the Celts are from the Anglo-Saxons - and you must know\n    that the education there is all in the hands of the monks, who give their\n    pupils a complete training in Gregorian Music, which is a wonderful\n    foundation to any musical training. As a matter of fact, Casals wrote a\n    number of choral works in his youth, and a cycle, called The Twelve Months,\n    which I heard two summers ago when I was spending my holiday at Vendrell\n    (Casals' native town near Tarragona), and which contains some lovely music.\n    He wanted to be a composer, and although he studied the violin first he was\n    attracted towards the 'cello only because, when he saw one for the first\n    time at his father's house, he thought the shape of it was so fine! He does\n    not spend much time on practising the 'cello, but he learns everything\n    mentally from the score. Conducting is really what he enjoys most, and,\n    apart from his work, what he likes best is to be at San Salvador by the sea\n    smoking his pipe after lunch at the little casino (only a cafe), where he\n    plays games of \u003ci\u003etrezilio \u003c\/i\u003e(a most complicated card game) with his friends\n    during the holidays.\n\u003c\/p\u003e\n\u003cp\u003e\n    I had the pleasure of spending a wonderful day there two years ago on the\n    occasion of a fete that was given to Casals by the \"Commune,\" to which he\n    had presented a piece of ground on the sea front to be used for the\n    national dance - the \u003ci\u003eSardana\u003c\/i\u003e. Casals was at the height of happiness, all\n    the people there gathered on the new \"Place Publique,\" where the Cobla of\n    Barcelona had assembled and was going to play the ritual music - for\n    Catalans the \u003ci\u003eSardana \u003c\/i\u003eis almost a religious rite - it is the most\n    reverential form of dancing I have watched; men dance it together with very\n    serious expressions; women join in the happy circle as the dance goes on,\n    and the whole effect is most impressive. As an expression of rhythm it is\n    also unequalled.\n\u003c\/p\u003e\n\u003cp\u003e\n    This little snapshot I took just before the dance began shows Casals with\n    his two nieces-his violinist brother Enrique's children. Casals, who thinks\n    also a great deal of sport, has built a tennis court next to his villa, and\n    as it is the only one for miles around, he allows anybody who likes to come\n    and play on it. He himself used to play a very good game although he had so\n    little training, but his head work was so strong that he always managed to\n    score. As he wrote on [\u003ci\u003ea\u003c\/i\u003e] photograph of the Trio taken years ago with the\n    Hungarian composer, Em. Moor, \"C'est moi qui gagne \" - which is Casals'\n    real motto.\"\u003c\/p\u003e\n\u003cp\u003e\n    \u003cb\u003eAndré Mangeot\u003c\/b\u003e, \u003ci\u003eThe Gramophone\u003c\/i\u003e, December 1927\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-style: italic;\"\u003e(André Louis Mangeot (25 August 1883 – 11 September 1970) was a French-born violinist and impresario. He founded the International String Quartet in 1919, to which he invited the young John Barbirolli to become its cellist. This specialised in modern works, especially by young British composers. They made the first recording of Maurice Ravel’s String Quartet in 1927 and collaborated in the first (broadcast) performance of Benjamin Britten’s Phantasy Quartet in 1933. Later he formed the André Mangeot Quartet in 1947.)\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS Schumann, Dvorak: Cello Concertos (1953\/60) - PASC401\u003c\/summary\u003e\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\n\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\n\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\n\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\n\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\n\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\n\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\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eTHIBAUD, CORTOT, CASALS Schubert: Piano Trio No. 1 (1926) - PACM021\u003c\/summary\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThibaud, Cortot \u0026amp; Casals play Schubert\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e1926 classic remastered for finest sound quality\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eThe legendary trio of Cortot, Thibaud and Casals is woefully \nunder-represented in the recording catalogue. Each a major artist in his\n own right, the trio came together for a month each year to tour between\n 1907 and 1934 (when split due to political differences). And yet they \nonly recorded seven pieces, between 1926 and 1929 - two Trios by \nBeethoven, and one a piece by Haydn, Mendelssohn, Schubert and Schumann,\n together with Brahms' Double Concerto with Cortot at the baton.