{"title":"Handel","description":"George Frideric (or Frederick) Handel (born Georg Friedrich Händel, 23 February 1685 (O.S.) [(N.S.) 5 March] – 14 April 1759) was a German, later British, baroque composer who spent the bulk of his career in London, becoming well known for his operas, oratorios, anthems, and organ concertos. Handel received important training in Halle and worked as a composer in Hamburg and Italy before settling in London in 1712; he became a naturalised British subject in 1727. He was strongly influenced both by the great composers of the Italian Baroque and by the middle-German polyphonic choral tradition.\u003cbr\u003e\u003cbr\u003eWithin fifteen years, Handel had started three commercial opera companies to supply the English nobility with Italian opera. Musicologist Winton Dean writes that his operas show that \"Handel was not only a great composer; he was a dramatic genius of the first order.\" As Alexander's Feast (1736) was well received, Handel made a transition to English choral works. After his success with Messiah (1742) he never composed an Italian opera again. Almost blind, and having lived in England for nearly fifty years, he died in 1759, a respected and rich man. His funeral was given full state honours, and he was buried in Westminster Abbey in London.\u003cbr\u003e\u003cbr\u003eBorn the same year as Johann Sebastian Bach and Domenico Scarlatti, Handel is regarded as one of the greatest composers of the Baroque era, with works such as Water Music, Music for the Royal Fireworks and Messiah remaining steadfastly popular.[6] One of his four Coronation Anthems, Zadok the Priest (1727), composed for the coronation of George II, has been performed at every subsequent British coronation, traditionally during the sovereign's anointing. Handel composed more than forty operas in over thirty years, and since the late 1960s, with the revival of baroque music and historically informed musical performance, interest in Handel's operas has grown.","products":[{"product_id":"paco129","title":"BEECHAM Handel: Messiah (1927) - PACO129","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cb\u003eHANDEL \u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003eMessiah\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio recording, 1927\u003cbr\u003eTotal duration: 2hr 4:04\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eDora Labbette\u003c\/b\u003e soprano\u003cb\u003e\u003cbr\u003eMuriel Brunskill\u003c\/b\u003e contralto\u003cb\u003e\u003cbr\u003eHubert Eisdell\u003c\/b\u003e tenor\u003cb\u003e\u003cbr\u003eHarold Williams\u003c\/b\u003e bass\u003cb\u003e\u003cbr\u003eOrchestra and BBC Choir\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eSir Thomas Beecham\u003c\/b\u003e conductor\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fAs an extraordinary glimpse into the performance history of one of the seminal works in Western music, it is a release of immense importance578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThomas Beecham made three important recordings of Handel’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMessiah\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n This was the first (and the first relatively complete electrical \nrecording), made in 1927. In 1947 he made a more complete version, \nbriefly issued on CD by Pearl, and then in 1959 he produced for RCA the \nspectacularly reorchestrated version (there is some question as to how \nmuch of that reorchestration is Beecham and how much is Goossens). In \nthe \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eArchive\n you can find two really perceptive reviews of the other two Beecham \nreleases by John Bauman (who shares with me a guilty love for the \nover-the-top 1959 recording, complete with cymbals, French horns, and \nLord knows what else). \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn all three, Beecham demonstrates a \ndeep love for the score, and a passion and energy that is clearly aimed \nat removing any stuffiness that may have accumulated. Contemporary \naccounts of this 1927 recording indicate that Beecham’s tempos were \nquicker, his rhythms sharper, and the energy level higher than was the \ncustom at the time. Mark Obert-Thorn has done his typically superb work \nin cleaning up the sound, and providing a richness of balance and color \nthat one would not have expected from these originals. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe performance uses the then-standard \nProut edition of the score, based on Mozart’s reorchestration of \nHandel’s original, and employs some traditional cuts. The later \nrecordings are both more complete, 1947 being the most complete of the \nthree. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIt would be impossible to recommend this recording to anyone looking for a basic \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMessiah\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, or even a Beecham \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMessiah\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n I wouldn’t want to be without the large-scaled 1959 performance, and \nperhaps even the 1947 version as well. But for anyone interested in the \nhistory of performance style, this is an extremely important recording. \nPrior to this the work was performed by large Victorian choirs and \nweighed down with slow tempos and heavy rhythms. Singers involved with \nthis recording, and observers at the time, commented strikingly on the \nconductor’s lightening of the texture, and the addition of energy and \ntautness to the score. The contralto soloist in this recording is quoted\n as having said: “His tempi for this work, which now are taken for \ngranted, were revolutionary; he entirely revitalized it, the old slow \nprogress was gone forever. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMessiah \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewas reborn.” \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThere are a few oddities about this \nrecording. Although the “Pastoral Symphony” was originally recorded, it \nwas not included in the 78-rpm set (perhaps because it made for an odd \nside). When Pearl reissued this performance (in much thinner sound) they\n did not include the “Pastoral Symphony,” probably because they were \nunaware that it had been recorded. Pristine has included it—and what a \nwonderfully phrased bit of beautiful playing it is (yes, with plenty of \nvibrato). More confounding is that the original recording did not \ninclude the final “Amen.” There is no known explanation, and one is \nshocked that Beecham permitted this, as the work concludes on the \ndominant! Pristine, after a tasteful pause, adds “Amen” from Beecham’s \n1947 recording. It doesn’t quite fit in terms of performance style and \nsound world, but it is better than leaving that shoe undropped. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThe soloists are better in both of \nBeecham’s later recordings, though alto Muriel Brunskill and tenor \nHubert Eisdell acquit themselves well enough here. Again, this cannot be\n thought of as anyone’s basic \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMessiah\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n recording. But as an extraordinary glimpse into the performance history\n of one of the seminal works in Western music, it is a release of \nimmense importance, and produced by Pristine at the highest possible \nlevel. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:5 (May\/June 2016) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO129.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSir Thomas Beecham's \"revolutionary\" 1927 recording of the Messiah\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e“A performance that has great nervous energy, and that gives us all the strength ... that lies in the best parts of the music” \u003cbr\u003e- The Gramophone, 1928\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eSir Thomas Beecham’s 1927 recording of Handel’s Messiah has often \nsuffered in comparison with his two later versions of the work. It is \nthe least complete of the three (the 1947 set wins in that regard, if \nonly by the inclusion of the “B” sections of two da capo arias not found\n in the 1959 stereo remake), and is in the most primitive sound. \nAdditionally, the soloists and chorus were arguably bettered in the \nlater versions. Nevertheless, it is valuable to hear, not only as a \ndocument of performance practice in transition from the huge choirs and \nslower tempi of the Victorian era, but also of the development of \nBeecham as a Handel interpreter. As contralto soloist Muriel Brunskill \nlater recalled, “His tempi for this work, which now are taken for \ngranted, were revolutionary; he entirely revitalized it, the old slow \nprogress was gone forever. Messiah was reborn.”\u003cp\u003eFor this first extended recording of the electrical era, Beecham used\n the then-standard Ebenezer Prout edition with its customary cuts and \nsimplified orchestration based on Mozart’s arrangement. Most curiously, \nthe final “Amen” was not recorded, which left the performance ending in \nthe dominant. For those who find this like “waiting for the other shoe \nto drop”, I have included as an appendix the finale taken from Beecham’s\n 1947 remake, although I have not joined it to the earlier recording so \nas not to falsify it. Also missing from the original set but presented \nhere was the “Pastoral Symphony.” Though recorded during the Messiah \nsessions, it was not included because it would have been an odd side. It\n was instead released on a single disc with another coupling. (One \nwonders why Columbia didn’t record the “Amen” and include it with the \n“Pastoral Symphony” to fill out the set without any odd sides. Perhaps \nit was thought that an 18 disc set was already enough of a challenge for\n collectors to afford.)\u003c\/p\u003e\u003cp\u003eAlthough EMI brought out an LP of excerpts, the present recording has\n only had one complete extended-play reissue, a Pearl CD set from 1990 \nwhich left out the “Pastoral Symphony” because the producers were \nunaware that it existed. The problems inherent in the original recording\n might have something to do with the paucity of reissues. Although the \nwarm acoustic of Central Hall, Westminster is well caught and the \nbalances between soloists, chorus and orchestra are good, the original \ndiscs sound muffled and bass-heavy. In order to bring out detail, I had \nto boost the upper frequencies a good deal, which also brought along a \nheavier-than-usual amount of surface noise. In addition to this, each \nside had a good amount of pitch drift, which Andrew Rose has \nsuccessfully managed with the aid of Capstan software. The frequent, \nalmost random volume level fluctuations during some of the choruses, \nhowever, proved to be an intractable problem.\u003c\/p\u003e\u003cp\u003eThe sources for the transfers were exceptionally quiet American \nColumbia “Full-Range” and “microphone” label pressings, except for the \n“Pastoral Symphony” side, which came from a first-edition laminated \nEnglish Columbia disc.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHANDEL \u003c\/b\u003e\u003cspan\u003eMessiah\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eCD 1   (61:03)\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003ePart I\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e1          \u003cb\u003eOverture\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 9 July 1927 ∙ Matrix: WAX 2959-1 (Columbia L 2018)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e2          Recit: \u003cb\u003eComfort ye, my people\u003c\/b\u003e \u003cem\u003e(Tenor)\u003c\/em\u003e*\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 8 October 1927 ∙ Matrix: WAX 3093-2 (Columbia L 2018)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e3          Air: \u003cb\u003eEv'ry valley shall be exalted\u003c\/b\u003e \u003cem\u003e(Tenor)\u003c\/em\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 9 July 1927 ∙ Matrix: WAX 2958-1 (Columbia L 2019)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e4          Chorus: \u003cb\u003eAnd the glory of the Lord  \u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 27 June 1927 ∙ Matrix: WAX 2890-6 (Columbia L 2019)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e5          Recit: \u003cb\u003eThus saith the Lord\u003c\/b\u003e \u003cem\u003e(Bass)\u003c\/em\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 1 July 1927 ∙ Matrix: WAX 2933-4 (Columbia L 2020)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e6          Air: \u003cb\u003eBut who may abide\u003c\/b\u003e \u003cem\u003e(Bass)\u003c\/em\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 1 July 1927 ∙ Matrices: WAX 2933-4 \u0026amp; 2938-4 (Columbia L 2020)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e7          Chorus: \u003cb\u003eAnd He shall purify  \u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 24 June 1927 ∙ Matrix: WAX 2893-3 (Columbia L 2021)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e8          Recit: \u003cb\u003eBehold, a virgin shall conceive\u003c\/b\u003e; Air \u0026amp; Chorus: \u003cb\u003eO thou that tellest good tidings\u003c\/b\u003e \u003cem\u003e(Contralto)\u003cbr\u003e\u003c\/em\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 30 June 1927 ∙ Matrices: WAX 2928-2 \u0026amp; 2927-2 (Columbia L 2021\/2)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e9          Recit: \u003cb\u003eFor behold, darkness shall cover\u003c\/b\u003e \u003cem\u003e(Bass)\u003cbr\u003e\u003c\/em\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 1 July 1927 ∙ Matrix: WAX 2934-2 (Columbia L 2022)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e10        Air: \u003cb\u003eThe people that walked in darkness\u003c\/b\u003e \u003cem\u003e(Bass)\u003c\/em\u003e  \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 1 July 1927 ∙ Matrices: WAX 2934-2 \u0026amp; 2937-4 (Columbia L 2022\/3)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e11        Chorus: \u003cb\u003eFor unto us a child is born\u003c\/b\u003e  \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 27 June 1927 ∙ Matrix: WAX 2891-4 (Columbia L 2023)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e12        \u003cb\u003ePastoral Symphony\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 2 July 1927 ∙ Matrix: WAX 2941-3 (Columbia L 2345)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e13        Recit: \u003cb\u003eThere were shepherds abiding in the fields\u003c\/b\u003e \u003cem\u003e(Soprano)\u003c\/em\u003e  \u003cbr\u003e14        Chorus: \u003cb\u003eGlory to God in the highest\u003c\/b\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 28 June 1927 ∙ Matrix: WAX 2904-1 (Columbia L 2024)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e15        Air: \u003cb\u003eRejoice greatly, O daughter\u003c\/b\u003e \u003cem\u003e(Soprano)\u003c\/em\u003e  \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 7 July 1927 ∙ Matrix: WAX 2950-3 (Columbia L 2024)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e16        Recit: \u003cb\u003eThen shall the eyes; Air: He shall feed his flock\u003c\/b\u003e \u003cem\u003e(Contralto \u0026amp; \u003c\/em\u003e\u003cem\u003eSoprano)\u003c\/em\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 7 July 1927 ∙ Matrices: WAX 2947-4 \u0026amp; 2948-4 (Columbia L 2025)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e17        Chorus: \u003cb\u003eHis yoke is easy\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 30 June 1927 ∙ Matrix: WAX 2924-4 (Columbia L 2026)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eCD 2   (63:05)\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: small;\"\u003ePart II\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e1          Chorus: \u003cb\u003eBehold the Lamb of God\u003c\/b\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 27 June 1927 ∙ Matrix: WAX 2899-1 (Columbia L 2026)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e2          Air: \u003cb\u003eHe was despised\u003c\/b\u003e \u003cem\u003e(Contralto)\u003c\/em\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 1 July 1927 ∙ Matrices: WAX 2935-2 \u0026amp; 2936-3 (Columbia L 2027)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e3          Chorus: \u003cb\u003eSurely, He hath borne our griefs\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 27 June 1927 ∙ Matrix: WAX 2900-2 (Columbia L 2028)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e4          Chorus: \u003cb\u003eAnd with His stripes we are healed\u003c\/b\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 27 June 1927 ∙ Matrix: WAX 2901-1 (Columbia L 2028)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e5          Chorus: \u003cb\u003eAll we like sheep have gone astray\u003c\/b\u003e  \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 27 June 1927 ∙ Matrix: WAX 2898-2 (Columbia L 2029)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e6          Recit: \u003cb\u003eAll they that see him\u003c\/b\u003e \u003cem\u003e(Tenor)\u003c\/em\u003e; Chorus: \u003cb\u003eHe trusted in God\u003c\/b\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 28 June 1927 ∙ Matrix: WAX 2902-2 (Columbia L 2029)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e7          Recit: \u003cb\u003eThy rebuke hath broken His heart; Air: Behold, and see\u003c\/b\u003e \u003cem\u003e(Tenor)\u003cbr\u003e\u003c\/em\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 2 July 1927 ∙ Matrix: WAX 2939-2 (Columbia L 2030)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e8          Recit: \u003cb\u003eHe was cut off out of the land\u003c\/b\u003e; Air: \u003cb\u003eBut Thou didst not leave\u003c\/b\u003e \u003cem\u003e(Tenor)\u003c\/em\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 2 July 1927 ∙ Matrix: WAX 2940-3 (Columbia L 2030)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e9          Chorus: \u003cb\u003eLift up your heads\u003c\/b\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 24 June 1927 ∙ Matrix: WAX 2892-3 (Columbia L 2031)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e10        Air: \u003cb\u003eHow beautiful are the feet\u003c\/b\u003e \u003cem\u003e(Soprano)\u003c\/em\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 9 July 1927 ∙ Matrix: WAX 2956-2 (Columbia L 2031)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e11        Air: \u003cb\u003eWhy do the nations so furiously rage\u003c\/b\u003e \u003cem\u003e(Bass)\u003c\/em\u003e \u003cbr\u003e12        Chorus: \u003cb\u003eLet us break their bonds\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 30 June 1927 ∙ Matrix: WAX 2925-5 (Columbia L 2032)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e13        Recit: \u003cb\u003eHe that dwelleth in heaven\u003c\/b\u003e; Air: \u003cb\u003eThou shalt break them\u003c\/b\u003e \u003cem\u003e(Tenor)\u003c\/em\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 9 July 1927 ∙ Matrix: WAX 2955-2 (Columbia L 2032)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e14        Chorus: \u003cb\u003eHallelujah!\u003c\/b\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 28 June 1927 ∙ Matrix: WAX 2905-2 (Columbia L 2033)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003ePart III\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e15        Air: \u003cb\u003eI know that my Redeemer liveth\u003c\/b\u003e \u003cem\u003e(Soprano)\u003c\/em\u003e  \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 11 July 1927 ∙ Matrices: WAX 2969-2 \u0026amp; 2970-1 (Columbia L 2033\/4)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e16        Quartet \u0026amp; Chorus: \u003cb\u003eSince by man came death\u003c\/b\u003e*  \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 8 October 1927 ∙ Matrix: WAX 3092-2 (Columbia L 2034)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e17        Recit: \u003cb\u003eBehold, I tell you a mystery\u003c\/b\u003e; Air: \u003cb\u003eThe trumpet shall sound\u003c\/b\u003e (Bass)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 7 July 1927 ∙ Matrix: WAX 2949-4 (Columbia L 2035)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e18        Chorus: \u003cb\u003eWorthy is the Lamb\u003c\/b\u003e \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 28 June 1927 ∙ Matrix: WAX 2903-3 (Columbia L 2035)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cb style=\"font-size: small;\"\u003eAppendix from Beecham’s 1947 Recording:\u003c\/b\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e19        Chorus: \u003cb\u003eAmen\u003c\/b\u003e**    \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 8 July 1947 ∙ Matrix: 2EA 11915-4 (RCA Victor 12-0117 in album M-1195)\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eDora Labbette \u003c\/b\u003esoprano\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003cb\u003eMuriel Brunskill \u003c\/b\u003econtralto\u003cbr\u003e*\u003cb\u003eNellie Walker\u003c\/b\u003e, contralto\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003cb\u003eHubert Eisdell \u003c\/b\u003etenor\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003cb\u003eHarold Williams \u003c\/b\u003ebass\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eOrchestra and BBC Choir\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cb\u003e**Luton Choral Society and Special Choir\u003cbr\u003e\u003c\/b\u003e\u003cb\u003e**Herbert Dawson, organ\u003cbr\u003e\u003c\/b\u003e\u003cb\u003e**Royal Philharmonic Orchestra\u003c\/b\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSir Thomas Beecham \u003c\/b\u003econductor\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded in the Central Hall, Westminster, London\u003cbr\u003e*The Portman Rooms, London \u003cbr\u003e**Abbey Road Studio No. 1, London\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO129.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO129.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":31975224013,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31975224077,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO129_6f654814-4979-4de5-8efe-a0cf11e072cd.jpg?v=1487681884"},{"product_id":"pasc461","title":"BEECHAM The ABC Blue Network Concerts, Volume 1 (1945) - PASC461","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003eNICOLAI\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"ARIALbi\"\u003eThe Merry Wives of Windsor: \u003c\/span\u003e\u003cspan class=\"ARIAL\"\u003eOverture\u003c\/span\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003e\u003cbr\u003eELGAR\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"ARIALb\"\u003eSerenade for Strings\u003c\/span\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003e\u003cbr\u003eHANDEL-BEECHAM\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"ARIALbi\"\u003eLove in Bath: \u003c\/span\u003e\u003cspan class=\"ARIALi\"\u003eThe Great Elopement\u003c\/span\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003e\u003cbr\u003eDELIUS\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"ARIALbi\"\u003eThe Walk to the Paradise Garden\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"BLACKb\"\u003e\u003cbr\u003eJ. STRAUSS II \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"ARIALbi\"\u003eVoices of Spring \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eLive broadcast on ABC\/Blue Network, 4pm, 7 April 1945\u003cbr\u003eTotal duration: 54:43 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eSir Thomas Beecham, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eBlue Network Symphony Orchestra\u003c\/b\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fDelius’s The Walk to the Paradise Garden erupts with considerably more heart-on-sleeve pathos than in the conductor’s commercial recording578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eDuring the Second World War Thomas \nBeecham made few friends in Britain by spending its four most dangerous \nyears living abroad. He sailed for Australia in the spring of 1940, then\n moved to the United States. He became the music director of the then \ndistinctly low-powered Seattle Symphony in 1941, joining the staff of \nthe Metropolitan Opera in the following year. In all, the per­ipatetic \nBart conducted nearly 20 orchestras during his stay in the New World, \nincluding the orchestra of NBC’s Blue Network, which thanks to an FCC \nruling declaring that no single entity could own more than one radio \nnetwork eventually became the American Broadcasting Company—today’s ABC.\n In New York for concerts with the Rochester Philharmonic during the \nfirst week of April 1945, Beecham conducted a Blue Network afternoon \nbroadcast on April 7, and this is the result. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe sparkling performance of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Merry Wives of Windsor \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture\n with which the program began illuminates one of the central truths of \nBeecham’s career: Namely, that in spite of one of the most eccentric \nstick techniques in the history of conducting—to say nothing of a \nrehearsal technique that was even more mysterious—Beecham had the \nuncanny ability to make any orchestra sound better than it was. (A few \nyears earlier he conducted a series of near-legendary concerts with the \nNew York City Symphony, an orchestra made up of unemployed musicians \norganized as a pet project of the music-loving Mayor Fiorello La Guardia\n with funds from the WPA.) Possibly made up of members of the New York \nPhilharmonic, NBC Symphony, and various freelancers—its actual \ncomposition at this stage remains a mystery—the Blue Network Symphony \nhad at most a couple of rehearsals prior to the broadcast, and yet from \nthe opening bars play like men possessed. The opening radiates the \nunique Beecham mischievousness and wit—could anyone make woodwinds chirp\n as delightfully as he did?—while the Overture’s big tune sings with the\n kind of soaring grace befitting one of the great opera conductors of \nhis time. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eBilled as the “radio premiere” of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Great Elopement, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eBeecham’s pick-up band plays this delightful confection—including the celebrated hornpipe which quotes Thomas Augustin Arne’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRule, Britannia\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e—as though it had been in their collective repertoire for years, while Delius’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Walk to the Paradise Garden\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e—another\n Beecham house specialty—erupts with considerably more heart-on-sleeve \npathos than in the conductor’s commercial recording. Alas, the mid-1940s\n aircheck sound breaks up badly in the climaxes. If Beecham’s version of\n \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFrühlingsstimmen \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis not exactly \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eecht-\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eViennese—\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTales from St. John’s Wood\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n would be a closer approximation—then it’s nonetheless suitably robust \nand joyous and brings a wonderfully entertaining album to a close. The \nincomparable Milton Cross’s spoken contributions only further enhance \nthe period charm.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJim Svejda\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:6 (July\/Aug 2016) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC461.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFirst of four newly-discovered broadcast concerts by Beecham at the nascent ABC in 1945\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Robust and joyous ... a wonderfully entertaining album\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eAs indicated in our additional notes here, ABC, the American \nBroadcasting Company, had a somewhat unusual and protracted birth. The \ncompany and, in particular, its radio network, were still in a state of \ntransition when, in April 1945, it acquired the services of Sir Thomas \nBeecham to conduct a series of four concerts with a little-known \norchestra billed on air as the \"Blue Network Symphony Orchestra\", and \nmore prosaically in the New York Times radio listings as simply \"Sir \nThomas Beecham, conducting a Symphonic Orchestra\".\u003c\/p\u003e\u003cp\u003eQuite from where the members of this orchestra were drawn is open to \nsome guesswork: the members of the New York Philharmonic were engaged on\n the morning of the first broadcast in an 11am youth concert at Carnegie\n Hall - could some of these players also have made it to the 4pm live \nbroadcast for ABC? Toscanini had no engagements with his NBC Symphony \nOrchestra that month - might some of them moonlighted on the very same \nBlue Network which had traditionally been their home when it was under \nthe NBC umbrella? Beecham, meanwhile, was in New York to conduct the \nRochester Orchestra in two concerts at Carnegie Hall in March and a \nthird (a ballet) on 6th April 1945, at the Met. Might he have run \nthrough with them the twenty various shorter items which made up these \nfour broadcasts? And would the players go on to form the same \"ABC \nSymphony Orchestra\" that composer Roy Harris conducted in his own music \nthree years later? Maybe answers will be unearthed as this series \ncontinues.\u003c\/p\u003e\u003cp\u003eAnd it's certainly an interesting collection of music, including \n\"radio premières\" of music credited to Handel-Beecham, one of which \nfeatures the then Lady Beecham, Betty Humby, on piano. Of particular \nhistoric interest is the second in the series, which was hastily \nconverted into a memorial concert for the late President Franklin D. \nRoosevelt, whose funeral service was taking place at the White House as \nthe broadcast proceeded, something which entailed leaving the Unfinished\n Symphony literally unfinished as the station cut to a live commentator \non the event.\u003c\/p\u003e\u003cp\u003eSonically the recordings are more than adequate for AM radio \nbroadcasts of the era, if largely lacking in the upper frequencies one \nmight wish for in a hi-fi recording. They were preserved on 33rpm \nacetate discs from which these restorations were drawn.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eNICOLAI\u003c\/b\u003e The Merry Wives of Windsor - Overture\u003cbr\u003e\u003cb\u003eELGAR \u003c\/b\u003e Serenade for Strings in E minor, Op. 20\u003cbr\u003e\u003cb\u003eHANDEL-BEECHAM\u003c\/b\u003e The Great Elopement - Selections\u003cbr\u003e\u003cb\u003eDELIUS\u003c\/b\u003e The Walk to the Paradise Garden \u003cbr\u003e\u003cb\u003eJ STRAUSS II\u003c\/b\u003e Frühlingsstimmen (Voices of Spring Waltz) Op. 410 \u003cbr\u003e\u003cbr\u003eLive broadcast on ABC\/Blue Network, 4pm, 7 April 1945\u003cbr\u003eAnnouncer: Milton Cross\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBlue Network Symphony Orchestra \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Thomas Beecham\u003c\/b\u003e, conductor\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC461.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC461.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eNBC expanded so rapidly that by 1927 it found itself with an excess of \naffiliates in the same cities, so it split its programming into two \nseparate networks, called the Red and the Blue networks. After the \nFederal Communications Commission (FCC) declared in 1941 that no company\n could own more than one radio network, NBC in 1943 sold the \nless-lucrative Blue Network to Edward J. Noble, the millionaire maker of\n Life Savers candy, who initially renamed it the American Broadcasting \nSystem before settling on the name the American Broadcasting Company, \nInc. (ABC). ABC was the smallest of the major radio networks and \ndistinguished itself by hiring popular singer Bing Crosby to perform on a\n weekly variety series. As a precondition for his employment, Crosby \nrequired that he be allowed to prerecord the program for later \nbroadcast; as a result, ABC became a pioneer in the field of magnetic \nrecording.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eEncyclopaedia Britannica\u003c\/b\u003e  notes on the birth of the American Broadcasting Company\u003cbr\u003e\u003cbr\u003eA\n major priority of the Blue Network was to form a new identity, one that\n would mark a break with the past. In December, 1945 [sic], the FCC \napproved the transfer of The Blue Network, Inc.'s broadcast licenses to \nAmerican Broadcasting Company. Beginning on January 22, 1945, the \nnetwork's opening and closing announcements changed to \"The Blue Network\n of the American Broadcasting Company\"; starting February 18, the same \nwording was instituted as the network outcue for station breaks. On June\n 15, 1945, the Blue Network formally changed its name to the American \nBroadcasting Company. They were not alone in desiring this catchy \nacronym. Two prior claimants were bought out prior to June 1945, and in \nnegotiations with the Associated Broadcasting Corp. in December 1945, it\n acquired the rights to the name \"ABC\" from yet a third party. From June\n 1945 forward, the entity has been known generally as the American \nBroadcasting Company.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eWikipedia \u003c\/b\u003e notes on the birth of the American Broadcasting Company\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":31975228749,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975228813,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975228877,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC461_f73f3c15-f3f4-4674-bec5-00079d2aaf81.jpg?v=1487681891"},{"product_id":"pasc477","title":"BEECHAM The ABC Blue Network Concerts, Volume 3 (1945) - PASC477","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"ARIAL\"\u003e\u003cb\u003eMOZART  \u003c\/b\u003eSymphony No. 31\u003c\/span\u003e\u003cspan class=\"ARIALb\"\u003e\u003cb\u003e\u003cbr\u003eHANDEL-BEECHAM \u003c\/b\u003e Piano Concerto\u003c\/span\u003e\u003cspan class=\"ARIALi\"\u003e\u003cb\u003e\u003cbr\u003eCHABRIER\u003c\/b\u003e España\u003c\/span\u003e\u003cspan class=\"ARIALbi\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eLive broadcast on ABC\/Blue Network, 4pm, 21 April 1945\u003cbr\u003eTotal duration: 53:13\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003c\/p\u003e\u003cb\u003eSir Thomas Beecham, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eBlue Network Symphony Orchestra\u003c\/b\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: MusicWeb International \u0026amp; Audiophile Audition578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f At the fiery conclusion, the audience roar clearly expresses their recognition of a true “lollipop”578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe third volume of this series (\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2016\/Apr\/Beecham_ABC_PASC461.htm\"\u003eVolume 1\u003c\/a\u003e ~ \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2016\/Aug\/Beecham_ABC_v2_PASC470.htm\"\u003eVolume 2\u003c\/a\u003e)\n traces a congenial concert of Mozart, Handel and Chabrier that is all \nover well within the hour. The central work is that hyphenated and \nhyperbolic construction, the Handel-Beecham Piano Concerto. In this the \nBart has ransacked some memorable themes to stitch together a concerto \nof sorts, a vehicle for his new wife Betty Humby who here gives the work\n its first radio broadcast. The premiere had been given a little \nearlier, on 15 March 1944, again in New York. As Andrew Rose notes, \nBeecham and Humby recorded it in London the following year but he is not\n quite right in his dating. Most of the recording comes from January \n1945 but the \u003cem\u003eRomanza\u003c\/em\u003e was set down successfully in October of \nthat year (the then unpublished performance can now be found on Somm). \nThere are no huge interpretative differences in as slight a piece as \nthis, but it is noticeable that the very stately opening was tightened \nup a few months later in the London studio inscription. This charming \nwork, full of rococo trills and burnished romance, is graced by \nexcellent string playing – fully \u003cem\u003eaffetuoso\u003c\/em\u003e when called for - an\n especially fine first flautist, and a few minor digital derailments \nfrom Humby. As picked up by the microphone, her piano tone isn’t quite \ncentred in the balance; it tends to be a bit recessive.\u003cbr\u003e \u003cbr\u003e Beecham\n was still in his early-mid period approach to Mozart’s symphonies. \nHowever beautifully shaped some later recordings were, there was \nsometimes a hint of too-manicured phrase tapering. Here he takes the \u003cem\u003eParis\u003c\/em\u003e\n with all his accustomed vitality. His earlier LPO recording, which can \nbe found on Dutton and elsewhere, is full of the kind of swagger and \ndriving intensity that can be heard in this New York reading. The lower \nstrings shine, the forward tuttis register powerfully, and the elegant \nand Andante never drags. Elegance and trenchancy are held in perfect \nequipoise. As a bonus we hear one of his encore favourites, a piece he \nloved playing and recording – Chabrier’s \u003cem\u003eEspaña\u003c\/em\u003e. Deftly \nrhythmic and virtuosic it elicits voracious, applause which bulks up the\n playing time to precisely the 6:30 or so he took in his RCA reading. In\n New York he whipped up a quite different and more kinetic kind of \nstorm.\u003cbr\u003e \u003cbr\u003e On my review copy rogue discographic information \nrelating to a Rudolf Kempe disc has migrated to the back of the jewel \ncase, though this is presumably easy to correct. The engineering is fine\n and it’s always good to hear announcer Milton Cross adding period \nflavour to the proceedings.\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cem\u003eJonathan Woolf\u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003eMusicWeb International\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe concert by Sir Thomas Beecham and the “Blue Network Symphony \nOrchestra” of 21 April 1945 certainly assumes a more optimistic tone \nthan that which occurred as President Franklin Roosevelt had been laid \nto rest. The high energy of the occasion bursts forth immediately, with \nMozart’s 1778 \u003ci\u003eD Major “Paris” Symphony\u003c\/i\u003e, expressly conceived to parody the musical conceits of the day, such as the so-called \u003ci\u003epremier coup d’archet\u003c\/i\u003e,\n or the Parisian version of unison Mannheim rocket figures at a \nsymphonic opening. The addition of trumpets and tympani – and the \nclarinets – increases the often ceremonial pomp of the performance. \nThroughout the performance, Beecham emphasizes the suave grandeur Mozart\n controls in this, his largest symphonic structure in his oeuvre at the \ntime. The virtuoso syncopations of the last movement move with a lithe \nsuppleness that makes this rendition a worthy companion to Beecham’s \ncommercial endeavor with the Royal Philharmonic Orchestra.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBeecham himself arranged various Handel melodies and tropes to create the four-movement \u003ci\u003ePiano Concerto in A,\u003c\/i\u003e\n expressly for his new wife, Betty Humby. Handel emerges as a Romantic, \nhis textures lush and flavored by all sorts of nice touches between the \nkeyboard and the woodwinds, especially in the middle movement \u003ci\u003eRomanza\u003c\/i\u003e. The first movement \u003ci\u003eChaconne\u003c\/i\u003e exploits a bass pattern we know from Edwin Fischer’s early recording.  The \u003ci\u003eMenuet\u003c\/i\u003e movement, staid and\u003ci\u003e galant\u003c\/i\u003e,\n embodies the soul of aristocratic elegance. Despite the “popular media”\n version of Handel proffered by the Beechams, the effect has its moments\n of intimacy and elated fervor.  With the Finale’s glad spirits, we have\n a \u003ci\u003econcertante\u003c\/i\u003e pastiche of Handel pleasantry. Humby performs with\n a speed and lithe grace that suggest she would have been a natural \nacolyte of the Mendelssohn concertos.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBeecham called Chabrier’s \u003ci\u003eEspana\u003c\/i\u003e “the best of quasi-Spanish \nmusic yet written.” In one Leonard Bernstein’s Harvard lectures, he \npointed out the “poetic,” architectural and symmetrical features in \nChabrier’s brilliant scoring for this “Rhapsodie.” The Blue Network \nhorns and winds, as they had been in the Mozart, project a brisk, alert \nsonority, fresh and vivid, as tends to be Chabrier’s wont. At the fiery \nconclusion, the audience roar clearly expresses their recognition of a \ntrue “lollipop.” The restored sound by Andrew Rose raises the level of \nsonority well above anything like AM radio.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e—Gary Lemco\u003cbr\u003e\u003ca href=\"http:\/\/www.audaud.com\/beecham-abc-blue-network-concerts-vol-3-mozart-symphony-no-31-handel-piano-concerto-in-a-major-chabrier-espana-betty-humby-p-blue-network-sym-orch-sir-thomas-beecham-pristine-audi\/\" target=\"_blank\"\u003eAudiophile Audition\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC477.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThird of four newly-discovered broadcast concerts by Beecham at the nascent ABC in 1945\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"In New York he whipped up a quite different and more kinetic kind of storm\" \u003cbr\u003e- MusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eFollowing the hastily-arranged and sombre affair of Beecham's second \nBlue Network Symphony Orchestra concert (PASC470), his third engagement \nsaw something of a return to normal service, and some far more upbeat \ncommentary from Milton Cross than was heard at the Roosevelt Memorial \nConcert of Volume Two.\u003c\/p\u003e\u003cp\u003eOnce again we have a \"Handel-Beecham\" radio première, following on in\n this respect from the first concert (PASC461). This time the work was a\n Piano Concerto in A, with the soloist one Betty Humby, who two years \npreviously had become Lady Beecham when she married the conductor, some \n29 years her senior, before a police justice in Manhattan. Described by a\n reviewer as \"a straightforward arrangement of themes with the typical \nBeecham touch\", the musical duo had already made a studio recording of \nthe concerto in the January of 1945 with the London Philharmonic, one of\n a number of recordings Beecham made at the time which remained unissued\n for contractual reasons until copyright expired in the 1990s.\u003c\/p\u003e\u003cp\u003eAs with the previous volumes, sound quality from these 33rpm \ntranscription discs is on a par with good AM broadcasts, greatly \nassisted by XR remastering.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eMOZART \u003c\/b\u003e Symphony No. 31 in D major, \"Paris\", K297\u003cbr\u003e\u003cb\u003eHANDEL-BEECHAM \u003c\/b\u003e Piano Concerto in A major\u003cbr\u003e\u003cb\u003eCHABRIER\u003c\/b\u003e España, Rhapsodie pour orchestre \u003cbr\u003e\u003cbr\u003eLive broadcast on ABC\/Blue Network, 4pm, 21 April 1945\u003cbr\u003eRitz Theater, W. 48th Street,  New York City\u003cbr\u003eAnnouncer: Milton Cross\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBetty Humby, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eBlue Network Symphony Orchestra \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Thomas Beecham\u003c\/b\u003e, conductor\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC477.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC477.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":31975385421,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975385485,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975385549,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC477_186bcf9e-c83b-4ead-9796-e8e327f7438d.jpg?v=1487681896"},{"product_id":"pacm092","title":"ROSTROPOVICH Chamber Music, Vol. 2 (1948-56) - PACM092","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" type=\"_moz\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e String Trio No. 1\u003cbr\u003e\u003cb\u003eHANDEL\u003c\/b\u003e Larghetto from Sonata in D\u003cbr\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Stücke in Volkston Nos. 1 \u0026amp; 4\u003cbr\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Stimmungsbilder No. 2\u003cbr\u003e\u003cb\u003eSINDING\u003c\/b\u003e Presto from Suite im alten Stil \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cbr\u003eStudio Recordings · 1948-56\u003cbr\u003eTotal duration: 60:09 \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003eMstislav Rostropovich, \u003c\/b\u003ecello\u003cb\u003e\u003cbr\u003eLeonid Kogan, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eRudolf Barshai, \u003c\/b\u003eviola\u003cb\u003e\u003cbr\u003eVladimir Yampolsky, \u003c\/b\u003epiano \u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is great stuff! Strongly recommended578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis is great stuff! I’ll admit that for the first\n minute or so of the Beethoven Trio, recorded in Moscow in 1956 and \ntransferred from Melodiya ND 03458-03459, it sounds like the original \nrecording engineer was twiddling the knobs to try optimize the balance \nand aural perspective, because first the players sound distant, then \nclose up, then soft, and then loud. But once the sonic image settles \ninto a stable and comfortable place, the performance one is treated to \nis simply magnificent. Put three of the 20th century’s top Russian \nstring players—Leonid Kogan, Rudolf Barshai, and Mstislav \nRostropovich—together, and you were bound to have a surefire success. \nThe sharp definition and unanimity of articulation one hears in the \nplaying are simply amazing; and the up-tempo, intensely focused, and \nlyrical largesse of this reading—where the music calls for it—lend this \nearly work by Beethoven a stature it doesn’t always achieve in lesser \nhands.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis is not the same performance of the trio by \nthese three players that was recorded live in 1960 at the Prague Spring \nFestival, and which can be heard on a Supraphon CD. It is, however, the \nsame performance that was reviewed by William Zagorski in 16:3, when it \nwas released on Melodiya 10-00552. That review may be a bit confusing \nbecause it covers two separate CDs (the other being Melodiya 00550), \nwhich parses the material differently across the two discs than how it’s\n programmed on this Pristine release. But if you search out Pristine’s \ncompanion to this album, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRostropovich Chamber Music Volume 1\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n you’ll find some (not all) of the works included on the two Melodiya \nCDs. Unfortunately, I haven’t heard either of those discs, so I can’t \ntell attest to how they compare to this “XR” Pristine remastering, but I\n can attest to the phenomenal results Andrew Rose has achieved for this \nrelease.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe remainder of the program is given over to \nRostropovich and Vladimir Yampolsky in a sequence of excerpts from \nlarger works, recorded between 1948 and 1953. Three of them, of \ncourse—the Handel, Strauss, and Sinding—are arrangements for cello from \ntheir original instrumentation. The first movement of the Sinding Suite,\n a perpetual motion piece, originally for violin, is very effective on \ncello, and an excellent virtuoso vehicle for displaying Rostropovich’s \nimpressive technique.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis is a most enjoyable album, and another credit to Andrew Rose and his Pristine label. Strongly recommended. \u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJerry Dubins  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM092.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eMore brilliant and rare Soviet chamber music recordings by Rostropovich\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003cem class=\"bodymid\"\u003eBeethoven String Trio with Kogan \u0026amp; Barshai, plus short pieces by Handel, Schumann, R. Strauss \u0026amp; Sinding \u003c\/em\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eThe original records containing these recordings \nprovide an excellent example of the rapid progress made in recording \ntechnology with the advent of tape and the LP, with the \u003cem\u003eTrio\u003c\/em\u003e \nrecording a significant step forward from the sound of the earlier short\n pieces. The sound quality buried in those 1956 grooves in particular \nturned out to be astonishingly good when released by an XR remastering. \nCertainly it is only the mono source that now gives away the age of the \nrecording - though for most listeners I heartily recommend the Ambient \nStereo edition and the sense of space around the instruments this \ncreates.\u003cp class=\"western\"\u003eThe last-minute discovery of a 1993 Fanfare review \nanswers some questions regarding recording dates with Yampolsky, the \ninitial dullness of which has here been improved upon quite \nsuccessfully. Elsewhere the reviewer bemoans the incomplete nature of \nthese odd movements. I suspect the recordings were made to fit odd 78rpm\n sides and the works in question were never recorded in their complete \nforms. Regardless, they turn out to be older than I imagined, leaving me\n even more surprised at their inherent sound quality.\u003c\/p\u003e\u003cp class=\"western\"\u003eOne truly bizarre anomaly raised its head: in the \nfourth movement of the Beethoven a tape edit had been made where a few \nnotes had been spliced in backwards! Naturally this has now been \nremedied.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN String Trio No. 1 in E flat, Op. 3\u003c\/b\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eLeonid Kogan\u003c\/b\u003e violin\u003cbr\u003e\u003cb\u003eRudolf Barshai\u003c\/b\u003e viola\u003cbr\u003e\u003cb\u003eMstislav Rostropovich\u003c\/b\u003e cello\u003c\/p\u003e\n\u003cp\u003eRecorded Moscow, 1956\u003cbr\u003eTransfer from Melodiya ND 03458-03459\u003c\/p\u003e\n\u003cp class=\"bodybigblue\"\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cb\u003eHANDEL Violin Sonata in D, Op. 1, No. 13: 3rd mvt. - Largetto\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eSCHUMANN 5 Stücke im Volkston, Op.102: 1. Vanitas vanitatum: Mit Humor\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eSCHUMANN 5 Stücke im Volkston, Op.102: 4. Nicht zu rasch\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eR. STRAUSS Stimmungsbilder, Op.9: 2. An einsamer Quelle\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eSINDING Suite im alten Stil in A minor, Op. 10 - 1st mvt. - Presto\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMstislav Rostropovich\u003c\/b\u003e cello\u003cbr\u003e\u003cb\u003eVladimir Yampolsky\u003c\/b\u003e piano\u003c\/p\u003e\n\u003cp\u003eRecorded 1948 - 1953\u003cbr\u003eTransfer from Melodiya 33D-027827\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM092.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM092.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Fanfare Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cem\u003eRostropovich Chamber Music (Melodiya CD issue, 1992)\u003c\/em\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eFrom a Western perspective, the political events of the last couple \nof years are enough to make one's head spin. From an Eastern \nperspective, they have to be a whole lot more than that. Gosh, how I \nmiss Winston Churchill's wondrous “Iron Curtain.“ It so clearly defined \nwho the enemy was, and gave us all such a compelling sense of purpose. \nAs a product of the postwar McCarthy era, I was duly indoctrinated \nagainst the evils of Soviet Communism. It produced a grim, joyless, \ndour, cultureless society that was best gotten rid of—especially in \nlight of the fact that it was hell-bent on getting rid of us. I \ndutifully persisted in this politically correct mind-set until I \ndiscovered a few ancient and extraordinarily crude LPs released under \nthe imprimaturs of Coliseum and Bruno. They contained standard (and \nnot-so-standard) repertoire stuff performed by then largely unknown \nSoviet artists. Thus it was that I first heard David Oistrakh, Leonid \nKogan, Mstislav Rostropovich, Vladimir Yampolsky, Sviatoslav \nKnushevitsky, and Kiril Kondrashin. Those recordings were all “produced“\n by one Bruno G. Ronty, who, apparently, gained access to a number of \nbootleg Soviet LPs and used them as sources for the production of his \nown record line, hence the dismal sound— similar to hearing an LP that \nhad been pressed on wretched vinyl through a bad telephone connection. \n“How lousy Soviet recording is—“ I concluded;—“Yet another example of \nWestern supremacy and Soviet backwardness.