\u003cbr\u003e\u003cp\u003e\u003cbr\u003e\n Of these recordings, the Schubert was the first, recorded in July 1926.\n This session ran so well and so smoothly that the trio, who'd always \nconcentrated on the perfection of a relatively limited repertoire, was \nable to record Beethoven's Kakadu Variations and the same time.\u003cbr\u003e\u003cbr\u003eDespite\n the age of the recording and the use of very early electric recording \ntechnology - microphones were introduced into the recording process \ncommercially in 1925 - this remains an amazingly powerful and valuable \nrecord of one of the great trios of all time. Every exquisite nuance of \nplaying, phrasing and timing is preserved for the listener's enjoyment, \nand what residual surface noise remains is quickly forgotten in this \nmagical performance.\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\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\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS Bach: Suites for Solo Cello (1936-39) - PACM074\u003c\/summary\u003e\u003cul\u003e\u003c\/ul\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH \u003c\/b\u003eSuites for Solo Cello, BVW 1007-1012\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eSuite 1: Paris, 2 June 1938, Eng. M. Cailly, issued in Bach Society Volume 7, DB.3671-3673\u003cbr\u003eSuites 2 \u0026amp; 3: Abbey Road, London, 25 November 1936, issued in Bach Society Volume 6, DB.3399-3404\u003cbr\u003eSuites 4 \u0026amp; 5: Paris, 13 June 1939, Eng. M. Cailly, issued in Bach Society Volume 8, DB.6538-6540\u003cbr\u003eSuite 6: Paris, 3 June 1938, Eng. M. Cailly, issued in Bach Society Volume 7, DB.3674-3677\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, February 2011\u003cbr\u003e Cover artwork based on a photograph of Pablo Casals\u003cbr\u003eTotal duration: 2hr 9:56\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cb\u003ePablo Casals, \u003c\/b\u003ecello\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS plays Brahms, Dvorák and Boccherini (1929\/37) - PASC246\u003c\/summary\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\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\n\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cb\u003ePablo Casals, \u003c\/b\u003ecello\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\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\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS plays Elgar \u0026amp; Brahms (1926-1945) - PASC648\u003c\/summary\u003e\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eCASALS \u003c\/b\u003eplays Elgar \u0026amp; Brahms\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eELGAR \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eCello Concerto in E minor, Op. 85 \u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Adagio; Moderato  (7:39)\u003cbr\u003e2. 2nd mvt. - Lento; Allegro molto  (4:52)\u003cbr\u003e3. 3rd mvt. - Adagio  (4:03)\u003cbr\u003e4. 4th mvt. - Allegro; Moderato; Allegro, ma non troppo; Poco più lento; Adagio  (11:15)\u003cbr\u003e\u003cb\u003eBBC Symphony Orchestra\u003c\/b\u003e \u003cbr\u003econducted by \u003cb\u003eSir Adrian Boult\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erec. 14 October 1945\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eCello Sonata No. 2 in F major, Op. 99 \u003c\/span\u003e\u003cbr\u003e5. 1st mvt. - Allegro vivace  (9:29)\u003cbr\u003e6. 2nd mvt. - Adagio affettuoso  (8:06)\u003cbr\u003e7. 3rd mvt. - Allegro passionato  (7:49)\u003cbr\u003e8. 4th mvt. - Allegro molto  (4:29)\u003cbr\u003e\u003cb\u003eMieczyslaw Horszowski\u003c\/b\u003e, piano\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erec. 28 November 1936\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eBONUS TRACKS\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e9. \u003cb\u003eFAURÉ-CASALS\u003c\/b\u003e Après un rêve  (3:03)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erec. 20 January 1926\u003c\/span\u003e\u003cbr\u003e10. \u003cb\u003eGODARD \u003c\/b\u003eBerceuse (from Jocelyn)  (4:41)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erec. 20 January 1926\u003c\/span\u003e\u003cbr\u003e11. \u003cb\u003eGRANADOS-CASSADÓ\u003c\/b\u003e Goyescas - Intermezzo  (4:32)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erec. 28 February 1927\u003c\/span\u003e\u003cbr\u003e12. \u003cb\u003eSAINT-SAËNS\u003c\/b\u003e The Swan (from Carnival of the Animals)  (2:44)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erec. 31 January 1928\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eNicolai Mednikov\u003c\/b\u003e, piano\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePau Casals\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e, cello\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by  Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Pau Casals taken in 1917\u003cbr\u003e\u003cbr\u003eTotal duration: 72:42  \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS Schumann, Dvorak: Cello Concertos (1953\/60) - PASC401\u003c\/summary\u003e\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\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eTHIBAUD, CORTOT, CASALS Schubert: Piano Trio No. 1 (1926) - PACM021\u003c\/summary\u003e\u003cul\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003ePiano Trio No 1 in B flat, D898\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 5-6 July 1926, Kingsway Hall, London.