“ On a couple of releases \nRonty proudly stated that no moneys from the sale of these records would\n ever reach their [evil] sources.\u003c\/p\u003e\u003cp\u003eOne of my prize Coliseum releases of that era is CRLP 179, containing\n a postwar recording of Lalo's Symphonie Espagnole (with the usually \nmissing Intermezzo) played by a then quite young David Oistrakh and \nseconded by Kiril Kondrashin—by all measures but sonic excellence, a \nfabulous recording.\u003c\/p\u003e\u003cp\u003eDuring the ensuing decades other Soviet releases reached the shores \nof New Jersey via more legitimate channels. A company called Connoisseur\n Record Corp., in Kearny, NJ, began to release a series of mono LPs from\n both the MK and Supraphon catalogs. Thus it was, as callow youth, that I\n first heard the Leningrad Philharmonic under Yevgeny Mravinsky in a \nperformance of Prokofiev's Sixth Symphony. I had never heard the piece \nbefore, and that performance (lovingly preserved in eminently decent \nsound on ALP-158) is, many years and many recordings later, still the \none by which I judge all others.\u003c\/p\u003e\u003cp\u003eSoviet recordings eventually penetrated the American market via \nseveral other Western companies—Monitor, EMI, and later CBS. In our \ndigital era, MCA has issued a number of releases, as has Sheffield Labs \n(see Fanfare 11:1, “Sheffield Goes to Moscow,“ by Peter Rabinowitz). A \nfew other releases reached our shores on Olympia, and I have in my \nlibrary one recording on Melodiya Australia (distributed by Allegro \nImports). Now, finally, with the collapse of the Soviet Union (and under\n the duress of having to raise hard currency), Melodiya is marketing its\n vast, varied, and often distinguished catalog on its own. As a fan of \ntheir work over the years, I wish them all the best.\u003c\/p\u003e\u003cp\u003eUpon examining these two offerings, I have a few minor, and I hope \nfairly innocuous, quibbles. Each box proudly states “Made in the USSR.“ \nIn fact, though the recordings and jewel box design are Russian, the CDs\n themselves were manufactured by American Helix. For a moment I thought \nthat Russia had a CD production facility, but no such luck. The \nmarketing strategy of Melodiya, as demonstrated here, is to exploit the \nWestern name recognition of the major artists involved—Rostropovich, \nGilels, Kogan, and (to aficionados of the art of accompaniment) \nYampolsky, are all, and have been, well-established figures for years. \nThis approach makes sense, but here it has been executed at the expense \nof repertoire considerations. On the first disc only two of Schumann's \nStücke im Volkston are given. Given performances of this quality, I \nwould have liked to hear the remaining three numbers. I feel it would \nhave been wiser to program the whole set at the expense of the \noverexposed Kinderscenen excerpt and the Sinding Presto. Likewise, on \nthe second disc, the Larghetto from Handel's Sonata in D, op. 1, No. 13,\n needs its companion movements in order to be a viable musical \nexperience.\u003c\/p\u003e\u003cp\u003eThe “star“ of these two releases is Mstislav Rostropovich. The first \ndisc covers his career from 1948 (the Sinding Presto) through 1953 (the \ntwo excerpts from Stücke im Volkston)—long before he had become an \ninternationally known figure. The second CD contains performances from \n1949 (the Chopin Introduction and Polonaise Brilliante) through 1956 \n(the Beethoven Trio for Violin, Viola, and Cello). Along the way one can\n partake of the outstanding work of a comparatively youthful Emil Gilels\n (forty years old in Beethoven's Trio, op. 97); Leonid Kogan (thirty-two\n years old in both the Beethoven Trios, op. 3 and op. 97), and of \nviolist Rudolf Barshai before the founding of his Moscow Chamber \nOrchestra. In all cases, the sound is eminently decent for its vintage.\u003c\/p\u003e\u003cp\u003eBeethoven's Trio No. 1 for Violin, Viola, and Cello in E♭, op. 3, and\n his “Archduke“ Trio, op. 97, are the two main events on these releases.\n All six movements of op. 3 are given equally robust and sensitive \nperformances—pointed, beautifully intoned, and informed with both \nvitality and a particularly Russian brand of whimsy. For once this piece\n of youthful (ca. 1786) Beethoven is given its due.\u003c\/p\u003e\u003cp\u003eThe “Archduke“ Trio, in the hands of Gilels, Kogan, and Rostropovich,\n receives an arching, ruminative, and noble reading. Phrases speak with \nan eloquence they seldom have in the hands of more modern, objective \nplayers. All elements—attack, dynamics, and tone color—are brought into \nplay and masterfully exploited in the making of an expansive, quietly \nheroic performance. This is the tradition that had already produced \nDavid Oistrakh and would eventually spawn Yuli Turovsky.\u003c\/p\u003e\u003cp\u003eThe other pieces, despite their modest dimensions, or overall worth, \nare all done as if they are the musical end of the world. Of special \nnote is the Villa-Lobos Prelude from Bachiana Brassileira No. 1—here \ngiven an intensely dark, brooding, and Russianly manic reading.\u003c\/p\u003e\u003cp\u003eAs I stated above, the sonics on these two releases are, by Western \nstandards, fine for their respective ages. To anyone familiar only with \nthose old Coliseum and Bruno releases, these samples of \nlate-1940s-through mid-1950s Soviet recording will prove, in this CD \nincarnation, astonishing. To those familiar with subsequent Soviet \nreleases distributed in the West, these offerings will be more than \nmerely technically competent—they will prove to be musically satisfying.\u003c\/p\u003e\u003cp\u003eI hungrily await future releases.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eReview by William Zagorski\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 16:3 (Jan\/Feb 1993) of \u003cem\u003eFanfare\u003c\/em\u003e Magazine.\u003cbr\u003eThe recordings referred to include those on this release and those on PACM090\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":37144245581,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37144245773,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37144245965,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37144246285,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM092_00fa38d8-a0d0-41cd-8b1d-cd9c3c63ba70.jpg?v=1494337649"},{"product_id":"pacm092-cd","title":"ROSTROPOVICH Chamber Music, Vol. 2 (1948-56) - 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PASC492","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \n\n\n\n\u003c\/p\u003e\u003cspan style=\"mso-bidi-font-weight:normal\"\u003e\u003cspan lang=\"EN-US\"\u003e\u003cb\u003eBERLIOZ\u003cspan style=\"mso-spacerun:yes\"\u003e  \u003c\/span\u003e\u003c\/b\u003eRoman Carnival Overture\u003c\/span\u003e\u003c\/span\u003e\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cspan style=\"mso-bidi-font-weight:normal\"\u003e\u003cspan style=\"mso-ansi-language:FR\" lang=\"FR\"\u003e\u003cb\u003eWAGNER\u003cspan style=\"mso-spacerun:yes\"\u003e  \u003c\/span\u003e\u003c\/b\u003eParsifal Act I Transformation Music\u003cbr\u003e\u003cb\u003eWAGNER\u003cspan style=\"mso-spacerun:yes\"\u003e  \u003c\/span\u003e\u003c\/b\u003eSiegfried Idyll\u003cbr\u003e\u003cb\u003eMOZART\u003cspan style=\"mso-spacerun:yes\"\u003e  \u003c\/span\u003e\u003c\/b\u003eLe\nNozze di Figaro – Overture\u003cbr\u003e\u003cb\u003eMOZART\u003cspan style=\"mso-spacerun:yes\"\u003e  \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003eEine Kleine Nachtmusik\u003cbr\u003e\u003cb\u003eHANDEL\u003cspan style=\"mso-spacerun:yes\"\u003e  \u003c\/span\u003e\u003c\/b\u003eConcerto Grosso In B Minor\u003cbr\u003e\u003cb\u003eWEBER\u003cspan style=\"mso-spacerun:yes\"\u003e  \u003c\/span\u003e\u003c\/b\u003eDer Freischütz – Overture\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003e\n\n\u003c\/p\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio recordings, 1923-38\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eTotal duration: 72:28\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eB\u003c\/b\u003e\u003cb\u003eruno Walter, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eBerlin Philharmonic Orchestra\u003cbr\u003eRoyal Philharmonic Orchestra\u003cbr\u003eMozart Festival Orchestra\u003cbr\u003eBritish Symphony Orchestra\u003cbr\u003eParis Conservatoire Orchestra\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fEnthusiastically recommended to all fellow Walterians578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHistoric reissue labels such as Pristine Audio \noften issue certain releases solely as a labor of love or for singular \ndocumentary value, knowing that their efforts will often be rewarded \nwith but a handful of sales. But one must especially admire Andrew Rose \nand Mark Obert-Thorn for going ahead with this release, which despite \nits merits may not even break into double digits for purchases of it. \nThe contents are a true odds-and-ends miscellany of performances by \nBruno Walter, with the mix containing two items of particular \nimportance.   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe first of these is the 1923 recording of Berlioz’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe carnaval romain Overture\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n which was overlooked when Pristine previously issued three CDs of \nWalter’s acoustics. Within the severe sonic limitations of its vintage \nit is a fine performance, and reminds one of just what an insightful \nconductor of Berlioz Walter was. Beyond that, however, this release \nmarks a historic milestone; excepting a possible separate acoustic \nrecording of the scherzo from Tchaikovsky’s “Pathétique” (it is \ngenerally presumed, but not certain, that it was recycled into the \ncomplete recording of the symphony that Walter made shortly thereafter),\n every officially released studio recording made by Walter has now been \nissued on CD. Ideally, I might wish that Pristine would have reissued \none of the first two discs in this series with this overture added \nin—there would be space for it on either one—but given that except for \nPristine’s doughtiness several of Walter’s acoustics would not be \navailable on CD, I’m not looking a gift horse in the mouth.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe other especially noteworthy item is the first-ever release of a recording of the overture to Mozart’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe nozze di Figaro \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ethat Walter made in Paris (with the Paris Conservatory Orchestra under a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003enom de plume\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e)\n in 1928. It originally was to have been a filler to what was planned as\n seven sides for a recording of Schumann’s Symphony No. 4, but when that\n took up eight sides on its own instead, plans to issue the overture \nwere scrapped. This one pressing is known to have survived, and a \npersonal background story goes with it. Over 30 years ago, it popped up \nfor sale in the hands of the well-known British record dealer Raymond \nGlaspole, with whom I was briefly in contact at that juncture. The \nasking price for such a rarity was far beyond my means then, as a \ntypical financially hand-to-mouth graduate student. I wrote him to ask \nif by any chance he could run off a cassette copy of the disc for me \nbefore selling it, and he most kindly did so. I’ve had that cassette in \nmy private collection ever since, hoping that at some point its contents\n might see the light of day more generally, and lo and behold the disc \nitself has now resurfaced to that end. I have never forgotten that \nexceptional gesture of gracious generosity. I see that Mr. Glaspole is \nstill alive and active, with his own website; I hope that this review \nwill come to his attention, so that he can once again accept my \nexpression of deep appreciation.   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe remaining contents of this release were chosen\n simply because they are among Walter’s more scarce recordings in terms \nof circulation, both on 78s and CDs. In his accompanying notes to this \nrelease, Obert-Thorn expresses “a particular affection” for this, the \nfirst of Walter’s four studio recordings of the Mozart Serenade (three \nlive performances are also extant). I do not share that inclination, and\n rank this rendition far below the conductor’s 1936 Vienna remake and \nthe live accounts from Stockholm (1950) and San Francisco (1954). In my \nreview back in 40:3 of Pristine’s release of Walter’s complete acoustics\n for Columbia, I provided a list of his 13 surviving performances of \nWagner’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSiegfried Idyll\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (more than for any other work in his repertoire), six studio and seven \nlive. There, based on my EMI Japan issue, I gave the timing for this \n1926 rendition as 17:34; in Obert-Thorn’s remastering here it is only \n17:03. As I trust Obert-Thorn’s work implicitly I’m confident he and not\n EMI Japan is correct; even so, it still ranks among the slowest of the \nconductor’s traversals of the score, especially relaxed and sunny. While\n it is not about to displace the 1953 New York Philharmonic studio \naccount as the finest version by Walter (or by anyone ever, for that \nmatter), it is very much worth having in its own right. The 1925 act I \nTransformation Scene from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eParsifal\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n was originally a filler side to the act I Prelude; Walter rerecorded \nall four sides just two years later, along with an orchestral \narrangement of Klingsor’s Magic Garden and the Flower Maidens’ Music \nfrom act II. Why remains a mystery to me, as the sound is not \nappreciably better, and the earlier interpretation is to my mind \nsuperior; but the latter set immediately displaced the earlier one. \nSince the 1925 recording of the Prelude was issued on CD by VAI (albeit \nalmost 20 years ago), Rose and Obert-Thorn elected to include only this \nfiller side here and save the extra space for a different Walter rarity.\n   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWalter did keep a handful of Baroque pieces in his\n active repertoire: Corelli’s “Christmas” Concerto (recorded in the \nstudio in 1938, with three live performances also surviving from 1939, \n1947, and 1948), Handel’s Concerto grosso op. 6\/6 (preserved in a 1940 \nNBC Symphony broadcast), and the 1938 studio version of the Concerto \ngrosso, op. 6\/12, presented here. Interpretively it is a forward looking\n account for its time, with lively tempos and, remarkably, use of \nharpsichord continuo (most likely but not certainly played by Walter \nhimself). The disc closes with Walter’s 1938 Paris remake of the \nOverture to Weber’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDer Freischütz\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n of which he originally made an acoustic recording in London early in \n1925 (a live 1950 performance with the Los Angeles Standard Symphony \nalso survives). Whereas the earlier London account is spread over three \nsides and requires a fairly typical 10-plus minutes to traverse, this \nrendition was issued on only two sides and comes in at a \nhell-for-leather 8:51. The orchestral playing is somewhat scrappy, but \nit’s an exciting if wild ride.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs always, Obert-Thorn’s transfers are exemplary. \nWhile this disc will by its nature only interest the most avid Walter \nenthusiasts, I hope that there are a sufficient number of those reading \nthese pages who will order a copy and make this venture unexpectedly \nworthwhile financially for proprietor Rose. Enthusiastically recommended\n to all fellow Walterians. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJames A. Altena  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\n      \n    \n  \n  \u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003eThis article originally appeared in Issue 40:6 (July\/Aug 2017) of \u003ci\u003eFanfare\u003c\/i\u003e Magazine.\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC492.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    While the first volume in this series (PASC 452) focused on Bruno Walter’s\n    American years, here we turn the clock back to his pre-war European\n    recordings. Like that earlier release, the emphasis is on presenting items\n    which have had scant, if any, CD availability. Many of the selections here\n    have been reissued in Japan and some in France, in releases that have had\n    spotty availability elsewhere. One performance is published here for the\n    first time.\n\u003c\/p\u003e\u003cp\u003e\n    The \u003cem\u003eRoman Carnival\u003c\/em\u003e Overture, one of Walter’s earliest recordings,\n    was inadvertently omitted from Pristine’s two volumes of his acoustic\n    Polydors (PASC 142 and PASC 342), and presents a work to which he would not\n    subsequently return in the studio. The \u003cem\u003eParsifal\u003c\/em\u003e excerpt comes from\n    a mere two years later; yet, the difference between the old acoustic\n    process and the new electrical technology makes it seem like an eon has\n    passed.\n\u003c\/p\u003e\u003cp\u003e\n    The \u003cem\u003eSiegfried Idyll\u003c\/em\u003e dates from the following year, and again the\n    sonic comparisons between this and the acoustic version Walter made two\n    years earlier with the same ensemble (on PASC 482) are striking. By this\n    time, Columbia was apparently imposing a four-minute limit to its\n    twelve-inch sides; and the same work which took up four sides in 1924 now\n    had to be spread over five. Perhaps because of this – or because of the\n    obtrusive swish which plagues the end of the first side – the recording was\n    never issued outside the USA. Oddly, despite the additional room to spread\n    out, the recording is notably faster than the four-sided acoustic version\n    (17:03 vs. 17:35, not including post-track spaces).\n\u003c\/p\u003e\u003cp\u003e\n    The next selection is a souvenir of a highly successful Mozart opera\n    festival that Walter led in Paris in June, 1928. Several recordings were\n    made with the “Mozart Festival Orchestra” (which was in fact the Paris\n    Conservatoire ensemble, perhaps renamed for contractual reasons), but only\n    two were released: the overture to \u003cem\u003eDie Zauberflöte\u003c\/em\u003e and, oddly,\n    Schumann’s Fourth Symphony. Two other overtures were recorded, probably\nintended to be coupled on a single disc:    \u003cem\u003eDie Entführung aus dem Serail\u003c\/em\u003e and \u003cem\u003eLe Nozze di Figaro\u003c\/em\u003e.\n    While no trace has turned up of the former, the latter has survived on a\n    unique shellac test pressing, which was used for the present transfer. It\n    makes its first appearance here.\n\u003c\/p\u003e\u003cp\u003e\n    \u003cem\u003eEine Kleine Nachtmusik\u003c\/em\u003e\n    was one of a series of recordings Walter made with the British Symphony\n    Orchestra, an ensemble created by returning veterans of the Great War. I’ve\n    always had a particular affection for this version, both because of the\n    quirky \u003cem\u003eLuftpause\u003c\/em\u003e Walter introduces after the opening phrase and\n    its repeats (an affectation he dropped in later recordings), and because of\n    the gusto with which the players attack the closing measures of the finale.\n\u003c\/p\u003e\u003cp\u003e\n    By the spring of 1938, Walter had settled in Paris after escaping Vienna\n    during the \u003cem\u003eAnschluss\u003c\/em\u003e. He made a series of recordings there with\n    the Conservatoire Orchestra, including the Handel and Weber works which\n    close our program. The Handel is noteworthy in its inclusion of a\n    harpsichord continuo, something not yet the norm at that time. Walter had\n    previously recorded the Weber overture acoustically, spread over three\n    sides (on PASC 482). Perhaps due to the time limits of the two sides he was\n    now allotted, the remake is nearly a minute and a half faster, and gains in\n    breathtaking excitement.\n\u003c\/p\u003e\u003cp\u003e\n    \u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    1 \u003cstrong\u003eBERLIOZ: Roman Carnival Overture, Op. 9 \u003c\/strong\u003e (8:44)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eBerlin Philharmonic Orchestra\u003c\/strong\u003e\u003cbr\u003eRecorded 28 \u0026amp; 30 August or 8\/9 October 1923 in Berlin\u003cbr\u003eMatrices: 80 az and 81 ½ az (Grammophon\/Polydor 69588)\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    2 \u003cstrong\u003eWAGNER: Parsifal – Act I Transformation Music\u003c\/strong\u003e (4:40)\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003eRoyal Philharmonic Orchestra\u003c\/strong\u003e\u003cbr\u003eRecorded 25 November 1925 in the Columbia Petty France Studios, London\u003cbr\u003eMatrix: WAX 1170-2 (English Columbia L 1745)\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    3 \u003cstrong\u003eWAGNER: Siegfried Idyll\u003c\/strong\u003e (17:12)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eRoyal Philharmonic Orchestra\u003c\/strong\u003e\u003cbr\u003eRecorded 19 November 1926 in the Scala Theatre, London\u003cbr\u003eMatrices: WRAX 2180-1, 2181-2, 2182-1, 2183-2 and 2184-2 (American Columbia\n    67317\/19-D in Set 68)\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    4 \u003cstrong\u003eMOZART: Le Nozze di Figaro, K492 – Overture\u003c\/strong\u003e (4:03)\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003eMozart Festival Orchestra\u003c\/strong\u003e\u003cbr\u003eRecorded 14 June 1928 in Paris\u003cbr\u003eMatrix: WAX 3844 (Previously unpublished)\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e\n        MOZART: Serenade No. 13 in G major, ‘Eine Kleine Nachtmusik’, K525\n    \u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    5 Allegro (3:54)\u003cbr\u003e6 Romanza (4:53)\u003cbr\u003e7 Menuetto (2:22)\u003cbr\u003e8 Rondo (3:59)\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003eBritish Symphony Orchestra\u003c\/strong\u003e\u003cbr\u003eRecorded 21 May 1931 in Central Hall, Westminster, London\u003cbr\u003eMatrices: WAX 6104-2, 6105-3, 6106-2 and 6107-1 (English Columbia LX 144\/5)\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eHANDEL: Concerto Grosso in B minor, Op. 6, No. 12 (HWV330)\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    9 Largo (2:29)\u003cbr\u003e10 Allegro (3:43)\u003cbr\u003e11 Larghetto e piano (4:17)\u003cbr\u003e12 Largo (0:58)\u003cbr\u003e13 Allegro (2:23)\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003eParis Conservatoire Orchestra\u003c\/strong\u003e\u003cbr\u003eRecorded 17 May 1938 in the Théâtre Pigalle, Paris\u003cbr\u003eMatrices: 2LA 2393-2, 2394-2, 2395-2 and 2396-2 (HMV DB 3601\/2)\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    14 \u003cstrong\u003eWEBER: Der Freischütz, Op. 77 – Overture\u003c\/strong\u003e (8:51)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eParis Conservatoire Orchestra\u003c\/strong\u003e\u003cbr\u003eRecorded 9 May 1938 in the Théâtre Pigalle, Paris\u003cbr\u003eMatrices: 2LA 2531-1 and 2532-1 (HMV DB 3554)\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eBruno Walter (conductor)\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n    \u003cbr\u003eProducer and Audio Restoration Engineer: \u003cb\u003eMark Obert-Thorn\u003c\/b\u003e\u003cbr\u003eSpecial thanks to \u003cb\u003eRichard A. Kaplan\u003c\/b\u003e and \u003cb\u003eDavid Schmutz\u003c\/b\u003e for providing source\n    material\n\u003c\/p\u003e\u003cp\u003e\n    Total Timing: \u003cb\u003e72:30\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC492.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC492.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":38674412557,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 320kbps MP3","offer_id":38674412621,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC492.jpg?v=1496234065"},{"product_id":"pasc492-cd","title":"WALTER Rarities, Volume Two (1923-1938) - PASC492 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":32418882637,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":32418882701,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC492_c563a720-82c3-4013-85d0-650f9db15c52.jpg?v=1658744200"},{"product_id":"pasc378","title":"MENGELBERG in New York: Overtures and Short Works (1928-30) - PASC378","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eVARIOUS COMPOSERS \u003c\/b\u003eA selection of shorter works\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eStudio recordings, 1928-1930\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 72:54 \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003eWillem Mengelberg, \u003c\/b\u003econductor\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe Magic Flute Overture is brilliantly played, the Egmont Overture, likewise...578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn March 1928, Walter Damrosch’s New York City \nSymphony Orchestra, plagued by financial problems, was absorbed by the \nrival New York Philharmonic. Several of its players were auditioned by \nthe Philharmonic and among the ones who made the cut was a violinist \nnamed Winthrop Sargeant, who went on to be a music critic for \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe New Yorker\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Willem Mengelberg had been conducting the Philharmonic for several \nyears, recently as co-conductor with Arturo Toscanini. Years later, in \nhis book, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGeniuses, Goddesses, and People\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (New York, 1949), Sargeant, presumably with his tongue in his cheek, \ndescribed Mengelberg’s rehearsal technique: “For about a decade he had \nbeen the Philharmonic’s supreme master. And he had been proud of his \norchestra. With an apoplectic temperament that matched his red hair, and\n a meticulous Teutonic regard for system and technical detail, he had \nwhipped the orchestra into a state of efficiency that had made it a \nworthy rival of Stokowski’s Philadelphia Orchestra and Koussevitsky’s \nBoston Symphony. Mengelberg was by nature an academician—a man of rules \nand regulations. He had an endless fund of very sound and very pedantic \ntheories on how to train a symphony orchestra. He measured every breath \nand bowstroke with finicky precision. With the help of long lectures \ndelivered in a unique dialect of Holland English, he explained the \nvarious systems of bowing and blowing by which he reduced the orchestra \nto a well-oiled machine. ‘Vy do you make ‘doo-doo’ ven I tell you to \nmake ‘too-too?’ he would admonish a careless trumpet player. When the \ntrumpet player obligingly made ‘too-too,’ he would grunt with \nsatisfaction. ‘Now you make more like the Concertgebouw in Amsterdam,’ \nhe would remark proudly. ‘The too-too system iss werry important.’”  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003e“Mengelberg talked interminably. He often took up \nso much time orating about fascinating details that he had to call extra\n rehearsals in order to get a symphony thoroughly polished. He could \nhardly conduct two successive measures of music without stopping the \nwhole orchestra to deliver a lecture. Many of his lectures were very \nelementary, and they were incessantly repeated. ‘Chentlemen,’ he would \nsay at the beginning of a rehearsal, while the orchestra listened \ndutifully, ‘Chentlemen, goot \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eorchesterspielen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e’ (this was the polar opposite in the Mengelbergian philosophy from ‘badt \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eorchesterspielen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e’) ‘goot \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eorchesterspielen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, dat vill say you must not somewhiles look auf der balcony, und sometimes auf der ladies in der owdience. No! Goot \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eorchesterspielen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n dat vill say you vill look always auf der condooctor.’ And with a smart\n slap on his own chest and a slight rush of blood to his head, he would \nconclude, ‘und I am der condooctor.” With this emphatic statement, he \nwould raise his baton and the Philharmonic would prepare to play. The \nviolinists would place their bows on the strings in readiness; the wind \nplayers would inhale for the coming blast. Mengelberg would seem about \nto give the signal—and then he would suddenly think of something else to\n say. The baton would fall again, the violinists would place their \nfiddles in their laps, the wind players would exhale their wasted \nbreath, and everybody would settle back in his chair. ‘I do not like \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eschimpfen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (scolding),’ he would continue. ‘I am not like odder condooctors. I do \nnot make so’—here he would imitate the gestures of what he imagined to \nbe the gestures of some of his famous colleagues—‘und so, und so. No! I \nmake chust so!’—and here he would illustrate his typically Mengelbergian\n beat. A dissertation on the superiority of the Mengelbergian system \nwould follow. It would sometimes be half an hour before the Philharmonic\n started to rehearse and then it would rehearse in driblets interspersed\n with similar lectures on ‘goot’ and ‘badt \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eorchesterspielen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,’ and how ‘goot \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eorchesterspielen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e must can play loudt’ and also ‘must can play soft,’ and so on.”  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003e“…By the time Mengelberg had thoroughly rehearsed a\n maneuver, the Philharmonic could carry it out automatically by itself. \nAt concerts, the well-oiled machine ran faultlessly under its own power.\n Mengelberg merely stood at the controls, pressing an occasional button.\n The result was that the Philharmonic had become, if not the most \ninspired, at least the most spectacularly well-trained orchestra in \nAmerica. And though they had occasionally wearied of his incessant \nharping on theoretical platitudes, the Philharmonikers had developed a \ndeep respect for Mengelberg. He was the man who had made them what they \nwere.”  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIf the lectures on “gut” and “badt \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eorchesterspielen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e”\n are, in part, responsible for the parade of delights that is this CD, \nit was worth the Philharmonic’s suffering. The performances of \n18th-century music are unburdened by musicological considerations but no\n less charming for that; nowadays, no one would be likely to milk the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAir for the G String\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e the way Mengelberg does. Aside from some oddly unbalanced wind chords, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Magic Flute\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e Overture is brilliantly played, the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEgmont\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Overture, likewise. When my class graduated from grade school, we \nmarched up and down the aisle to the “War March of the Priests.” Like \nevery other performance I’ve heard, Mengelberg’s is more sprightly than \nsolemn. If you had taken a poll of opera-goers in 1880, the year of \nOffenbach’s death, and asked them whose music would hold the stage in \n130 years, Meyerbeer’s or Offenbach’s, I am sure that Meyerbeer would \nhave been the overwhelming choice. Well, here we are in 2013 and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTales of Hoffmann, Orpheus in Hades, La belle Hélène\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa Périchole\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, among others, are still performed; in fact, there are probably more performances per year of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTales of Hoffmann\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e alone than there are of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eL’Africaine, Les Huguenots\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe Prophète \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eput together. What survives of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe Prophète\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is its majestic “Coronation March” (Mengelberg’s can swagger with the \nbest of them) and some of the pieces from the opera’s ice-skating scene,\n thanks to Frederick Ashton’s ballet, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLes Patineurs\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n The excellent sound of “Forest Murmurs” won’t surprise anyone who knows\n it was recorded at the same session that produced Mengelberg’s amazing \n1928 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEin Heldenleben\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, which still sounds good today. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSiegfried\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n excerpt receives a performance that’s as good as anybody’s, and \nfeatures particularly sensitive wood wind playing. I’d prefer a slower \ntempo in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHänsel und Gretel \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture\n but it’s certainly a well-polished performance. Like the Beethoven and \nMozart overtures, it was recorded in Liederkranz Hall, a smaller, \ndrier-sounding auditorium than Carnegie Hall. The producer, Mark \nObert-Thorn, has added a discreet touch of resonance to mask this. The \nexcellent collection concludes with a lively but refined \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOmphale’s Spinning Wheel\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Mengelberg made previous and later recordings of a few of these pieces \nbut, as the producer notes, “the bulk of these selections are unique to \nhis discography.” \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 37:1 (Sept\/Oct 2013) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC378.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eMengelberg in New York: an arresting pot-pourri collection of recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eMark Obert-Thorn compiles a diverse collection of superb studio performances from 1928-30\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThe present volume offers a wide range of Mengelberg’s repertoire, from the Baroque, Classical and Romantic eras in the one- or two-disc releases of overtures and short works that were a staple of the 78 rpm era. Some of them Mengelberg had previously recorded acoustically with the New York Philharmonic (Mendelssohn and Saint-Saëns), while others had already received electrical recordings with his other orchestra, the Concertgebouw in Amsterdam (the Beethoven and the first two movements only of the J. C. Bach). However, aside from re-recording the Beethoven and J. S. Bach items (the latter in a different arrangement), Mengelberg never returned to the other works in the studio, making the bulk of these selections unique to his discography.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe earliest recording featured here is the Wagner, done at the tail end of Mengelberg’s sessions for Ein Heldenleben in December, 1928. Much of the rest of the present release was done over two days’ worth of sessions the following month. The remaining items were recorded a year later, along with his recordings of the Beethoven First and Eroica Symphonies just before he left New York, never to return.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe sources used for the present transfers were vinyl test pressings for the Handel; American Victor “Z” pressings for the J. S. Bach, J. C. Bach, Mendelssohn and Meyerbeer items; and pre-war Victor “Gold” label pressings for the remainder. The discs have a comparatively high degree of hiss inherent in the original recordings, present even on the quietest sources. In addition, the 1930 recordings were made with reduced forces in Liederkranz Hall, a smaller and presumably cheaper-to-rent venue than Carnegie, which RCA used for the orchestra after the onset of the Depression late in 1929. I have added a small amount of digital reverberation to these acoustically dry sides in order to better integrate the sound with the remaining items.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eHANDEL \u003c\/strong\u003e(arr. Göhler) Alcina – Suite\u003cspan class=\"bodymidarial\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 16 January 1929 in Carnegie Hall, New York \u003cbr\u003e Matrix nos.: BVE 48910-2, 48911-1, 48912-2 and 48913-4\u003cbr\u003e First issued on Victor 1435 and 1436\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eJ. S. BACH\u003c\/strong\u003e (arr. Mahler) Air (from Suite No. 3 in D major, BWV 1068) \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 16 January 1929 in Carnegie Hall, New York \u003cbr\u003e Matrix no. CVE 48914-3 \u003cbr\u003e First issued on Victor 7484\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eJ. C. BACH \u003c\/strong\u003e(arr. Stein) Sinfonia in B-flat major, Op. 18, No. 2\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cstrong\u003e\u003cspan class=\"body\"\u003eBruno Labate\u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003e solo oboe (II)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e \u003cbr\u003e Recorded 16 January 1929 in Carnegie Hall, New York \u003cbr\u003e Matrix nos. CVE 48907-3, 48908-2 and 48909-1 · \u003cbr\u003e First issued on Victor 7483 and 7484\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMOZART \u003c\/strong\u003eDie Zauberflöte – \u003cem\u003eOvertur\u003c\/em\u003e\u003cem\u003ee\u003c\/em\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 14 January 1930 in Liederkranz Hall, New York \u003cbr\u003e Matrix nos. BVE 58189-2 and 58190-2\u003cbr\u003e First issued on Victor 1486\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Egmont – \u003cem\u003eOverture\u003c\/em\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 14 January 1930 in Liederkranz Hall, New York \u003cbr\u003e Matrix nos. CVE 58191-1 and 58192-1 \u003cbr\u003e First issued on Victor 7291\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMENDELSSOHN \u003c\/strong\u003eAthalie, Op. 74 – \u003cem\u003eWar March of the Priests\u003c\/em\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 16 January 1929 in Carnegie Hall, New York \u003cbr\u003e Matrix no. CVE 48906-1 \u003cbr\u003e First issued on Victor 7104\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMEYERBEER \u003c\/strong\u003eLe Prophète – \u003cem\u003eCoronation March\u003c\/em\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 15 January 1929 in Carnegie Hall, New York \u003cbr\u003e Matrix no. CVE 48903-1 \u003cbr\u003e First issued on Victor 7104\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eWAGNER \u003c\/strong\u003eSiegfried – \u003cem\u003eForest Murmurs\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 14 December 1928 in Carnegie Hall, New York \u003cbr\u003e Matrix nos. CVE 47935-3 and 47936-2 \u003cbr\u003e First issued on Victor 7192\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cstrong\u003eHUMPERDINCK\u003c\/strong\u003e \u003c\/strong\u003eHansel und Gretel – \u003cem\u003eOverture\u003c\/em\u003e \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 14 January 1930 in Liederkranz Hall, New York \u003cbr\u003e Matrix nos. CVE 58193-1 and 58194-2 \u003cbr\u003e First issued on Victor 7436 \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSAINT-SAËNS\u003c\/strong\u003e Le Rouet d’Omphale, Op. 31\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 15 January 1929 in Carnegie Hall, New York \u003cbr\u003e Matrix nos. CVE 48904-2 and 48905-1 \u003cbr\u003e First issued on Victor 7006\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e Philharmonic-Symphony Orchestra of New York\u003cbr\u003e Willem Mengelberg \u003c\/strong\u003econductor\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003e Cover artwork based on a photograph of Willem Mengelberg\u003c\/p\u003e\u003cp\u003eTotal duration: 72:54 \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC378.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC378.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":34192265741,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34192265805,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC378.jpg?v=1489682248"},{"product_id":"pasc378-cd","title":"MENGELBERG in New York: Overtures and Short Works (1928-30) - PASC378 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478173901,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478173965,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC378_910d26c6-5b93-480b-8ebe-14bf51110c33.jpg?v=1658309155"},{"product_id":"pasc383","title":"OSSY RENARDY The Complete Columbia Recordings (1938\/39) - PASC383","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eVARIOUS COMPOSERS\u003c\/b\u003e Short pieces\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e \u003c\/strong\u003e\u003cspan style=\"font-size: 10px;\"\u003eStudio recordings, 1938-39\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 73:53 \u003c\/span\u003e\u003cbr\u003e\u003cb\u003eOssy Renardy \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eWalter Robert \u003c\/b\u003eand \u003cb\u003eLeo Taubman \u003c\/b\u003epiano\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fA flexible, insightful stylist as well as an impressive technician. Urgently recommended. 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003ePristine’s insert provides the dates (all in 1938 \nand 1939, when the self-taught Ossy Renardy—Oskar Reiss—hadn’t even \nreached the age of 20), the matrix numbers, and Columbia’s original \ncatalog numbers for the pieces in its collection. Mark Obert-Thorn made \nthe transfers, from “first edition ‘Full-Range’ label Columbia shellacs”\n and, in the case of Dvořák’s Sonatina and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSlavonic Dance\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n from a “pre-war ‘Gold’ label set;” the 78s appear here in their \nentirety, according to the notes, for the first time since their \noriginal release.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eCorelli’s Sonata in E Minor represents Renardy’s \nrecording debut; he deploys from its very first notes a tone of \ncommanding vibrancy. That tone and his crisp trills in the first \nmovement, his architectural sense in the second, his natural lyricism in\n the third, and his stately elegance in the Finale raise the performance\n above the level of mannered romanticism in pre-historical readings of \nthe works. Renardy’s reading of Giovanni Benedetto Platti’s Sonata in E \nMinor (possibly a flute sonata, arranged by Philipp Jarnach), with \nWalter Robert as pianist—as he would be in the rest of the Columbia \nrecordings—displays a similar warmth and refinement in the slow \nmovement. In Carl Flesch’s arrangement of a movement from Handel’s Te \nDeum, Renardy rises above the ponderous, glowing on the G-string and \nplaintive in the upper registers.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eRenardy takes a brisk tempo in the opening \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro molto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e of Schubert’s Sonata No. 1, but that doesn’t prevent him from oozing \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGemütlichkeit\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n from every one of the music’s pores. He fashions a similarly \nsympathetic reading of the slow movement without kneading the middle \npassages’ tempos; and his flashing quicksilver in the running rapid \nnotes makes the finale seem very brilliant indeed, even though he \ndoesn’t deploy electrifyingly crisp off-the-string bowings elsewhere in \nthe movement. Renardy recorded only the last two movements of the \ncomposer’s Sonata No. 3—arguably a more developed work—bringing to the \nFinale an irresistible lyricism. The violinist’s recording of Paganini’s\n Sonata, op. 3\/6—sparkling in its second movement, with bright \npassagework in the upper registers featuring brilliant, even, left-hand \npizzicatos—has appeared in Sony’s release on CD of early recordings by \nRenardy and Michael Rabin.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe recorded sound in Dvořák’s Sonatina seems even\n more immediate than the generally quiet though vibrant transfers that \nprecede it in the program. Renardy seems to have had an affinity for the\n composer, in a redolent yet commanding reading of the first movement, a\n throbbing, nostalgic (yet not mannered) one of the second, a starchy \none of the third, and a strutting one of the Finale’s march-like \nsections. The rhythmic vitality of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSlavonic Dance\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e’s double-stopped sections creates an impression of breath-bating virtuosity. Willy Burmester’s confection, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eViennese Serenade\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n seems charming—a description few have given his works in recent \nyears—and Renardy makes it easy to understand why they once enjoyed such\n a wave of popularity. Franz von Vecsey’s Caprices have also been \nlargely forgotten (Ruggiero Ricci and others have resurrected \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe Vent\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e), but it sounds positively effervescent in Renardy’s reading.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003ePablo Sarasate’s ethnic compositions also appeared\n in Sony’s collection (with transfers by Andreas Meyer); but for \nPristine, Mark Obert-Thorn has produced a more noise-free, \nsqueaky-clean, and three-dimensional representation of Renardy’s \ninstrument. In \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdios, montañas mias\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, Renardy smolders more darkly than does David Oistrakh (Oistrakh’s reading makes the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ezortzico\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n seem more like a bonbon by Fritz Kreisler). It’s probably not necessary\n to repeat, once again, the difference in the way in which Sarasate \nhimself played his works and the way others conceived them; but I will, \nanyway. So \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRomanza Andaluza\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n in this slightly cut-down version, comes across as fiery and passionate\n rather than cool and elegant. And while the opening sections of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eJota Navarra\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e could hardly be more coruscating, the middle section grows languid (though appealingly so) in Renardy’s reading. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eZapateado\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n may not radiate so many lumens in Renardy’s version than it does in \nSarasate’s own or Jascha Heifetz’s, but it’s engaging in its own way.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eNot everyone may share the opinion of a violinist I\n know who reveres Renardy’s performance of Brahms’s Violin Concerto as \narguably the greatest of all time, but the collective weight of these \nearly recordings reveals him to be a flexible, insightful stylist as \nwell as an impressive technician. Urgently recommended. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eRobert Maxham  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 37:2 (Nov\/Dec 2013) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC383.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eOssy Renardy's complete Columbia recordings together for the first time\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eFabulous Obert-Thorn transfers of the young Renardy's pre-war gems\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eOssy Renardy was born Oskar Reiss in Vienna on April 26, 1920. Except for some early training given by a neighbor, he was self-taught. He first played publicly at the age of eleven, and two years later toured Italy with a troupe of variety entertainers. His manager suggested that he adopt “Ossi Renardi” as a more Italian-sounding name, which the violinist later amended when he returned to Vienna. Victor de Sabata heard him perform in Milan in 1934, and invited him to play as soloist with the Vienna Philharmonic, which began his international career.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eHe made his American début at a Town Hall recital in New York in January, 1938. Two months later, a few weeks before his 18th birthday, he entered the Columbia studios to make his first recordings. (The Corelli Sonata from that session appears to have been his only Columbia disc to have also been released outside the USA.) In the fall, he returned to the studio with a new accompanist for a series of recordings which would conclude the following March.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eIn October of 1939, he caused a sensation at Carnegie Hall by performing all of the Paganini Caprices in the version with piano accompaniment arranged by Ferdinand David. Early in the following year he went over to the Victor label, where he made the première recording of the complete set of Caprices as well as several short encores (all reissued on Biddulph LAB 061-62, nla).\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAmerica’s entry into World War II saw Renardy take up American citizenship and join the Army, where he played 490 USO concerts for servicemen. Restarting his career after the war, he signed with Decca in the UK in 1948, where his first recording (and his only one with orchestra) was the Brahms Concerto with Munch and the Concertgebouw (Pristine Audio PASC 013). He followed this up over the next two years with recordings of two unaccompanied Bach Sonatas and a selection of encores, most of which have been reissued on Testament SBT 1292.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eReturning to America, he made his final recordings for Remington (the Franck and Ravel Sonatas and a new version of the Paganini Caprices, again with piano). He died in an automobile accident while leaving a recital in New Mexico on December 3, 1953.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe sources used for the transfers were all first edition “Full-Range” label Columbia shellacs except for the Dvořák items, which came from a pre-war “Gold” label set. While some sides have appeared on previous LP and CD issues, this is the first time the entire series has been reissued since its first appearance on 78s.