\u003cbr\u003eReleased as HMV 78s, D.B. 947-950\u003cbr\u003eMatrix numbers: CR533 - CR540 (all 1st takes) (also numbered 08273-08280)\u003cbr\u003eCR540 uses the alternate (A) cutting of the 1st take.\u003cbr\u003eDuration 30:55\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\n\u003cp\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cb\u003eJacques Thibaud, \u003c\/b\u003eviolin\u003cb\u003e \u003cbr\u003e Alfred Cortot, \u003c\/b\u003epiano\u003cbr\u003e\u003cb\u003ePablo Casals\u003c\/b\u003e, cello\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\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_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pacm074\"\u003eCASALS Bach: Suites for Solo Cello (1936-39) - PACM074 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc246\"\u003eCASALS plays Brahms, Dvorák and Boccherini (1929\/37) - PASC246 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc648\"\u003eCASALS plays Elgar \u0026amp; Brahms (1926-1945) - PASC648 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc401\"\u003eCASALS Schumann, Dvorak: Cello Concertos (1953\/60) - PASC401 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pacm021\"\u003eTHIBAUD, CORTOT, CASALS Schubert: Piano Trio No. 1 (1926) - PACM021 — cover art\u003c\/a\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"16-bit FLAC","offer_id":60913298080078,"sku":null,"price":66.0,"currency_code":"EUR","in_stock":true},{"title":"MP3","offer_id":60913298145614,"sku":null,"price":54.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX055.jpg?v=1790075242"},{"product_id":"pabx055-cd","title":"PABLO CASALS - The Pristine Collection - PABX055 - CD","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBACH\u003c\/b\u003e Suites for Solo Cello, BWV 1007–1012\u003cbr\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Double Concerto for Violin and Cello, Op. 102; Cello Sonata No. 2 in F major, Op. 99\u003cbr\u003e\u003cb\u003eBOCCHERINI\u003c\/b\u003e Cello Sonata No. 4 in A, G4\u003cbr\u003e\u003cb\u003eDVOŘÁK\u003c\/b\u003e Cello Concerto in B minor (1937 and 1960 recordings; the latter in stereo)\u003cbr\u003e\u003cb\u003eELGAR\u003c\/b\u003e Cello Concerto in E minor, Op. 85\u003cbr\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Cello Concerto in A minor, Op. 129\u003cbr\u003e\u003cb\u003eSCHUBERT\u003c\/b\u003e Piano Trio No. 1 in B flat, D898\u003cbr\u003eShorter works by \u003cb\u003eFAURÉ\u003c\/b\u003e, \u003cb\u003eGODARD\u003c\/b\u003e, \u003cb\u003eGRANADOS\u003c\/b\u003e and \u003cb\u003eSAINT-SAËNS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio and live recordings, 1926–1960\u003cbr\u003eTotal duration: 6:13:29\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePablo Casals\u003c\/b\u003e, cello\u003cbr\u003e\u003cb\u003eJacques Thibaud\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eAlfred Cortot\u003c\/b\u003e, piano and conductor of the \u003cb\u003ePablo Casals Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBlas Net\u003c\/b\u003e, \u003cb\u003eMieczyslaw Horszowski\u003c\/b\u003e and \u003cb\u003eNicolai Mednikov\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eCzech Philharmonic Orchestra\u003c\/b\u003e, conducted by \u003cb\u003eGeorge Szell\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBBC Symphony Orchestra\u003c\/b\u003e, conducted by \u003cb\u003eSir Adrian Boult\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePrades Festival Orchestra\u003c\/b\u003e, conducted by \u003cb\u003eEugene Ormandy\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eFestival Casals Orchestra of Puerto Rico\u003c\/b\u003e, conducted by \u003cb\u003eAlexander Schneider\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM021.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS Bach: Suites for Solo Cello (1936-39) - PACM074\u003c\/summary\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eCasals' finest recordings as never heard before\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eXR remastering strips away the decades to reveal incredible detail and nuance\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003eWhen one considers all of the recordings made in the \npost-1925 electrical recording era, but before the development of full \nfrequency range recordings in the 1940s, there can be few instruments \nmore suited to the restrictions of the technology at the time than the \ncello. The range of frequencies required to capture it well, thanks to \nits low register, generally falls within the capabilities of 1930 disc \nrecording, and this makes it a prime candidate for XR remastering. I've \nalready had considerable success with Casals - his 1938 recording of the\n Dvorák Cello Concerto (PASC 246) beat all others, old and new, to \nbecome Gramophone's recommended recording of the work in February 2011.