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eCORELLI\u003c\/strong\u003e Sonata No. 8 in E minor, Op. 5, No. 8*\u003c\/span\u003e \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Recorded 4 March 1938\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Matrix nos. XCO 22498-1 and 22499-1\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e First issued on Columbia 69152-D\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003ePLATTI\u003c\/strong\u003e (arr. Jarnach) Sonata No. 1 in E minor \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Recorded 7 November 1938 and 3 January 1939\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Matrix nos. XCO 23651-3 and 23652-2\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e First issued on Columbia 69655-D\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eHANDEL\u003c\/strong\u003e (arr. Flesch) Prayer (from \u003cem\u003eTe Deum\u003c\/em\u003e) \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Recorded 6 October 1938\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Matrix no. CO 23554-1\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e First issued on Columbia 17119-D\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSCHUBERT\u003c\/strong\u003e Sonatina No. 1 in D major, D384, Op. 137, No. 1\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Recorded 7 November 1938\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Matrix nos. XCO 23551-1, 23552-2 and 23553-1\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e First issued on Columbia 69403-D and 69404-D in album X-116\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSCHUBERT\u003c\/strong\u003e Sonatina No. 3 in G minor, D408, Op. 137, No. 3\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Recorded 3 January 1939\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Matrix no. XCO 23505-2\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e First issued on Columbia 69404-D in album X-116\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003ePAGANINI\u003c\/strong\u003e Sonata No. 12 in E minor, Op. 3, No. 6\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Recorded 6 October 1938\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Matrix no. CO 23556-1\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e First issued on Columbia 17132-D\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eDVOŘÁK\u003c\/strong\u003e Sonatina in G minor, Op. 100\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Recorded 13 January 1939\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Matrix nos. XCO 23968-2, 23969-2 and 23970-1\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e First issued on Columbia 69543-D and 69544-D in album X-129\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eDVOŘÁK\u003c\/strong\u003e (arr. Press) Slavonic Dance in G minor, Op. 46, No. 8\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Recorded 29 March 1939\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Matrix no. WXCO 24285-1\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e First issued on Columbia 69544-D in album X-129\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBURMESTER\u003c\/strong\u003e Serenade (\u003cem\u003e“Viennese Serenade”\u003c\/em\u003e)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Recorded 6 October 1938\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Matrix no. CO 23557-1\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e First issued on Columbia 17132-D\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eVECSEY\u003c\/strong\u003e Caprice No. 2 (\u003cem\u003e“Cascade”\u003c\/em\u003e)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Recorded 6 October 1938\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Matrix no. CO 23555-1\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e First issued on Columbia 17119-D\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSARASATE\u003c\/strong\u003e Adios, montañas mias, Op. 37\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Recorded 29 March 1939\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Matrix no. WXCO 24284-2\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e First issued on Columbia 69622-D in album X-134\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSARASATE\u003c\/strong\u003e Danzas Españolas (Nos 3, 4, 6**)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Recorded 3 January and **29 March 1939\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e Matrix nos. XCO 23595-3, 23596-3 and WXCO 24286-1\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e First issued on Columbia 69621-D and 69622-D in album X-134\u003c\/span\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003eOssy Renardy\u003c\/strong\u003e violin\u003cbr\u003e \u003cstrong\u003eWalter Robert\u003c\/strong\u003e and \u003cstrong\u003e*Leo Taubman\u003c\/strong\u003e piano\u003c\/p\u003e\n\u003cp class=\"bodymidarial\"\u003eAll recordings made in the Columbia Studios, New York City\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003e Cover artwork based on a photograph of Ossy Renardy\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eSpecial thanks\u003c\/strong\u003e to Nathan Brown, David Hermann, Charles Niss and Jon Samuels\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 73:53 \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC383.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC383.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":2855151304730,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps mono MP3","offer_id":2855151337498,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC383_4021528d-7092-4d93-a625-6189cb96172b.jpg?v=1510334937"},{"product_id":"pasc383-cd","title":"OSSY RENARDY The Complete Columbia Recordings (1938\/39) - PASC383  - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478178381,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478178445,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC383.jpg?v=1658309305"},{"product_id":"pasc393","title":"W. H. SQUIRE plays Elgar and Saint-Saëns Cello Concertos (1926-29) - PASC393","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eSAINT-SAËNS\u003c\/b\u003e Cello Concerto No. 1\u003cbr\u003e\u003cb\u003eELGAR \u003c\/b\u003eCello Concerto\u003cbr\u003e\u003cb\u003eVARIOUS COMPOSERS\u003c\/b\u003e Short works\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded 1926-9\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 77:11\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003cb\u003eW. H. Squire, \u003c\/b\u003ecello\u003cb\u003e\u003cbr\u003eGeorge Thomas Pattman, \u003c\/b\u003eorgan\u003cb\u003e\u003cbr\u003eHallé Orchestra\u003cbr\u003eSir Hamilton Harty, \u003c\/b\u003econductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe most important things here are the concertos, revealing documents both of Squire’s art and ones preserving a little slice of gramophonic history.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eW.H. Squire (1871-1963) was one of the first prominent cellists to \nrecord. In fact his career in the studios dates back as far as 1898. \nMany a collector will wistfully recall the label rubric; ‘’cello \nobbligato by W.H. Squire’ - not least collectors of the recordings of \nClara Butt, who was just one of the formidable singers to whom he lent \nhis art on disc, in recital and at the vast Royal Albert Hall, where he \nwas frequently to be heard. \u003cbr\u003e\n  \u003cbr\u003e\nWilliam Henry Squire is an interesting case as a musician. His early \nrecordings, those made around the turn of the century and after, show a \nman still in thrall to his teachers Edward Howell and Piatti - he’d also\n studied composition with Parry and was a noted ballad composer - but \ngradually exposure to the new wave of cello tonalists, principally \nCasals, led to greater vibrato usage. His early quite sparing use of the\n device was to be replaced over time by a prominent and constant, if \noften quite slow, use of it. The curve of his recordings, from 1898 to \n1929, is a fascinating study in changes of technical and expressive \ndevices, all faithfully reflected by the fledgling recording industry. \u003cbr\u003e\n  \u003cbr\u003e\nHe first recorded for HMV but by the period covered in this disc he had \nsigned to Columbia. In 1926 he set down Columbia’s first electrically \nrecorded concerto disc, Saint-Saëns’s A minor concerto with the Hallé \nOrchestra and its conductor, Squire’s old friend, Hamilton Harty. The \nMancunian band decamped to Columbia’s so-so Petty France studios in \nLondon for a recording transfer engineer Mark Obert-Thorn rightly \ndescribes as ‘all bass and no top’. In addition to being the first \nelectrical concerto recording, this was the first time the concerto had \nbeen recorded. Squire had first performed it - a work that had been \ncomposed the year after his birth - in 1894 with August Manns \nconducting. The most obvious thing to note in his playing here is the \ncomplex web of insistent portamenti allied to an extremely elasticised \nsense of legato. It gives the music-making a very personal stamp. The \nnature of his own playing contrasts too with the tonal qualities of the \nwind principals, who retain their very bleached, white vibrato-free \ntones, ones yet to have been influenced by slightly later British \navant-garde players (in their own way) such as Leon Goossens, Alec \nWhittaker, Jack Thurston and Reginald Kell. This all makes for \nfascinating conjunctions of style and tone. Squire is at his most \nexpressive and supple in the finale - fine bowing, good range of tone \ncolour, excellent characterisation. There’s not the sheer athleticism of\n the generation of cellists to come and no doubt the performance would \nhave seemed very old style in the days of Piatigorsky, Fournier, Navarra\n and Nelsova. Nevertheless the set remained in the domestic catalogue \nuntil as late as 1940. \u003cbr\u003e\n  \u003cbr\u003e\nAs for the transfer, Obert-Thorn has done a thoroughly recommendable \njob. The only other transfer known to me was on a Past Masters LP \n[PM15]. It compounded the stygian nature of the original recording by \ncutting surface noise to such an extent that the result was a very \ntricky listen indeed. Here much more noise has been retained and some \ntweaking of the frequencies ensures that, whilst by no means perfect, \nthings are very different indeed. \u003cbr\u003e\n  \u003cbr\u003e\nThe companion concerto is the Elgar, recorded in 1928 this time in the \nFree Trade Hall, Manchester. Squire had first met Harty in 1901 in the \nRotunda, Dublin where Harty astonished the cellist by sight-reading \nthrough a sonata recital for him. He encouraged the pianist to come to \nLondon, which by coincidence he was doing the very next day. Most close \nfriends of Harty called him Hay (a play on words contraction of ‘Hale \nand Hearty’) but I suspect only Squire called him ‘Laddie’. He also \nencouraged him to write his memoirs but only a brief few pages were \nwritten before Harty died in 1941 - the same year, incidentally, that \nSquire retired from active performance. Harty once called Squire ‘a \nsplendid virtuoso and also one of the wisest and most broadminded of \nmen’. \u003cbr\u003e\n  \u003cbr\u003e\nBeatrice Harrison had already made two recordings with Elgar for HMV of \nthe concerto, the first being abridged. Its dedicatee, Felix Salmond, \nhad recorded for Vocalion in the early 1920s but in any case he had left\n for a career in America. The obvious person for Columbia was Squire in \nhis second and last concerto recording. As Obert-Thorn notes this was - \nin contradistinction to the Saint-Saëns - a remarkable piece of \nrecording for its time. And he has had access to test pressings which \nsound even better than commercial copies. A quick listen to the original\n 78s of both this and the Saint-Saëns indicates how well the recordings \nhave been served. The Elgar Pearl CD transfer [GEM0050] is easily \nsurpassed - notice how the wind choir sound is clarified via the test \npressings and how the cello doesn’t boom, as it’s prone to do in Pearl’s\n transfer. A higher ratio of surface noise is all to the good in \nPristine’s work as it ensures an incredible amount of detailing for the \ntime can be heard. \u003cbr\u003e\n  \u003cbr\u003e\nPortamenti here are used as a more natural-sounding device than in the \ncompanion work where they can sound, from time to time, gestural. The \nperformance is deeply felt but expressively noble; never aloof, but not \nheart-on-sleeve either. From time to time one feels Harty wanting to \nspeed things up and when the Hallé seizes on its opportunities it does \nso with vivid control. Squire gives the scherzo its metrical due, but he\n is not gossamer and this is no etude-like opportunity to show off one’s\n bowing. He takes his time and vests it with its own particular sense of\n character. Squire takes more time in the slow movement and finale than \nHarrison in her electric recording, made just the previous year, though \nnowhere near the drama that du Pré and Barenboim evoke in the Adagio - a\n massive six minutes to Harrison’s four and Squire’s four-and-a-half. In\n the finale there’s a mix of strict rhythm and accelerandi from the \nconductor, whilst the phrasal elasticity that Squire draws, supported by\n rich finger position changes, is a vivid index of his art. Yes, the \nnext generation of cellists such as Pini, Fournier and Navarra took \nthings very differently - but then they weren’t born in 1871. \u003cbr\u003e\n  \u003cbr\u003e\nThere are eight encores here as well, the usual sweetmeats that Squire \nrecorded throughout his performing life. His relaxed sense of time in \u003ci\u003eThe Swan\u003c\/i\u003e\n is a feature of his musicianship - he tended to have to be more \nmetrically strict when recording the trio repertoire - and there’s an \navuncular performance, replete with pizzicato bending, of Dunkler’s once\n popular \u003ci\u003eHumoresque.\u003c\/i\u003e There’s dignity to his Handel and Bach. For \nthe Wagner and Mozart sides he’s joined by the organist often described \non labels as ‘Pattman at the organ’. This was George Thomas Pattman, \nfamed in his day, largely forgotten now. I have a Columbia white label \ntest pressing of this coupling and though it’s in rough-ish sound it has\n rather more openness than this transfer. In fact if I’m being \nultra-critical, for my tastes more surface noise could profitably have \nbeen left in the encore section; these sides sound just a little bit too\n hemmed-in. \u003cbr\u003e\n  \u003cbr\u003e\nThe most important things here are the concertos, revealing documents \nboth of Squire’s art and ones preserving a little slice of gramophonic \nhistory. The transfers are mono, and there’s a brief introduction in the\n inlay. I want to commend Pristine Audio’s new artwork. Previously it \nwas a bit haphazard, but now it looks distinguished. More than ever now,\n especially since Naxos has given up on historical re-releases, we need \ncompanies like Pristine Audio to keep producing discs like this. \u003cbr\u003e\n  \u003cbr\u003e\n\u003cb\u003e\u003ci\u003eJonathan Woolf\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC393.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eEarly electrical recordings from WH Squire - one of the first \"serious\" musicians ever to record\u003c\/span\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003e\"There is in this recording some excellent orchestral tone, and the ’cello comes off very well\" - The Gramophone, 1930\u003c\/span\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003c\/span\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eCellist, composer and pedagogue William Henry Squire was born in Herefordshire in 1871. He studied at the Royal College of Music in London and with Carlo Alfredo Piatti, making his debut in 1891. He played as principal cellist in several London orchestras in addition to his solo career and composed many short works.\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 14px;\"\u003e\n\u003c\/span\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 14px;\"\u003e\n\u003c\/span\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eSquire’s discography extends back to the very beginnings of the recording industry in Britain. He cut his first sides for the Gramophone Company in London in 1898, becoming the first instrumentalist of repute to embrace the new medium. Throughout the Teens and Twenties, he was a mainstay of the Columbia catalog, recording many short works (often accompanied at the piano by Hamilton Harty) as well as chamber music.\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 14px;\"\u003e\n\u003c\/span\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 14px;\"\u003e\n\u003c\/span\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eIn 1926, he made Columbia’s first concerto recording using the new electrical process, the Saint-Saëns presented here. This and the Elgar were to be his only concertos on disc. Although a 1931 session produced two sides, they remain unreleased. The Bach and Popper selections from 1929 are his last issued recordings, even though he continued to perform publicly until 1941. He died in 1963 at the age of 91.\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 14px;\"\u003e\n\u003c\/span\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 14px;\"\u003e\n\u003c\/span\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eCollectors familiar with Squire’s Saint-Saëns concerto set know it as the one with “all bass and no top”, at least when played back using a recording curve typical of the period. By transferring it with a flat equalization and building up the frequency emphases from the bottom up, however, I have been able to get a more natural result, although the sound is still not state-of-the-art, even for its time.\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 14px;\"\u003e\n\u003c\/span\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 14px;\"\u003e\n\u003c\/span\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eBy contrast, the original engineering of the Elgar concerto is superb for its date, sounding like recordings made several years later. I was helped in its transfer by the use of first-edition white label English Columbia test pressings, whose presence and detail eclipsed even the fine American Columbia “Full-Range” copy with which I compared it. An American Columbia “Viva-Tonal” set was used for the Saint-Saëns concerto, while the solo sides with piano came from early English pressings and the two sides with organ from a mid-1930s American edition.\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 14px;\"\u003e\n\u003c\/span\u003e\u003cp class=\"body\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eMark Obert-Thorn\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSAINT-SAËNS: \u003c\/strong\u003eCello Concerto No. 1 in A minor, Op. 33\u003cstrong\u003e\u003cbr\u003eHallé Orchestra\/Sir Hamilton Harty\u003c\/strong\u003e\u003cbr\u003eRecorded 25 March 1926 in the Columbia Studios, Petty France, London\u003cbr\u003eMatrix nos.: WAX 1414-2, 1415-1, 1416-1, 1417-1, 1418-4 and 1419-1\u003cbr\u003eFirst issued on Columbia L 1800\/02\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eGODARD: \u003c\/strong\u003eBerceuse from \u003cem\u003eJocelyn\u003c\/em\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 9 March 1928 in London · Matrix no.: WAX 3349-1 · Columbia L 2126\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong class=\"western\" style=\"margin-bottom: 0cm;\"\u003eSAINT-SAËNS: \u003c\/strong\u003e\u003cspan style=\"margin-bottom: 0cm;\" class=\"western\"\u003eThe Swan from \u003c\/span\u003e\u003cem\u003eCarnival of the Animals\u003c\/em\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 9 March 1928 in London · Matrix no.: WAX 3350-1 · Columbia L 2126\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong class=\"western\" style=\"margin-bottom: 0cm;\"\u003eDUNKLER (arr. Squire): \u003c\/strong\u003e\u003cspan style=\"margin-bottom: 0cm;\" class=\"western\"\u003eHumoresque (Chanson à boire)\u003c\/span\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 9 March 1928 in London · Matrix no.: WAX 3354-2 · Columbia L 2128\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong class=\"western\" style=\"margin-bottom: 0cm;\"\u003eHANDEL: \u003c\/strong\u003e\u003cspan style=\"margin-bottom: 0cm;\" class=\"western\"\u003eLargo from \u003c\/span\u003e\u003cem\u003eXerxes\u003c\/em\u003e\u003cem\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 9 March 1928 in London · Matrix no.: WAX 3355-2 · Columbia L 2128\u003cbr\u003e\u003cbr\u003e \u003cstrong class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong class=\"western\" style=\"margin-bottom: 0cm;\"\u003eWAGNER (arr. Squire): \u003c\/strong\u003e\u003cspan style=\"margin-bottom: 0cm;\" class=\"western\"\u003ePrize Song from \u003c\/span\u003e\u003cem\u003eDie Meistersinger\u003c\/em\u003e\u003cstrong\u003e\u003cbr\u003eGeorge Thomas Pattman (organ)\u003c\/strong\u003e\u003cbr\u003eRecorded 3 October 1928 in the St. John’s Wood Synagogue, London\u003cbr\u003eMatrix no.: WAX 4125-2 · Columbia L 2186\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMOZART (arr. Squire): \u003c\/strong\u003eAve verum corpus, K.618 \u003cstrong\u003e\u003cbr\u003eGeorge Thomas Pattman (organ)\u003c\/strong\u003e\u003cbr\u003eRecorded 3 October 1928 in the St. John’s Wood Synagogue, London\u003cbr\u003eMatrix no.: WAX 4126-1 · Columbia L 2256\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBACH (arr. Squire):\u003c\/strong\u003e Air from Orchestral Suite No. 3 in D major, BWV 1068 \u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 2 November 1929 in Central Hall, Westminster\u003cbr\u003eMatrix no.: WAX 5251 · Columbia LX 23\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong class=\"western\" style=\"margin-bottom: 0cm;\"\u003ePOPPER: \u003c\/strong\u003e\u003cspan style=\"margin-bottom: 0cm;\" class=\"western\"\u003eTarantelle \u003c\/span\u003e\u003cbr\u003eRecorded 2 November 1929 in Central Hall, Westminster\u003cbr\u003eMatrix no.: WAX 5252-1 · Columbia L 2371\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eELGAR: \u003c\/strong\u003eCello Concerto in E minor, Op. 85 \u003cstrong\u003e\u003cbr\u003eHallé Orchestra\/Sir Hamilton Harty\u003c\/strong\u003e\u003cbr\u003eRecorded 30 November 1928 in Free Trade Hall, Manchester\u003cbr\u003eMatrix nos.: WAX 4410-1, 4411-1, 4412-1, 4413-3, 4414-1, 4415-1, 4416-1 and 4417-2\u003cbr\u003eFirst issued on Columbia DX 117\/9\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"body\"\u003e\u003cstrong\u003eW. H. Squire\u003c\/strong\u003e (cello)\u003cbr\u003e(Tracks 4 – 7, 10 and 11 with piano accompaniment, \u003cem\u003euncredited\u003c\/em\u003e)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003e Cover artwork based on a photograph of W. H. Squire\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eSpecial thanks to Nathan Brown, Charles Niss and Jon Samuels for providing source material\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eAdditional pitch stabilisation: Andrew Rose\u003c\/p\u003e\u003cp\u003eTotal duration: 77:11\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC393.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC393.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eREVIEW - ELGAR Cello Concerto\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\nThe\n early recording of the Elgar concerto was by Miss Harrison, the L.S.O. \nbeing conducted by the composer (H.M.V.). This was got on to three \ndiscs. For this cheap album edition we are grateful. Eleven years ago \nthe work disappointed some, but only, I think, because it was so \ndifferent from other concertos. It comes from Elgar’s late chamber music\n period, and has some of the chamber music way of thought. Mr. Squire is\n not quite my ideal in capturing the spiritual qualities of the music. \nThe recording is loud, firm, solid, and the soloist comes out too much, \nin the older concerto way, instead of blending with the orchestra in a \nway that so finely dis­tinguishes the best performance of the music. I \nremember the 1919 début, when\n Mr. Salmond had a hard time of it with the band, yet won for the work \nthe acknowledgment that it was something to live with and learn—learn, \nmaybe, that the riches of concerto form are not yet exhausted, while we \nhave a supreme master to mould the form anew and breathe into it his own\n fresh imaginative life. There is in this recording some excellent \norchestral tone, and the ’cello comes off very well in a broad way ; but\n Mr. Squire’s way of life is not Elgar’s ; he does not seem to me to get\n below the surface ; and without that one might easily know little of \nthe riches to be mined there. To use a word-play, they are mind-riches \nindeed—mind and heart marvellously combining to fuse them into rare \nmetal. I am glad to praise such parts of the performance as allow the \nmore obvious ’cello activities to shine, as on side three. Mr. Squire’s \ntendency to uso portamento freely is again in evidence. Portamento\n is the ’cellist’s dangerous friend ; and it may easily become cheap. We\n sympathise with his long journeys on those strings ! A friend who puts a\n head in at the door at this moment, when the big sweeping tune is going\n off (end of side three), says, rather unkindly, one word : “Coliseum” ;\n but adds in qualification “But that tune does ask for it a bit, doesn’t\n it?” I agree : but there’s everything in the way you grant what is \nasked. In a word, this is a work demanding subtlety, refinement, variety\n of tone (in which Mr. Squire is not notably rich), possibly oven a \nPuckish spirit, with a dash of Gerontius,\n and, very strikingly, the partnership sense with the orchestra (whose \npart, by the way, may easily be under-estimated, for it is often slight \nin texture). It needs, too, a bit of the demonic—a kind of sublimated \ndemon, if you see what I mean—a spiritualised, but, as it were, \nelectrified demon - rarefied and yet not thin or stalky. Elgar, in this \nwork, goes further than usual outside his most readily label-able \nqualities, yet the result does not cease to be Elgar in every bar. As I \nread what I have just written, I doubt whether I have given up truly \nwhat I feel in my bones. Mostly one can, by pausing and searching for \nwords, get somewhere near that; but I feel a difficulty in describing \nthis concerto, and am very anxious that those who do not happen to have \nheard it performed several times should not think less highly of it \nthan, I am persuaded, it deserves. So if you have not the H.M.V. (which I\n am compelled to count a good deal better than this), by all means \nspeculate eighteen shillings. If you can also hear someone like Miss \nHarrison (possibly inclined to over-sentimentalise it, I think) or Mr. \nSalmond, do so. I wish there were more ’cellists who would play the \nwork. Tertis has arranged it for viola, but some of its special flavour \ndeparts then. Don’t give it up as unsatisfactory. I might perhaps add \nthat it is easy enough to follow. The danger lies, I think, in possibly \nthinking that its slightness of texture, and its difference from \nshow-concertos, mean that it lacks interest or power. It is a work about\n which I should particularly like to have the opinions of music lovers \nof all kinds. Perhaps some representative members, say, of the N.G.S., \nwill drop the Editor a word about it?\u003cbr\u003e\u003cbr\u003e\n\u003cb\u003eW. R. Anderson.\u003c\/b\u003e The Gramophone, November 1930\u003cbr\u003e Review of Columbia DX.117-20\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":3452875603994,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":3452875636762,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC393_7313fb6e-db2e-4258-9bc3-096deb2284bc.jpg?v=1516370159"},{"product_id":"pasc393-cd","title":"W. H. SQUIRE plays Elgar and Saint-Saëns Cello Concertos (1926-29) - PASC393 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478182541,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478182605,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC393.jpg?v=1658309536"},{"product_id":"pasc202","title":"HERRMANN A Concert of English Music (1945) - PASC202","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eHANDEL\u003c\/strong\u003e Water Music Suite (arr. Harty)\u003cbr\u003e\u003cstrong\u003eVAUGHAN WILLIAMS\u003c\/strong\u003e Concerto for Oboe and Strings in A minor\u003cstrong\u003e\u003cbr\u003eELGAR\u003c\/strong\u003e Falstaff, Op. 68\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cspan class=\"bodymidarial\" style=\"font-size: 10px;\"\u003eRecorded 1945\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003e Total duration: 75:50 \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003eMitch Miller, \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003eOboe\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e The Columbia Broadcasting Symphony \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003eBernard Herrmann\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fRalph Vaughan Williams Society Journal578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\"This is a quite superb historical discovery, \ntaken from the acetates of an American radio broadcast in 1945. I am \naddicted to tracking down off-air material from long ago, but I have to \nsay few broadcasts from this date survive in such good sound and with so\n little surface noise. Here too we can understand why conductor-composer\n Bernard Herrmann acquired his reputation for pioneering unusual \nrepertoire, especially British, with his Columbia Broadcasting Symphony,\n for everything about the performances is fizzing with energy and given \nremarkable impact and definition over the microphone...\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e...My advice is get it now, you will not regret it.\"\u003c\/p\u003e\u003cp class=\"bodysmall\"\u003e\u003cstrong\u003eLewis Foreman\u003c\/strong\u003e, The Ralph Vaughan Williams Society Journal, June 2010\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC202.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eA fabulous Falstaff; Mitch Miller shines in Vaughan Williams\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eSuperb previously unissued live broadcast recording from Anglophile Herrmann\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThis fascinating recording comes from the archives of \nEdward Johnson. It dates from precisely one week after the surrender of \nJapan brought the Second World War to an end, and in Bernard Herrmann \nand Mitch Miller features two artists who would go on to become major \nnames in their respective fields - Herrmann as a hugely successful and \ninfluential film composer, and Miller as one of the major movers and \nshakers in the music industry. Herrmann was a passionate Anglophile, \nwhich perhaps explains the programme here, and he and Miller had given \nthe US première of Vaughan Williams' Oboe Concerto three months prior to\n this broadcast.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe present recording had previously been very well \ndubbed onto high quality 1\/4\" tape from what sound like excellent \nacetate discs for this era. For much of the recording the disc origin of\n the recording is hard to detect, with very little surface noise. \nHowever there are some areas where surface clicks and the occasional \nswish may be detected, though these have been kept to a minimum.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe recording is technically notable for its wide \ndynamic and frequency range, with a particularly well-extended treble \nfor this era. I have retained announcements as broadcast, as well as \nincluding a short section of the start of the news broadcast, for \nhistorical interest.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eHANDEL\u003c\/strong\u003e Water Music Suite (arr. Harty)\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e \u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eVAUGHAN WILLIAMS\u003c\/strong\u003e Concerto for Oboe and Strings in A minor\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eELGAR\u003c\/strong\u003e Falstaff, Op. 68\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003eCBS Broadcast, Sunday 9th September 1945\u003cbr\u003e Introduced by Sidney Berry\u003cbr\u003e Brief extract from the news read by Bern Bennett\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eA CBS live radio broadcast, 9th September 1945, introduced by Sidney Berry, from the archive of Edward Johnson\u003cbr\u003e Transfers and XR remastering by Andrew Rose at Pristine Audio, November 2009\u003cbr\u003e Cover artwork based on a photograph of Bernard Herrmann\u003cbr\u003e \u003cbr\u003e Total duration: 75:50 \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC202.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC202.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fBernard Herrmann578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n                                    \u003cspan style=\"font-style: normal; font-weight: bold;\"\u003eBERNARD HERRMANN\u003c\/span\u003e\n                                   \u003c\/div\u003e\u003cp\u003e\n                                   \u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n                                    \u003cspan style=\"font-size: 15px; font-weight: bold;\"\u003econducts English and American Music\u003c\/span\u003e\n                                   \u003c\/div\u003e\u003cp\u003e\n                                  \n                                   \n                                \n                              \n                             \n                              \n                           \n                         \n                        \n                        \u003cbr\u003e\u003c\/p\u003e\u003ctable class=\"galileo-ap-layout-editor\" style=\"min-width: 100%;\" width=\"100%\" cellspacing=\"0\" cellpadding=\"0\" border=\"0\"\u003e \n                         \u003ctbody\u003e\n                          \u003ctr\u003e \n                           \u003ctd class=\"article editor-col OneColumnMobile\" width=\"100%\" valign=\"top\" align=\"left\"\u003e \n                            \u003cdiv class=\"gl-contains-text\"\u003e \n                             \u003ctable width=\"100%\" cellspacing=\"0\" cellpadding=\"0\" border=\"0\"\u003e \n                              \u003ctbody\u003e\n                               \u003ctr\u003e \n                                \u003ctd class=\"editor-text article-text\" style=\"color: #403F42; display: block; font-family: Arial, Verdana, Helvetica, sans-serif; font-size: 14px; padding: 10px 20px; text-align: left; word-wrap: break-word;\" valign=\"top\" align=\"left\"\u003e \n                                 \u003cdiv\u003e\n                                  \u003ctable class=\"editor-image OneColumnMobile\" style=\"mso-table-rspace: 5.75pt;\" cellspacing=\"0\" cellpadding=\"0\" border=\"0\" align=\"right\"\u003e \n                                   \u003ctbody\u003e\n                                    \u003ctr\u003e \n                                     \u003ctd class=\"mobile-hidden\" style=\"height: 1px; line-height: 1px; padding: 0px;\" width=\"15\" valign=\"top\" height=\"1\" align=\"center\"\u003e \u003cimg alt=\"\" src=\"https:\/\/imgssl.constantcontact.com\/letters\/images\/sys\/S.gif\" style=\"display: block; height: auto; max-width: 100%;\" width=\"15\" vspace=\"0\" hspace=\"0\" height=\"1\" border=\"0\"\u003e \u003c\/td\u003e \n                                     \u003ctd class=\"image-cell \" style=\"padding: 0px;\" valign=\"top\" align=\"center\"\u003e \n                                      \u003cdiv class=\"publish-container\"\u003e \n                                       \u003cimg alt=\"\" class=\"\" src=\"http:\/\/files.constantcontact.com\/1b8326c0101\/acf84666-9b73-46da-a7cd-05d74163ecce.jpg\" style=\"display: block; height: auto !important; max-width: 100% !important;\" width=\"335\" vspace=\"0\" hspace=\"0\" border=\"0\"\u003e \n                                      \u003c\/div\u003e \u003c\/td\u003e \n                                    \u003c\/tr\u003e \n                                    \u003ctr\u003e \n                                     \u003ctd class=\"mobile-hidden\" style=\"height: 1px; line-height: 1px; padding: 0px;\" width=\"5\" valign=\"top\" height=\"5\" align=\"center\"\u003e \u003cimg alt=\"\" src=\"https:\/\/imgssl.constantcontact.com\/letters\/images\/sys\/S.gif\" style=\"display: block; height: auto; max-width: 100%;\" width=\"5\" vspace=\"0\" hspace=\"0\" height=\"1\" border=\"0\"\u003e \u003c\/td\u003e \n                                     \u003ctd class=\"mobile-hidden\" style=\"height: 5px; line-height: 1px; padding: 0px;\" valign=\"top\" height=\"5\" align=\"center\"\u003e \u003cimg alt=\"\" src=\"https:\/\/imgssl.constantcontact.com\/letters\/images\/sys\/S.gif\" style=\"display: block; height: auto; max-width: 100%;\" width=\"1\" vspace=\"0\" hspace=\"0\" height=\"5\" border=\"0\"\u003e \u003c\/td\u003e \n                                    \u003c\/tr\u003e \n                                   \u003c\/tbody\u003e\n                                  \u003c\/table\u003e\n                                 \u003c\/div\u003e \n                                 \u003cdiv class=\"text-container galileo-ap-content-editor\"\u003e\n                                  \u003cdiv\u003e\n                                   \u003cdiv\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: normal; font-weight: normal;\"\u003eThe\n death of Bernard Herrmann on Christmas Eve, 1975, in Hollywood, \ndeprived the film and music worlds of one of their most outspoken, \ncolourful and talented personalities. It is true that his choleric \npersonality and abrasiveness were not exactly endearing but in the words\n of one who was close to him, he was like \u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: normal;\"\u003e‘\u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: normal; font-weight: normal;\"\u003ea toffee-apple, all crusty on the outside and soft on the inside’. \u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px;\"\u003e \u003c\/span\u003e\n                                   \u003c\/div\u003e\n                                   \u003cdiv\u003e\n                                    \u003cbr\u003e\n                                   \u003c\/div\u003e\n                                   \u003cdiv\u003e\n                                    “\n                                    \u003cspan style=\"font-size: 15px; font-style: normal; font-weight: normal;\"\u003eBenny,”\n to his friends, was born in New York City in 1911 and showed an \ninterest in music at an early age. After graduating he went to New York \nUniversity and later became a student at the Juilliard School of Music. \nHis career took a professional turn when he went to work for the \nColumbia Broadcasting System in 1933. He soon made his mark on their \nradio programmes, planning them in an unconventional way and featuring \nrarely heard music seldom played in public concert halls. One American \ncomposer whom Herrmann championed for many years was Charles Ives, \nseveral of whose works received their premieres under his direction.\u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px;\"\u003e \u003c\/span\u003e\n                                   \u003c\/div\u003e\n                                  \u003c\/div\u003e\n                                 \u003c\/div\u003e \u003c\/td\u003e \n                               \u003c\/tr\u003e \n                              \u003c\/tbody\u003e\n                             \u003c\/table\u003e\n                            \u003c\/div\u003e \u003c\/td\u003e \n                          \u003c\/tr\u003e \n                         \u003c\/tbody\u003e\n                        \u003c\/table\u003e\u003cp\u003e\n                        \u003cbr\u003e\u003c\/p\u003e\u003ctable class=\"galileo-ap-layout-editor\" style=\"min-width: 100%;\" width=\"100%\" cellspacing=\"0\" cellpadding=\"0\" border=\"0\"\u003e \n                         \u003ctbody\u003e\n                          \u003ctr\u003e \n                           \u003ctd class=\"article editor-col OneColumnMobile\" width=\"100%\" valign=\"top\" align=\"left\"\u003e \n                            \u003cdiv class=\"gl-contains-text\"\u003e \n                             \u003ctable width=\"100%\" cellspacing=\"0\" cellpadding=\"0\" border=\"0\"\u003e \n                              \u003ctbody\u003e\n                               \u003ctr\u003e \n                                \u003ctd class=\"editor-text article-text\" style=\"color: #403F42; display: block; font-family: Arial, Verdana, Helvetica, sans-serif; font-size: 14px; padding: 10px 20px; text-align: left; word-wrap: break-word;\" valign=\"top\" align=\"left\"\u003e \n                                 \u003cdiv\u003e\n                                  \u003ctable class=\"editor-image OneColumnMobile\" style=\"mso-table-rspace: 5.75pt;\" cellspacing=\"0\" cellpadding=\"0\" border=\"0\" align=\"left\"\u003e \n                                   \u003ctbody\u003e\n                                    \u003ctr\u003e \n                                     \u003ctd class=\"image-cell \" style=\"padding: 0px;\" valign=\"top\" align=\"center\"\u003e \n                                      \u003cdiv class=\"publish-container\"\u003e \n                                       \u003cimg alt=\"\" class=\"\" src=\"http:\/\/files.constantcontact.com\/1b8326c0101\/f316de6b-a5fa-45ac-9cb8-3bfd78102447.jpg\" style=\"display: block; height: auto !important; max-width: 100% !important;\" width=\"149\" vspace=\"0\" hspace=\"0\" border=\"0\"\u003e \n                                      \u003c\/div\u003e \u003c\/td\u003e \n                                     \u003ctd class=\"mobile-hidden\" style=\"height: 1px; line-height: 1px; padding: 0px;\" width=\"15\" valign=\"top\" height=\"1\" align=\"center\"\u003e \u003cimg alt=\"\" src=\"https:\/\/imgssl.constantcontact.com\/letters\/images\/sys\/S.gif\" style=\"display: block; height: auto; max-width: 100%;\" width=\"15\" vspace=\"0\" hspace=\"0\" height=\"1\" border=\"0\"\u003e \u003c\/td\u003e \n                                    \u003c\/tr\u003e \n                                    \u003ctr\u003e \n                                     \u003ctd class=\"mobile-hidden\" style=\"height: 5px; line-height: 1px; padding: 0px;\" valign=\"top\" height=\"5\" align=\"center\"\u003e \u003cimg alt=\"\" src=\"https:\/\/imgssl.constantcontact.com\/letters\/images\/sys\/S.gif\" style=\"display: block; height: auto; max-width: 100%;\" width=\"1\" vspace=\"0\" hspace=\"0\" height=\"5\" border=\"0\"\u003e \u003c\/td\u003e \n                                     \u003ctd class=\"mobile-hidden\" style=\"height: 1px; line-height: 1px; padding: 0px;\" width=\"5\" valign=\"top\" height=\"5\" align=\"center\"\u003e \u003cimg alt=\"\" src=\"https:\/\/imgssl.constantcontact.com\/letters\/images\/sys\/S.gif\" style=\"display: block; height: auto; max-width: 100%;\" width=\"5\" vspace=\"0\" hspace=\"0\" height=\"1\" border=\"0\"\u003e \u003c\/td\u003e \n                                    \u003c\/tr\u003e \n                                   \u003c\/tbody\u003e\n                                  \u003c\/table\u003e\n                                 \u003c\/div\u003e \n                                 \u003cdiv class=\"text-container galileo-ap-content-editor\"\u003e\n                                  \u003cdiv\u003e\n                                   \u003cdiv\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: normal; font-weight: normal;\"\u003eAlways\n an ardent anglophile, Herrmann presented a great deal of English music \non the CBS network, introducing compositions by Vaughan Williams, Bax, \nDelius, Cyril Scott and many others.\u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px;\"\u003e \u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: normal; font-weight: normal;\"\u003eIndeed, when Herrmann became Conductor-in-Chief of the Columbia Symphony Orchestra in 1940, \u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: italic; font-weight: normal;\"\u003eBaker’s Musical Dictionary\u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-weight: normal;\"\u003e \u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: normal; font-weight: normal;\"\u003enoted that\u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-weight: normal;\"\u003e \u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: normal; font-weight: normal;\"\u003ehe was ‘probably responsible for introducing more new works to American radio audiences than any other conductor.’ \u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px;\"\u003e \u003c\/span\u003e\n                                   \u003c\/div\u003e\n                                   \u003cdiv\u003e\n                                    \u003cbr\u003e\n                                   \u003c\/div\u003e\n                                   \u003cdiv\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: normal; font-weight: normal;\"\u003eBy 1948 he had also earned a chapter in David Ewen’s \u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-weight: normal;\"\u003eDictators of the Baton \u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: normal; font-weight: normal;\"\u003ein which the author commented on Herrmann’s ‘lack of attention to detail’ but concluded: \u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px;\"\u003e‘\u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: normal; font-weight: normal;\"\u003eWhatever\n his faults as a conductor may be, it cannot be denied that he is a \nsplendid musician, that he has an enthusiasm which is found contagiously\n in his performances, and that with his detestation of the stereotyped \nhe has been one of the most invigorating influences in the radio music \nof the past two decades.'\u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: normal;\"\u003e \u003c\/span\u003e\n                                   \u003c\/div\u003e\n                                   \u003cdiv\u003e\n                                    \u003cbr\u003e\n                                   \u003c\/div\u003e\n                                   \u003cdiv\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: normal; font-weight: normal;\"\u003eAlthough\n he was busy championing the music of others, he did not neglect his own\n composing career and by the late 1940s several of his concert works had\n received notable performances. Barbirolli had conducted his Cantata \u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: italic; font-weight: normal;\"\u003eMoby Dick\u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-weight: normal;\"\u003e \u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: normal; font-weight: normal;\"\u003ewith\n the New York Philharmonic in 1940 and his Symphony was performed by the\n same orchestra under Howard Barlow in 1942.That same year Beecham \nconducted the CBS Symphony in the suite \u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: italic; font-weight: normal;\"\u003eWelles Raises Kane\u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: normal; font-weight: normal;\"\u003e. \u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: italic; font-weight: normal;\"\u003eThe Devil and Daniel Webster\u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-weight: normal;\"\u003e \u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: normal; font-weight: normal;\"\u003eSuite\n was given its concert premiere by Ormandy and his Philadelphians in \n1944 and was taken up by Stokowski and the New York Philharmonic in \n1949. \u003c\/span\u003e\n                                   \u003c\/div\u003e\n                                   \u003cdiv\u003e\n                                    \u003cbr\u003e\n                                   \u003c\/div\u003e\n                                   \u003cdiv\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: normal; font-weight: normal;\"\u003eAfter\n the war, Herrmann made many guest appearances in British concert halls \nand in 1950 completed work on his most ambitious composition, the \nwindswept lyric-drama \u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: italic; font-weight: normal;\"\u003eWuthering Heights\u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: normal; font-weight: normal;\"\u003e. This was a project which had occupied him for three years and reflected his wide literary tastes.\u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px;\"\u003e \u003c\/span\u003e\n                                   \u003c\/div\u003e\n                                   \u003cdiv\u003e\n                                    \u003cbr\u003e\n                                   \u003c\/div\u003e\n                                   \u003cdiv\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: normal; font-weight: normal;\"\u003eIn\n 1951 after the CBS Symphony Orchestra was disbanded, he spent more time\n in England, where he eventually settled. In 1956 he conducted the \nLondon Symphony Orchestra in two broadcasts, one of which included the \nBritish premiere of Charles Ives’s \u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: italic; font-weight: normal;\"\u003eSecond Symphony\u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-weight: normal;\"\u003e \u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: normal; font-weight: normal;\"\u003e(\u003c\/span\u003e\n                                    \u003ca href=\"https:\/\/www.pristineclassical.com\/collections\/artist-bernard-herrmann\/products\/pasc232\" style=\"color: #0000FF; font-size: 15px; font-style: normal; font-weight: normal; text-decoration: underline;\" target=\"_blank\"\u003ePASC 232\u003c\/a\u003e\n                                    \u003cspan style=\"font-size: 15px; font-weight: normal;\"\u003e) \u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: normal; font-weight: normal;\"\u003eand Elgar’s \u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: italic; font-weight: normal;\"\u003eFalstaff\u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-weight: normal;\"\u003e, \u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: normal; font-weight: normal;\"\u003ea\n particular Herrmann favourite. He considered it to be Elgar’s ‘supreme \norchestral work’ and it was one that he also performed in his CBS days (\u003c\/span\u003e\n                                    \u003ca href=\"https:\/\/www.pristineclassical.com\/collections\/artist-bernard-herrmann\/products\/pasc202\" style=\"color: #0000FF; font-size: 15px; font-style: normal; font-weight: normal; text-decoration: underline;\" target=\"_blank\"\u003ePASC 202\u003c\/a\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: normal; font-weight: normal;\"\u003e).\u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px;\"\u003e \u003c\/span\u003e\n                                   \u003c\/div\u003e\n                                   \u003cdiv\u003e\n                                    \u003cbr\u003e\n                                   \u003c\/div\u003e\n                                   \u003cdiv\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: normal; font-weight: normal;\"\u003eAs\n time went on his public appearances became less frequent, the last of \nthem taking place at the Theatre Royal, Drury Lane, in 1974, when he \nconducted the Royal Philharmonic in a Byron Commemoration Concert \nfeaturing music by Berlioz, Liszt, Richard Arnell and Elizabeth \nMaconchy.\u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px;\"\u003e \u003c\/span\u003e\n                                   \u003c\/div\u003e\n                                  \u003c\/div\u003e\n                                 \u003c\/div\u003e \u003c\/td\u003e \n                               \u003c\/tr\u003e \n                              \u003c\/tbody\u003e\n                             \u003c\/table\u003e\n                            \u003c\/div\u003e \u003c\/td\u003e \n                          \u003c\/tr\u003e \n                         \u003c\/tbody\u003e\n                        \u003c\/table\u003e\u003cp\u003e\n                        \u003cbr\u003e\u003c\/p\u003e\u003ctable class=\"galileo-ap-layout-editor\" style=\"min-width: 100%;\" width=\"100%\" cellspacing=\"0\" cellpadding=\"0\" border=\"0\"\u003e \n                         \u003ctbody\u003e\n                          \u003ctr\u003e \n                           \u003ctd class=\"article editor-col OneColumnMobile\" width=\"100%\" valign=\"top\" align=\"left\"\u003e \n                            \u003cdiv class=\"gl-contains-text\"\u003e \n                             \u003ctable width=\"100%\" cellspacing=\"0\" cellpadding=\"0\" border=\"0\"\u003e \n                              \u003ctbody\u003e\n                               \u003ctr\u003e \n                                \u003ctd class=\"editor-text article-text\" style=\"color: #403F42; display: block; font-family: Arial, Verdana, Helvetica, sans-serif; font-size: 14px; padding: 10px 20px; text-align: left; word-wrap: break-word;\" valign=\"top\" align=\"left\"\u003e \n                                 \u003cdiv\u003e\n                                  \u003ctable class=\"editor-image OneColumnMobile\" style=\"mso-table-rspace: 5.75pt;\" cellspacing=\"0\" cellpadding=\"0\" border=\"0\" align=\"right\"\u003e \n                                   \u003ctbody\u003e\n                                    \u003ctr\u003e \n                                     \u003ctd class=\"mobile-hidden\" style=\"height: 1px; line-height: 1px; padding: 0px;\" width=\"15\" valign=\"top\" height=\"1\" align=\"center\"\u003e \u003cimg alt=\"\" src=\"https:\/\/imgssl.constantcontact.com\/letters\/images\/sys\/S.gif\" style=\"display: block; height: auto; max-width: 100%;\" width=\"15\" vspace=\"0\" hspace=\"0\" height=\"1\" border=\"0\"\u003e \u003c\/td\u003e \n                                     \u003ctd class=\"image-cell \" style=\"padding: 0px;\" valign=\"top\" align=\"center\"\u003e \n                                      \u003cdiv class=\"publish-container\"\u003e \n                                       \u003cimg alt=\"\" class=\"\" src=\"http:\/\/files.constantcontact.com\/1b8326c0101\/ef8970ac-95f5-4944-9f8a-d27ae6ac6486.jpg\" style=\"display: block; height: auto !important; max-width: 100% !important;\" width=\"213\" vspace=\"0\" hspace=\"0\" border=\"0\"\u003e \n                                      \u003c\/div\u003e \u003c\/td\u003e \n                                    \u003c\/tr\u003e \n                                    \u003ctr\u003e \n                                     \u003ctd class=\"mobile-hidden\" style=\"height: 1px; line-height: 1px; padding: 0px;\" width=\"5\" valign=\"top\" height=\"5\" align=\"center\"\u003e \u003cimg alt=\"\" src=\"https:\/\/imgssl.constantcontact.com\/letters\/images\/sys\/S.gif\" style=\"display: block; height: auto; max-width: 100%;\" width=\"5\" vspace=\"0\" hspace=\"0\" height=\"1\" border=\"0\"\u003e \u003c\/td\u003e \n                                     \u003ctd class=\"mobile-hidden\" style=\"height: 5px; line-height: 1px; padding: 0px;\" valign=\"top\" height=\"5\" align=\"center\"\u003e \u003cimg alt=\"\" src=\"https:\/\/imgssl.constantcontact.com\/letters\/images\/sys\/S.gif\" style=\"display: block; height: auto; max-width: 100%;\" width=\"1\" vspace=\"0\" hspace=\"0\" height=\"5\" border=\"0\"\u003e \u003c\/td\u003e \n                                    \u003c\/tr\u003e \n                                   \u003c\/tbody\u003e\n                                  \u003c\/table\u003e\n                                 \u003c\/div\u003e \n                                 \u003cdiv class=\"text-container galileo-ap-content-editor\"\u003e\n                                  \u003cdiv\u003e\n                                   \u003cdiv\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: normal; font-weight: normal;\"\u003eBernard\n Herrmann’s own concert works haven't really established themselves in \nthe regular repertoire but his name is still kept firmly in the public \neye by the many films for which he wrote the music. Quite a few of these\n appear on TV from time to time and there is no doubt that it was in \nthis sphere of composition he was at his best.