\u003cbr\u003e\u003cbr\u003eHowever, nothing prepared me for the possibilities lying\n hidden in the grooves of his Cello Suites recordings of 1936 to 1939, \nwhich have surpassed all expectations. I was already familiar with \nissues on both EMI and Naxos (the latter a considerable improvement on \nthe former), but neither offers the listener the full-bodied tone of \nCasals' cello, the crispness of his sound, the sense of immediacy and \nclarity which lay hidden in these recordings for so many decades.\u003cbr\u003e\u003cbr\u003eMy first task was to take the disparate recordings and \nbring some homogeneity to the sound of the instrument - each suite was \ninitially processed separately, using a common reference in order to \niron out differences in the recording equipment and locations used \nduring the recording sessions. Thereafter I brought them together to \ncontinue what was at times a tricky restoration - revealing so much \nmusical detail also reveals much else that is unwanted. Occasionally \nthis may still be heard, but it should not distract you from one of the \nmost remarkable restorations it has been my pleasure to undertake.\u003cem\u003e\u003cbr\u003e\u003cbr\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e\u003c\/em\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS plays Brahms, Dvorák and Boccherini (1929\/37) - PASC246\u003c\/summary\u003e\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\n\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\n\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS plays Elgar \u0026amp; Brahms (1926-1945) - PASC648\u003c\/summary\u003e\u003cp\u003e\n    \"Pablo Casals is probably the most astonishing figure of any musician of our\n    day, all the more astonishing because everything he achieves is so simple\n    and is always naturally right; and it may be because he has the most\n    sensitive ear possible, and he uses it all the time. But, of course, his\n    also very passionate nature, which he has entirely under control, is\n    probably, with his upbringing, the cause of his greatness. He is a most\n    typical Catalan, which must not be confused with Spaniards proper - they\n    are as different as the Celts are from the Anglo-Saxons - and you must know\n    that the education there is all in the hands of the monks, who give their\n    pupils a complete training in Gregorian Music, which is a wonderful\n    foundation to any musical training. As a matter of fact, Casals wrote a\n    number of choral works in his youth, and a cycle, called The Twelve Months,\n    which I heard two summers ago when I was spending my holiday at Vendrell\n    (Casals' native town near Tarragona), and which contains some lovely music.\n    He wanted to be a composer, and although he studied the violin first he was\n    attracted towards the 'cello only because, when he saw one for the first\n    time at his father's house, he thought the shape of it was so fine! He does\n    not spend much time on practising the 'cello, but he learns everything\n    mentally from the score. Conducting is really what he enjoys most, and,\n    apart from his work, what he likes best is to be at San Salvador by the sea\n    smoking his pipe after lunch at the little casino (only a cafe), where he\n    plays games of \u003ci\u003etrezilio \u003c\/i\u003e(a most complicated card game) with his friends\n    during the holidays.\n\u003c\/p\u003e\n\u003cp\u003e\n    I had the pleasure of spending a wonderful day there two years ago on the\n    occasion of a fete that was given to Casals by the \"Commune,\" to which he\n    had presented a piece of ground on the sea front to be used for the\n    national dance - the \u003ci\u003eSardana\u003c\/i\u003e. Casals was at the height of happiness, all\n    the people there gathered on the new \"Place Publique,\" where the Cobla of\n    Barcelona had assembled and was going to play the ritual music - for\n    Catalans the \u003ci\u003eSardana \u003c\/i\u003eis almost a religious rite - it is the most\n    reverential form of dancing I have watched; men dance it together with very\n    serious expressions; women join in the happy circle as the dance goes on,\n    and the whole effect is most impressive. As an expression of rhythm it is\n    also unequalled.