\u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px;\"\u003e \u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: normal; font-weight: normal;\"\u003eHe was introduced to the world of motion picture music by Orson Welles, for whose \u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: italic; font-weight: normal;\"\u003eMercury Theatre Playhouse\u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-weight: normal;\"\u003e \u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: normal; font-weight: normal;\"\u003eHerrmann\n had written background scores in his early CBS radio days. When Welles \nmoved from broadcasting to the cinema he took his Mercury Theatre \ncolleagues with him and made \u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: italic; font-weight: normal;\"\u003eCitizen Kane\u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-weight: normal;\"\u003e. \u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: normal; font-weight: normal;\"\u003eThis was Herrmann’s first film music assignment and it set him on a second career which he pursued to the end of his life.\u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px;\"\u003e \u003c\/span\u003e\n                                   \u003c\/div\u003e\n                                   \u003cdiv\u003e\n                                    \u003cbr\u003e\n                                   \u003c\/div\u003e\n                                   \u003cdiv\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: normal; font-weight: normal;\"\u003eOne\n of the most notable director\/composer collaborations in cinema history \nbegan in 1955 when Bernard Herrmann wrote the score for \u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: italic; font-weight: normal;\"\u003eThe Trouble with Harry\u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: normal; font-weight: normal;\"\u003e, the first of several Alfred Hitchcock films on which he was to work. His second Hitchcock film was a splendid remake of \u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: italic; font-weight: normal;\"\u003eThe Man Who Knew Too Much\u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-weight: normal;\"\u003e \u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: normal; font-weight: normal;\"\u003eand\n included Herrmann’s only screen appearance. This occurs in the famous \nAlbert Hall sequence marking the film’s climax and featured the London \nSymphony Orchestra and Chorus in Arthur Benjamin’s \u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: italic; font-weight: normal;\"\u003eStorm Clouds Cantata\u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px; font-style: normal; font-weight: normal;\"\u003e, the same music that had been heard in Hitchcock’s earlier version of the story in 1934.\u003c\/span\u003e\n                                    \u003cspan style=\"font-size: 15px;\"\u003e \u003c\/span\u003e\n                                  \u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":8072155267133,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":8072155332669,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":8072155430973,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":8072155496509,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC202_ae5a7ee1-c1a3-404b-815f-d67f8c03b773.jpg?v=1526299706"},{"product_id":"pasc202-cd","title":"HERRMANN A Concert of English Music (1945) - PASC202 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478186445,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478186509,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC202_c8726f68-b978-4ce9-b6d9-b5ffe52c2cba.jpg?v=1658243703"},{"product_id":"pasc125","title":"KLEIBER conducts Handel, Schubert, Ravel (1946) - PASC125","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eHANDEL \u003c\/b\u003eOverture to Berenice\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003eSymphony No. 3 in D, D200\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003eMa Mère l'Oye\u003c\/span\u003e\u003cbr\u003e  \u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded 1946\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 45:41\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cb\u003eNBC Symphony Orchestra \u003cbr\u003e \u003c\/b\u003econducted by \u003cb\u003eErich Kleiber\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC125.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cspan class=\"bodybig\" style=\"font-size: 24px;\"\u003e\u003cem\u003eExcellent sound quality from this 1946 broadcast concert\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eFrom Kleiber's first NBC guest-conducting season at Toscanini's request\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp class=\"bodybigblue\" align=\"left\"\u003e \u003c\/p\u003e\u003cspan class=\"body\"\u003eThis recording was rebroadcast by BBC Radio, most probably in the late 1970s\u003c\/span\u003e\u003cspan class=\"body\"\u003e, and was well captured on top-quality open-reel tape which survived the next thirty years in excellent condition.\u003c\/span\u003e\n\u003cp\u003eAlthough these recordings have, separately, appeared on reissues before, we think this may be the first time that this concert has been issued in its entirety (minus original announcements, which the BBC omitted in favour of their own commentary).\u003c\/p\u003e\n\u003cp\u003eThe recording has responded very well indeed to XR remastering and Ambient Stereo processing. Despite the relatively dry sound associated with Studio 8H, there is good presence, and not the dead sound too commonly associated with NBC Symphony Orchestra recordings of the era.\u003c\/p\u003e\n\u003cp\u003eOverall, a delightful concert, an excellent performance, and an intriguing range of music!\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003eHandel:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 16px;\"\u003e Overture to \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 16px;\"\u003eBerenice\u003c\/span\u003e\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003eSchubert: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 3 in D, D200\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003eRavel:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 16px;\"\u003e Ma Mère l'Oye\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003eNBC Symphony Orchestra \u003cbr\u003e \u003c\/b\u003econducted by \u003cb\u003eErich Kleiber\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eLive broadcast from NBC Studio 8H, 3rd March, 1946\u003cbr\u003e Transferred from later BBC re-broadcast \u003cbr\u003e \u003cbr\u003eTransfer and XR remastering by Andrew Rose at Pristine Audio, September 2008 \u003cbr\u003e Cover artwork based on a photograph of Erich Kleiber\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 45:41\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC125.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC125.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":34665817421,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34665817485,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34665817549,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34665817613,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC125_0110d23b-4ea3-4dae-9d55-59581b10595c.jpg?v=1490278045"},{"product_id":"pasc125-cd","title":"KLEIBER conducts Handel, Schubert, Ravel (1946) - PASC125 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478277133,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478277197,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC125_5833841c-fb2c-4981-a77d-87e495f222f1.jpg?v=1658241670"},{"product_id":"pasc188","title":"STOKOWSKI Tchaikovsky: Symphony No. 5, Eight Encores (1947-55) - PASC188","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 5\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eEncores by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eTCHAIKOVSKY, CHOPIN, HANDEL, \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eIPPOLITOV-IVANOV\u003c\/span\u003e\u003cspan style=\"font-size: 14px;\"\u003e, J STRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1947-1955\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 74:09\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLeopold Stokowski and His Symphony Orchestra\u003cbr\u003e The NBC Symphony Orchestra\u003cbr\u003e \u003c\/b\u003econducted by \u003cb\u003eLeopold Stokowski \u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis CD is urgently recommended578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis CD is the first collaboration between Edward \nJohnson of the Stokowski Society and Pristine Audio. Previously, the \nSociety arranged for reissues with Cala Records, but that association \nhas ended. The material on this CD all derives from LPs and 45s in \nEdward Johnson’s collection. The results engineer Andrew Rose has \nachieved in remastering said material are little short of remarkable. I \nhave several RCA Stokowski LPs from the early 1950s in my collection, \nbut they sound nothing like this CD. Surface noise has been eliminated. \nThere is some tape hiss in the Chopin, and two selections recorded in \n1947 betray their probable origins in 78-rpm masters. The detail and \nbalance in the Symphony surpass that in the later stereo recording by \nStokowski for London Phase-4. This CD is further proof that, given the \ncurrent state of remastering technology, a talented engineer can achieve\n better results from vinyl sources than a less talented one can from the\n master tapes.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eTchaikovsky’s Fifth was a Stokowski warhorse. He \nrecorded it on 78s in Philadelphia in 1934, followed by the present \nversion in 1953, and finally the London recording from the 1960s. In \nrecent years, a live stereo 1952 account from Detroit has surfaced, \nengineered by the legendary Bert Whyte of Everest fame. I have not heard\n the live CD. As exciting as the stereo account with the New \nPhilharmonia is, that orchestra cannot match the beauty of tone mustered\n by the select group of New York players Stokowski led in 1953. Several \nare first-chair players from the New York Philharmonic: William Lincer, \nviola; Leonard Rose, cello; James Chambers, horn; and William Vacchiano,\n trumpet (Gerard Schwarz’s teacher). William Trampler also is in the \nviola section. A complete list of Stokowski’s section leaders is \navailable on Pristine’s Web site. None of the recording venues for the \nCD are listed, but judging from the echo in the Symphony, it probably \nwas recorded in Manhattan Center.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWhen a veteran Philadelphia Orchestra player was \ninterviewed about Toscanini’s performance of the Sixth Symphony by B. H.\n Haggin, the player replied that “Stokowski and Ormandy let it breathe \nmore.” That is a very apt commentary on this CD of the Fifth. There is \nnone of the pressure-cooker intensity of Svetlanov or Dorati. Rather, \nStokowski makes exquisite use of rubato throughout the work. Nothing \never seems rushed. Even when the tempo almost comes to a crawl in the \nsecond movement, the pulse is always there. Not that this is a slow \nrendition. It is five minutes faster than Bernstein’s last recording. \nThere are a few little idiosyncrasies and cuts along the way, but \nnothing like the wholesale reorchestration Stokowski perpetrated in his \nthrilling account of the Fourth with the American Symphony. He does make\n the pause before the final statement of the theme in the last movement \nas short as possible. In his New Philharmonia recording, he eliminates \nthe pause altogether, creating momentary havoc. Also, that last \nrecording rushes the Symphony’s final four chords. In 1953, they are \npresented in a stately manner. On a technical note, there is some minor \ntape flutter in the third movement that presumably could not be \ncorrected.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe eight encores, all arranged or orchestrated by Stokowski, have never appeared before on CD. Tchaikovsky’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSolitude\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is beautifully wistful, a reminder of Stokowski’s late-Romantic sensibility. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHumoresque\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n offers perky wind colorings. If your previous experience of Stokowski’s\n Chopin is from his disappointing Houston Symphony recordings, the \nexamples here will set you straight. The last prelude receives a rousing\n orchestration, brass to the fore. The Ippolitov-Ivanov is a lovely, \nlush piece. The Strauss waltzes, the only two selections featuring the \nNBC Symphony, are offered in shortened versions, aimed apparently at the\n Lawrence Welk crowd. Nevertheless, the vigor of Stokowski’s conception \ncomes through. The zither in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTales from the Vienna Woods\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is replaced by an electric guitar, which does a credible job. Stokowski\n made a great recording of the complete waltz when he was 93, with the \nNational Philharmonic for Pye. Oscar Levant has a great story about \nStokowski and the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBlue Danube\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e in the first chapter of his first book, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eA Smattering of Ignorance\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. I would tell it to you, but I can’t match the master. This CD is urgently recommended. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eDave Saemann  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 33:4 (Mar\/Apr 2010) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC188.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eA magnificent Tchaikovsky 5 from Stokowski\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003ePlus eight favourite Encores - all remastered and reissued for the first time\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eWhen the Stokowski Society were choosing recordings for their two final releases in conjunction with Cala Records, this recording of Tchaikovsky's Symphony No. 5, described by the Society's Edward Johnson as \"\u003cem\u003eone of the best-sounding of the 1950s \"his Symphony Orchestra\" RCA recordings which he made with his specially-selected band of top-flight New York musicians\u003c\/em\u003e\", narrowly missed out in favour of a 1947 recording of Dvorák's Symphony from the New World. No doubt that had that series continued (the Dvorák was the penultimate collaboration between the Stokowski Society, currently being wound up after 30 years' existence, and Cala) this particular recording would shortly have seen a release there.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAs it is, we are delighted to be able to offer not only this wonderful recording, in a vibrant new XR-remastered transfer, but also a collection of Stokowski's encore pieces never previously issued in any digital format. These works highlight the conductor's acclaimed brilliance as an orchestrator and arranger, with piano and vocal works from Tchaikovsky and Chopin among the highlights.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eA degree of investigation into the Ippolitov-Ivanov work \u003cem\u003eIn A Manger\u003c\/em\u003e suggests that the Russian composer had actually provided an arrangement of a traditional Slavic Christmas Carol, and that what we hear in this incarnation is Stokowski's orchestral arrangement of a choral version of Ippolitov-Ivanov's orchestration! On the 7-inch EP from which this was taken, entitled \u003cem\u003eSeason's Greetings from Leopold Stokowski\u003c\/em\u003e, the piece is entitled '\u003cem\u003eRussian Christmas Music\u003c\/em\u003e' and credited as a Traditional composition - we have chosen to re-assign it to the composer whose name now normally stands alongside it, together with the title he gave it!\u003c\/p\u003e\n\u003cp class=\"body\"\u003eOf particularly unusual interest is the penultimate selection, Strauss's \u003cem\u003eTales from the Vienna Wood\u003c\/em\u003e, in a shortened version with an electric guitar section recorded separately on the same day as the orchestra and edited in to create the full release. The guitar has received electronic treatment to add echo effects and a sound which vaguely resembles a zither - it makes an appearance toward the start of the arrangement, and is never heard thereafter! Incidentally, these two 'abridged' Strauss waltzes were recorded with the NBC Symphony but issued as being by \"Stokowski and his Symphony Orchestra\". Longer versions recorded at the same sessions for an 'Extended Play' 45 rpm disc were correctly attributed to the NBC SO.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAs Edward Johnson notes with regard to his choices here, \"\u003cem\u003ethe 8 \"Encores\" were chosen for their variety, and also because Stokowski invariably had at least one encore lined up for his concerts and sometimes several. This same formula has been adopted on this release, with all these little recordings now making their very first appearances on CD.\u003c\/em\u003e\"\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003eAt Pristine Audio we've been delighted to be able to work with Edward Johnson and the Stokowski Society, and look forward to a continued working relationship beyond the era of the Stokowski Society itself and Cala Records' Stokowski series.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 16px;\"\u003e Symphony No. 5\u003c\/span\u003e in E minor, Op. 64\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e Recorded 10th and 12th February 1953, issued as RCA Victor LP LM 1780\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003ctable style=\"width: 565px;\" cellspacing=\"0\" cellpadding=\"2\" border=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd class=\"body\"\u003e\n\u003cem\u003e\u003cstrong\u003eOrchestral Section Leaders:\u003c\/strong\u003e\u003cbr\u003e Concertmaster\u003c\/em\u003e: Louis Gabowitz\u003cbr\u003e \u003cem\u003eViolas\u003c\/em\u003e: William Lincer, Walter Trampler\u003cbr\u003e \u003cem\u003e1st Cello\u003c\/em\u003e: Leonard Rose\u003cbr\u003e \u003cem\u003e1st Bass\u003c\/em\u003e: Joseph de Angelis\u003cbr\u003e \u003cem\u003eFlutes\u003c\/em\u003e: James Politis, Harold Bennett\u003c\/td\u003e\n\u003ctd class=\"body\"\u003e\n\u003cem\u003e1st Oboe\u003c\/em\u003e: Robert Bloom\u003cbr\u003e \u003cem\u003e1st Clarinet\u003c\/em\u003e: Robert McGinnis\u003cbr\u003e \u003cem\u003e1st Bassoon\u003c\/em\u003e: William Polisi\u003cbr\u003e \u003cem\u003e1st Horn\u003c\/em\u003e: James Chambers\u003cbr\u003e \u003cem\u003e1st Trumpet\u003c\/em\u003e: William Vacchiano\u003cbr\u003e \u003cem\u003eTimpani\u003c\/em\u003e: Elayne Jones\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 16px;\"\u003e Solitude\u003c\/span\u003e, Op.73, No.6 \u003cbr\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 16px;\"\u003e Humoresque\u003c\/span\u003e, Op.10, No.2\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e Recorded 25th February 1953, issued on RCA Victor LP LM 1774\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003eCHOPIN\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 16px;\"\u003e Prelude in E minor\u003c\/span\u003e, Op.28, No.4\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003eCHOPIN\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 16px;\"\u003e Prelude in D minor\u003c\/span\u003e, Op.28, No.24\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e Recorded 8th November 1950, issued on RCA Victor LP LM 1238\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003eHANDEL\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 16px;\"\u003e Pastorale\u003c\/span\u003e (from The Messiah)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003eIPPOLITOV-IVANOV\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 16px;\"\u003e In A Manger \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e Recorded 27th March 1947, issued on RCA Victor 45rpm EP ERA-119\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003eSTRAUSS\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 16px;\"\u003e Tales from the Vienna Woods\u003c\/span\u003e (shortened version)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e Recorded 13th January 1955, issued on RCA Victor 45rpm 447-0780\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003eSTRAUSS\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 16px;\"\u003e On The Beautiful Blue Danube\u003c\/span\u003e (shortened version)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e Recorded 9th February 1955, issued on RCA Victor 45rpm 447-0780\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTransfers by Edward Johnson\u003cbr\u003e Restoration and XR remastering by Andrew Rose, August 2009\u003cbr\u003e Cover artwork based on a photograph of Leopold Stokowski\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 74:09\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC188.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC188.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":12633712590909,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205576933710,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205576966478,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC188.jpg?v=1535367774"},{"product_id":"pasc188-cd","title":"STOKOWSKI Tchaikovsky: Symphony No. 5, Eight Encores (1947-55) - PASC188 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478329229,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205576900942,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC188_ca8b4b3c-4d36-4697-baab-a7b0d211fe60.jpg?v=1658243245"},{"product_id":"pasc196","title":"WELDON Elgar: In The South, Sea Pictures, Chanson de Matin, Overture (1953\/54) - PASC196","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eELGAR \u003c\/b\u003eIn the South, 'Alassio', Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eELGAR \u003c\/b\u003eSea Pictures\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eELGAR \u003c\/b\u003eChanson de Matin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eHANDEL (arr. ELGAR) \u003c\/b\u003eOverture in D\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded 1953 and 1954 \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 55:16 \u003c\/span\u003e\u003cbr\u003e\u003cb\u003eGladys Ripley, \u003c\/b\u003econtralto\u003cb\u003e \u003cbr\u003eLondon Symphony Orchestra\u003cbr\u003e \u003c\/b\u003econducted by \u003cb\u003eGeorge Weldon\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fEnthusiastically recommended. Let’s hope there’s more Weldon to come578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis CD is a boon to the Elgar aficionado. George \nWeldon (1908–63) was one of the most accomplished English conductors of \nhis generation. After a successful seven-year tenure as conductor of the\n City of Birmingham Symphony Orchestra, in 1952 he became assistant \nconductor to Sir John Barbirolli with the Hallé Orchestra, where he \nremained until his death. He was a well-loved figure in Manchester, \ntaking charge of the orchestra’s summer promenade concerts and \nindustrial concerts in the North of England. The eminent record producer\n Brian B. Culverhouse wrote that Weldon was the only conductor he ever \nsaw an orchestra applaud following a recording session. The orchestra \nwas the Philharmonia. He was the type of conductor Sir Thomas Beecham \nhad in mind when he made his celebrated comment about the English hiring\n third-rate foreign conductors when they had so many second-rate ones of\n their own. Not that there was anything second-rate about Weldon at his \nbest. He recorded a marvelous stereo LP of Elgar’s shorter works with \nthe Royal Philharmonic that used to be available on RCA Victrola. He was\n in demand as an accompanist on recordings, doing Tchaikovsky with \nMoiseiwitsch and Grieg with Gina Bachauer, the latter formerly on a \nSeraphim LP. The recordings on this CD are monaural sessions from \n1953–54.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis is the slowest recording of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIn the South\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n I’ve ever heard. Compared with Solti’s quicksilver version, it might \neven be mistaken for a different piece. The work opens with a tremendous\n forward thrust and a great feeling of spaciousness. The first quiet \nepisode is particularly meditative, setting the scene for the rest of \nthe performance. The tone quality of the LSO throughout is richly \nautumnal. The original tune that Elgar tried to pass off as an Italian \nfolk song is evanescent and sublime, with beautiful solo work from the \norchestra. The climax of the piece is superbly paced and deeply \nemotional. This is a memorable interpretation.