\n\u003c\/p\u003e\n\u003cp\u003e\n    This little snapshot I took just before the dance began shows Casals with\n    his two nieces-his violinist brother Enrique's children. Casals, who thinks\n    also a great deal of sport, has built a tennis court next to his villa, and\n    as it is the only one for miles around, he allows anybody who likes to come\n    and play on it. He himself used to play a very good game although he had so\n    little training, but his head work was so strong that he always managed to\n    score. As he wrote on [\u003ci\u003ea\u003c\/i\u003e] photograph of the Trio taken years ago with the\n    Hungarian composer, Em. Moor, \"C'est moi qui gagne \" - which is Casals'\n    real motto.\"\u003c\/p\u003e\n\u003cp\u003e\n    \u003cb\u003eAndré Mangeot\u003c\/b\u003e, \u003ci\u003eThe Gramophone\u003c\/i\u003e, December 1927\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-style: italic;\"\u003e(André Louis Mangeot (25 August 1883 – 11 September 1970) was a French-born violinist and impresario. He founded the International String Quartet in 1919, to which he invited the young John Barbirolli to become its cellist. This specialised in modern works, especially by young British composers. They made the first recording of Maurice Ravel’s String Quartet in 1927 and collaborated in the first (broadcast) performance of Benjamin Britten’s Phantasy Quartet in 1933. Later he formed the André Mangeot Quartet in 1947.)\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS Schumann, Dvorak: Cello Concertos (1953\/60) - PASC401\u003c\/summary\u003e\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\n\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\n\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\n\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\n\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\n\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\n\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\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eTHIBAUD, CORTOT, CASALS Schubert: Piano Trio No. 1 (1926) - PACM021\u003c\/summary\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThibaud, Cortot \u0026amp; Casals play Schubert\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e1926 classic remastered for finest sound quality\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eThe legendary trio of Cortot, Thibaud and Casals is woefully \nunder-represented in the recording catalogue. Each a major artist in his\n own right, the trio came together for a month each year to tour between\n 1907 and 1934 (when split due to political differences). And yet they \nonly recorded seven pieces, between 1926 and 1929 - two Trios by \nBeethoven, and one a piece by Haydn, Mendelssohn, Schubert and Schumann,\n together with Brahms' Double Concerto with Cortot at the baton.\u003cbr\u003e\u003cp\u003e\u003cbr\u003e\n Of these recordings, the Schubert was the first, recorded in July 1926.\n This session ran so well and so smoothly that the trio, who'd always \nconcentrated on the perfection of a relatively limited repertoire, was \nable to record Beethoven's Kakadu Variations and the same time.\u003cbr\u003e\u003cbr\u003eDespite\n the age of the recording and the use of very early electric recording \ntechnology - microphones were introduced into the recording process \ncommercially in 1925 - this remains an amazingly powerful and valuable \nrecord of one of the great trios of all time. Every exquisite nuance of \nplaying, phrasing and timing is preserved for the listener's enjoyment, \nand what residual surface noise remains is quickly forgotten in this \nmagical performance.\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\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\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS Bach: Suites for Solo Cello (1936-39) - PACM074\u003c\/summary\u003e\u003cul\u003e\u003c\/ul\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH \u003c\/b\u003eSuites for Solo Cello, BVW 1007-1012\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eSuite 1: Paris, 2 June 1938, Eng. M. Cailly, issued in Bach Society Volume 7, DB.3671-3673\u003cbr\u003eSuites 2 \u0026amp; 3: Abbey Road, London, 25 November 1936, issued in Bach Society Volume 6, DB.3399-3404\u003cbr\u003eSuites 4 \u0026amp; 5: Paris, 13 June 1939, Eng. M. Cailly, issued in Bach Society Volume 8, DB.6538-6540\u003cbr\u003eSuite 6: Paris, 3 June 1938, Eng. M. Cailly, issued in Bach Society Volume 7, DB.3674-3677\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, February 2011\u003cbr\u003e Cover artwork based on a photograph of Pablo Casals\u003cbr\u003eTotal duration: 2hr 9:56\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cb\u003ePablo Casals, \u003c\/b\u003ecello\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS plays Brahms, Dvorák and Boccherini (1929\/37) - PASC246\u003c\/summary\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\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\n\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cb\u003ePablo Casals, \u003c\/b\u003ecello\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\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\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS plays Elgar \u0026amp; Brahms (1926-1945) - PASC648\u003c\/summary\u003e\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eCASALS \u003c\/b\u003eplays Elgar \u0026amp; Brahms\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eELGAR \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eCello Concerto in E minor, Op. 85 \u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Adagio; Moderato  (7:39)\u003cbr\u003e2. 2nd mvt. - Lento; Allegro molto  (4:52)\u003cbr\u003e3. 3rd mvt. - Adagio  (4:03)\u003cbr\u003e4. 4th mvt. - Allegro; Moderato; Allegro, ma non troppo; Poco più lento; Adagio  (11:15)\u003cbr\u003e\u003cb\u003eBBC Symphony Orchestra\u003c\/b\u003e \u003cbr\u003econducted by \u003cb\u003eSir Adrian Boult\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erec. 14 October 1945\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eCello Sonata No. 2 in F major, Op. 99 \u003c\/span\u003e\u003cbr\u003e5. 1st mvt. - Allegro vivace  (9:29)\u003cbr\u003e6. 2nd mvt. - Adagio affettuoso  (8:06)\u003cbr\u003e7. 3rd mvt. - Allegro passionato  (7:49)\u003cbr\u003e8. 4th mvt. - Allegro molto  (4:29)\u003cbr\u003e\u003cb\u003eMieczyslaw Horszowski\u003c\/b\u003e, piano\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erec. 28 November 1936\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eBONUS TRACKS\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e9. \u003cb\u003eFAURÉ-CASALS\u003c\/b\u003e Après un rêve  (3:03)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erec. 20 January 1926\u003c\/span\u003e\u003cbr\u003e10. \u003cb\u003eGODARD \u003c\/b\u003eBerceuse (from Jocelyn)  (4:41)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erec. 20 January 1926\u003c\/span\u003e\u003cbr\u003e11. \u003cb\u003eGRANADOS-CASSADÓ\u003c\/b\u003e Goyescas - Intermezzo  (4:32)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erec. 28 February 1927\u003c\/span\u003e\u003cbr\u003e12. \u003cb\u003eSAINT-SAËNS\u003c\/b\u003e The Swan (from Carnival of the Animals)  (2:44)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erec. 31 January 1928\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eNicolai Mednikov\u003c\/b\u003e, piano\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePau Casals\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e, cello\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by  Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Pau Casals taken in 1917\u003cbr\u003e\u003cbr\u003eTotal duration: 72:42  \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS Schumann, Dvorak: Cello Concertos (1953\/60) - PASC401\u003c\/summary\u003e\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\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eTHIBAUD, CORTOT, CASALS Schubert: Piano Trio No. 1 (1926) - PACM021\u003c\/summary\u003e\u003cul\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003ePiano Trio No 1 in B flat, D898\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 5-6 July 1926, Kingsway Hall, London.\u003cbr\u003eReleased as HMV 78s, D.B. 947-950\u003cbr\u003eMatrix numbers: CR533 - CR540 (all 1st takes) (also numbered 08273-08280)\u003cbr\u003eCR540 uses the alternate (A) cutting of the 1st take.\u003cbr\u003eDuration 30:55\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\n\u003cp\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cb\u003eJacques Thibaud, \u003c\/b\u003eviolin\u003cb\u003e \u003cbr\u003e Alfred Cortot, \u003c\/b\u003epiano\u003cbr\u003e\u003cb\u003ePablo Casals\u003c\/b\u003e, cello\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\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_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pacm074\"\u003eCASALS Bach: Suites for Solo Cello (1936-39) - PACM074 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc246\"\u003eCASALS plays Brahms, Dvorák and Boccherini (1929\/37) - PASC246 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc648\"\u003eCASALS plays Elgar \u0026amp; Brahms (1926-1945) - PASC648 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc401\"\u003eCASALS Schumann, Dvorak: Cello Concertos (1953\/60) - PASC401 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pacm021\"\u003eTHIBAUD, CORTOT, CASALS Schubert: Piano Trio No. 1 (1926) - PACM021 — cover art\u003c\/a\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"6 CDs only in plastic sleeve (+MP3)","offer_id":60913298309454,"sku":null,"price":77.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX055_b486fd27-41e5-4597-9f4e-9465a2324e19.jpg?v=1790075249"}],"url":"https:\/\/www.pristineclassical.com\/collections\/composer-granados.oembed?page=2","provider":"Pristine Classical","version":"1.0","type":"link"}