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe only modern recording of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSea Pictures\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n I had on hand for a comparison was Linda Finnie’s with Bryden Thomson. \nThat certainly is a good rendition, but it lacks the idiomatic quality \nand sense of identification of Ripley and Weldon. Gladys Ripley’s \ncontralto is the sort of English voice we don’t hear anymore. Its tone \nquality is familiar to Americans from old D’Oyly Carte Opera recordings,\n but with a richer sound that is more artistically deployed. Ripley and \nWeldon previously had recorded \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSea Pictures\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n in 1946 with the Philharmonia, but Brian Culverhouse prefers this 1954 \naccount. Weldon’s accompaniment here is alternately full-blooded and \nsensitive. A typical conductorial touch is in the rocking string figures\n in “Where Coral Lies.” In the opening “Sea-Slumber Song,” Ripley evokes\n calm and rest. The high point of the performance is the central \n“Sabbath Morning at Sea,” text by Elizabeth Barrett Browning. Ripley’s \nsinging becomes positively rapturous at the lines, “He shall assist me \nto look higher\/Where keep the saints, with harp and song\/An endless \nSabbath morning.”  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMESi\"\u003eChanson de matin\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is \ndelicately played. It is the only track on the CD that displays any \nsurface noise, quite remarkable, since remastering engineer Andrew Rose \nwas working from vinyl sources. The Overture in D, a transcription by \nElgar from Handel’s Chandos Anthem No. 2, shows how indebted Elgar was \nto Handel in the study of writing for strings. It is a thoroughly \nsuccessful treatment of Handel for the Romantic orchestra (with even a \nsnare drum). Weldon’s performance is thrilling.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAll the recordings on this CD were made at EMI’s \nAbbey Road Studio 1. Andrew Rose has provided sound that shows off this \nstudio at its best, with rich and well-blended textures. Except for the \nshort playing time, this disc is enthusiastically recommended. Let’s \nhope there’s more Weldon to come. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eDave Saemann  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 33:4 (Mar\/Apr 2010) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC196.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eA beautiful collection of some of the finest Elgar recordings\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eGeorge Weldon: an excellent, under-rated conductor well worth hearing\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThese recordings, all sourced from excellent near-mint copies expertly transferred by Edward Johnson from his private collection, where a delight to restore. Very little complex restoraiton was required, and XR remastering worked a treat. These recordings have been one of those delightful collectionc which I've spent more time listening to than restoring - which is something of a rarity here at Pristine! Wholeheartedly recommended.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eELGAR \u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eIn the South, 'Alassio', Overture\u003c\/strong\u003e, Op.50 \u003c\/span\u003e(23:06)\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded at Abbey Road Studio 1 on 19th February 1954\u003cbr\u003e First issued as UK Columbia LP 33SX1028 in July 1954\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eELGAR \u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSea Pictures\u003c\/strong\u003e, Op. 37\u003c\/span\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cspan class=\"body\"\u003e1. \u003cem\u003eSea Slumber-Song\u003c\/em\u003e (R. Noel) (5:06)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"body\"\u003e2. \u003cem\u003eIn haven (Capri)\u003c\/em\u003e (C. A. Elgar) (1:43)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"body\"\u003e3. \u003cem\u003eSabbath Morning at Sea\u003c\/em\u003e (E. B. Browning) (6:48)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"body\"\u003e4. \u003cem\u003eWhere Corals Lie\u003c\/em\u003e (R. Garnett) (3:20)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e 5. \u003cem\u003eThe Swimmer\u003c\/em\u003e (A. L. Gordon) (6:04)\u003cbr\u003e \u003cstrong\u003eGladys Ripley, \u003c\/strong\u003e\u003cem\u003econtralto\u003c\/em\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded at Abbey Road Studio 1 on 26th February 1954\u003cbr\u003e First issued as UK Columbia LP 33SX1028 in July 1954\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eELGAR \u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eChanson de Matin\u003c\/strong\u003e, Op.15, No.2\u003c\/span\u003e\u003cspan class=\"body\"\u003e (3:33)\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded at Abbey Road Studio 1 on 11th December 1953\u003cbr\u003e First issued as UK Columbia 78 DX1908 and 45 SCD2035 in April 1954\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eHANDEL (arr. ELGAR) \u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eOverture in D\u003c\/strong\u003e (from Chandos Anthem No. 2) \u003c\/span\u003e\u003cspan class=\"body\"\u003e (5:36)\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded at Abbey Road Studio 1 on 19th February 1954\u003cbr\u003e First issued as UK Columbia 45 SED5516 in September 1954\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eLondon Symphony Orchestra\u003cbr\u003e conducted by George Weldon\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTransfers from the collection of Edward Johnson\u003cbr\u003e XR remastering by Andrew Rose at Pristine Audio, June 2009\u003cbr\u003e Cover artwork based on a photograph of George Weldon\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 55:16 \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC196.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC196.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e    \"Gladys Ripley made a recording of Elgar's Sea Pictures in 1946, with George Weldon conducting the Philharmonia Orchestra (H.M.V. C3498-3500) which I reviewed in the July number of THE GRAMOPHONE in that year, and I find now that I could repeat that review word for word except that there is now no astringency in the tone of the violins in the first song, or in Sabbath Morning at Sea. Miss Ripley's lovely voice is ideal for these songs and, as I said before, she sings them with complete understanding and is free from all the usual contralto vices of hooting and scooping. Elgar is not always very sensitive in his setting of the words, as such, and indeed makes nonsense of some lines of the first song (Sea Slumber Song), but his music gives distinction to some indifferent poetry, the orchestral part is full of imaginative touches, and his vocal line has a fine sweep and singable-ness that seem to have departed from most vocal writing today. George Weldon and the L.S.O. provide a sensitive accompaniment, the balance is excellent, and altogether I found these five songs as enjoyable as ever...\"\u003c\/p\u003e\u003cp\u003e - Gramophone, July 1954\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":36100697741,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205575328078,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":55205575360846,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205575393614,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC196_71bd3c32-3f6e-4d31-9aa5-18b4561fa9b6.jpg?v=1492443482"},{"product_id":"pasc196-cd","title":"WELDON Elgar: In The South, Sea Pictures, Chanson de Matin, Overture (1953\/54) - PASC196 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478339661,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205575065934,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC196_c0a287fc-366a-4c83-a688-f14e69f88d6d.jpg?v=1658243486"},{"product_id":"pasc088","title":"CANTELLI in New York: Handel, Beethoven, Barber, Respighi (1955) - PASC088","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHANDEL \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eLargo from 'Xerxes' \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 7\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBARBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eAdagio for Strings\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRESPIGHI\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Pines of Rome \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded live in 1955\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 70:31\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eNew York Philharmonic-Symphony Orchestra \u003cbr\u003e \u003c\/b\u003econducted by \u003cb\u003eGuido Cantelli \u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC088.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eThis recording was generously provided by Cantelli's biographer, Lawrence Lewis, who had obtained a cassette copy some years ago from which I was able to work. Althugh not the ideal source medium, the results are eminently musical and highly enjoyable.\u003c\/p\u003e\u003cp\u003eI also endeavoured to preserve as much of the announcements and applause as was available in order to preserve the feeling of a live - and truly spectacular - event.\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHANDEL \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eLargo from 'Xerxes' \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 7 in A, Op. 92 \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBARBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eAdagio for Strings, Op. 11 \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRESPIGHI\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Pines of Rome \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eNew York Philharmonic-Symphony Orchestra \u003cbr\u003e \u003c\/b\u003econducted by \u003cb\u003eGuido Cantelli \u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cstrong\u003eLive CBS broadcast from Carnegie Hall, New York\u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eRecorded  27th March, 1955\u003cbr\u003e Presented with studio announcements as available \u003cbr\u003e\u003cbr\u003e Remastered from tape from the collection of Laurence Lewis \u003cbr\u003e Pristine Audio XR remastering by Andrew Rose, August 2007\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eTotal duration: 70:31\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC088.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC088.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":36727367437,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":55205559501134,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC088_812f9c28-02a2-4900-9131-e754cd96eca5.jpg?v=1493478040"},{"product_id":"pasc088-cd","title":"CANTELLI in New York: Handel, Beethoven, Barber, Respighi (1955) - PASC088 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478413389,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205559238990,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC088_e9b47050-9dd7-421d-ac9d-3d6f5d82ae62.jpg?v=1657718471"},{"product_id":"pabx016","title":"BEECHAM The ABC Blue Network Concerts, Complete (1945) - PABX016","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eNICOLAI\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"ARIALbi\" style=\"font-size: 14px;\"\u003eThe Merry Wives of Windsor: \u003c\/span\u003e\u003cspan class=\"ARIAL\" style=\"font-size: 14px;\"\u003eOverture\u003c\/span\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eELGAR\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"ARIALb\" style=\"font-size: 14px;\"\u003eSerenade for Strings\u003c\/span\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eHANDEL-BEECHAM\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"ARIALbi\" style=\"font-size: 14px;\"\u003eLove in Bath: \u003c\/span\u003e\u003cspan class=\"ARIALi\" style=\"font-size: 14px;\"\u003eThe Great Elopement\u003c\/span\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eDELIUS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"ARIALbi\" style=\"font-size: 14px;\"\u003eThe Walk to the Paradise Garden\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"BLACKb\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eJ. STRAUSS II \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"ARIALbi\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eVoices of Spring \u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"ARIALbi\"\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eWAGNER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 14px;\"\u003eGötterdämmerung: \u003c\/span\u003e\u003cspan class=\"ARIALi\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eSiegfried’s Funeral March\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eSIBELIUS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 14px;\"\u003ePelléas et Mélisande Suite: \u003c\/span\u003e\u003cspan class=\"ARIALi\" style=\"font-size: 14px;\"\u003eThe Death of Mélisande\u003c\/span\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eMOZART\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"ARIALb\" style=\"font-size: 14px;\"\u003eDivertimento, \u003c\/span\u003e\u003cspan class=\"ARIAL\" style=\"font-size: 14px;\"\u003eK 131: \u003c\/span\u003e\u003cspan class=\"ARIALi\" style=\"font-size: 14px;\"\u003eAdagio\u003c\/span\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eSCHUBERT\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"ARIALb\" style=\"font-size: 14px;\"\u003eSymphony No. 8, \u003c\/span\u003e\u003cspan class=\"ARIAL\" style=\"font-size: 14px;\"\u003e“Unfinished.”\u003c\/span\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"ARIALb\" style=\"font-size: 14px;\"\u003eSerenade in C: \u003c\/span\u003e\u003cspan class=\"ARIALi\" style=\"font-size: 14px;\"\u003eElegie\u003c\/span\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eBERLIOZ\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 14px;\"\u003eLes Troyens: \u003c\/span\u003e\u003cspan class=\"ARIALi\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eTrojan March \u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"ARIAL\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eMOZART  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003eSymphony No. 31\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"ARIALb\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eHANDEL-BEECHAM \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e Piano Concerto\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"ARIALi\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eCHABRIER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e España\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"ARIALbi\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"ARIAL\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003eThe Impressario - Overture\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"ARIALb\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"ARIALb\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"ARIALb\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eSAINT-SAENS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e Omphale’s Spinning Wheel\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"ARIALi\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eBERLIOZ \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003eThe Trojans - Royal Hunt and Storm\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eBERLIOZ\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e Hungarian March\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"ARIALbi\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"ARIALbi\"\u003eRecorded in 1945\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eSir Thomas Beecham, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eBlue Network Symphony Orchestra\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fA tremendous reading - fluctuating, brimming, teeming with ardent lyricism, and a fulsome example of Beecham’s art578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eREVIEW OF VOLUME 2\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eThe second in the series of Blue Network concerts in New York on 14 April 1945 (see \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2016\/Apr\/Beecham_ABC_PASC461.htm\"\u003eVolume 1\u003c\/a\u003e\r\n for further details) saw a tribute concert in memory of President \r\nRoosevelt who had died just two days before. The programme had to be \r\nchanged to reflect the sombre nature of the occasion which was \r\ninterrupted for a funeral report from the White House. A few salient \r\ndetails need to be borne in mind. After the introduction by Milton Cross\r\n there was a minute’s silence – one can hear cross-station interference –\r\n that producer Andrew Rose has wisely truncated. 50 seconds of music is \r\nmissing from the Sibelius, which he has patched from another recording –\r\n he doesn’t say which. A shorter patch was necessary in the Schubert \r\nwhich is ended early in any case by a live report.\u003cbr\u003e \u003cbr\u003e Almost \r\neverything here is familiar from Beecham’s extant discography, though \r\nnot everything will be familiar from on-the-wing live performances such \r\nas these. Siegfried’s Funeral March starts slightly awkwardly and \r\nensemble is less blended than in his 1953 RPO studio performance. \r\nNevertheless, the cumulative charge of the music-making is very strong \r\nindeed. Something should be said about Pristine’s tracking details which\r\n list track 3 as \u003cem\u003eThe Death of Mélisande\u003c\/em\u003e from Sibelius’s Op.46 suite. In fact, there are, to be precise, three movements from the suite; \u003cem\u003eMélisande\u003c\/em\u003e (No.2), \u003cem\u003ePastorale\u003c\/em\u003e (No.5) and finally, and most appropriately, \u003cem\u003eThe Death of Mélisande\u003c\/em\u003e\r\n itself. This offers a more wide-ranging mini-suite in which playful \r\narabesques lighten the commemorative and grieving elements enshrined in \r\nthe bulk of Beecham’s programme. His 1955 RPO performance may be more \r\ntightly played but this New York one has great gravity – his vocal \r\nexhortations during this last tableau will be familiar to those who know\r\n his similarly live BBC Second Symphony recording. The inclusion of the \r\nAdagio from Mozart’s Divertimento in D, K131, is apt.\u003cbr\u003e \u003cbr\u003e The surface hiss level is at its most intrusive in the second movement of Schubert’s \u003cem\u003eUnfinished.\u003c\/em\u003e\r\n But the brass is trenchant and the strings taut and memories will stir \r\nof his pre-war reading with the LPO just as much as the 1951 RPO. By a \r\nquirk of reportage therefore, given that the concert relay is halted \r\nbefore the end of the work, we have a doubly-unfinished symphony. The \r\nreal bonus for Beecham aficionados is the inclusion of Tchaikovsky’s \u003cem\u003eElegie\u003c\/em\u003e from the Serenade for Strings, which he never recorded commercially. Milton Cross announces this as Berlioz’s \u003cem\u003eIntermezzo and Serenade\u003c\/em\u003e,\r\n a clue perhaps to the original concert line-up. This is a tremendous \r\nreading - fluctuating, brimming, teeming with ardent lyricism, and a \r\nfulsome example of Beecham’s art. The concert ends with the \u003cem\u003eMarche Troyenne -\u003c\/em\u003e a noble way in which to end this near-hour long salute to the departed leader.\u003cbr\u003e \u003cbr\u003e\r\n This sequence of continuing discs leads me to hope that aural evidence \r\nhas survived of Beecham’s coast-to-coast tour of the US with the RPO in \r\n1950.\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cem\u003eJonathan Woolf\u003cbr\u003e\u003c\/em\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003eMusicWeb International\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC480.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand note:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eBEECHAM The ABC Blue Network Concerts, Volume 1 (1945) - PASC461\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFirst of four newly-discovered broadcast concerts by Beecham at the nascent ABC in 1945\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Robust and joyous ... a wonderfully entertaining album\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eAs indicated in our additional notes here, ABC, the American \nBroadcasting Company, had a somewhat unusual and protracted birth. The \ncompany and, in particular, its radio network, were still in a state of \ntransition when, in April 1945, it acquired the services of Sir Thomas \nBeecham to conduct a series of four concerts with a little-known \norchestra billed on air as the \"Blue Network Symphony Orchestra\", and \nmore prosaically in the New York Times radio listings as simply \"Sir \nThomas Beecham, conducting a Symphonic Orchestra\".\u003c\/p\u003e\n\u003cp\u003eQuite from where the members of this orchestra were drawn is open to \nsome guesswork: the members of the New York Philharmonic were engaged on\n the morning of the first broadcast in an 11am youth concert at Carnegie\n Hall - could some of these players also have made it to the 4pm live \nbroadcast for ABC? Toscanini had no engagements with his NBC Symphony \nOrchestra that month - might some of them moonlighted on the very same \nBlue Network which had traditionally been their home when it was under \nthe NBC umbrella? Beecham, meanwhile, was in New York to conduct the \nRochester Orchestra in two concerts at Carnegie Hall in March and a \nthird (a ballet) on 6th April 1945, at the Met. Might he have run \nthrough with them the twenty various shorter items which made up these \nfour broadcasts? And would the players go on to form the same \"ABC \nSymphony Orchestra\" that composer Roy Harris conducted in his own music \nthree years later? Maybe answers will be unearthed as this series \ncontinues.\u003c\/p\u003e\n\u003cp\u003eAnd it's certainly an interesting collection of music, including \n\"radio premières\" of music credited to Handel-Beecham, one of which \nfeatures the then Lady Beecham, Betty Humby, on piano. Of particular \nhistoric interest is the second in the series, which was hastily \nconverted into a memorial concert for the late President Franklin D. \nRoosevelt, whose funeral service was taking place at the White House as \nthe broadcast proceeded, something which entailed leaving the Unfinished\n Symphony literally unfinished as the station cut to a live commentator \non the event.\u003c\/p\u003e\n\u003cp\u003eSonically the recordings are more than adequate for AM radio \nbroadcasts of the era, if largely lacking in the upper frequencies one \nmight wish for in a hi-fi recording. They were preserved on 33rpm \nacetate discs from which these restorations were drawn.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eBEECHAM The ABC Blue Network Concerts, Volume 2 (1945) - PASC470\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSecond of four newly-discovered broadcast concerts - Beecham's Roosevelt Tribute Concert\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"The\n concert ends with the Marche Troyenne - a noble way in which to end \nthis near-hour long salute to the departed leader\" - MusicWeb \nInternational\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eSir Thomas Beecham's second of four scheduled live concert broadcasts\n with ABC's \"Blue Network Symphony Orchestra\" must have given the new \nstation's controllers any number of headaches, primarily because of the \nsudden death in office of President Roosevelt two days before the \nconcert, scheduled to coincide with the funeral service at the White \nHouse. We do not know what music Beecham had planned for that concert, \nbut one assumes it would have been considerably different to the more \nsolemn affair delivered on the day.\u003c\/p\u003e\n\u003cp\u003eIn preparing this previously-unreleased broadcast for issue I've had \nto make several unusual interventions. The broadcast began with a \nminute's silence, which I've faded. A section of about 50 seconds of \nmusic was missing from the Sibelius - this I've patched in from another \nrecording which I've \"aged\" to match the Beecham. A much shorter section\n in the Schubert had to be similarly patched.\u003c\/p\u003e\n\u003cp\u003eThe latter, interrupted by the broadcaster for a live report from the\n White House (audio of which doesn't apparently survive) is quite \nliterally unfinished - but we have most of it. Thereafter the concert is\n complete, though the announcement of a Berlioz Intermezzo and Serenade \nlead into a faded-in Tchaikovsky \u003cem\u003eElegie\u003c\/em\u003e, indicating that the concert, before a largely silent audience, continued without a break.\u003c\/p\u003e\n\u003cp\u003eIt's a remarkably historic document with some fabulous playing. Sound\n quality again is good AM radio; I've been able to deal largely with \nsome interference from other radio stations, whilst some disc surface \nnoise is occasionally audible.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eBEECHAM The ABC Blue Network Concerts, Volume 3 (1945) - PASC477\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThird of four newly-discovered broadcast concerts by Beecham at the nascent ABC in 1945\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"In New York he whipped up a quite different and more kinetic kind of storm\" \u003cbr\u003e- MusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eFollowing the hastily-arranged and sombre affair of Beecham's second \nBlue Network Symphony Orchestra concert (PASC470), his third engagement \nsaw something of a return to normal service, and some far more upbeat \ncommentary from Milton Cross than was heard at the Roosevelt Memorial \nConcert of Volume Two.\u003c\/p\u003e\n\u003cp\u003eOnce again we have a \"Handel-Beecham\" radio première, following on in\n this respect from the first concert (PASC461). This time the work was a\n Piano Concerto in A, with the soloist one Betty Humby, who two years \npreviously had become Lady Beecham when she married the conductor, some \n29 years her senior, before a police justice in Manhattan. Described by a\n reviewer as \"a straightforward arrangement of themes with the typical \nBeecham touch\", the musical duo had already made a studio recording of \nthe concerto in the January of 1945 with the London Philharmonic, one of\n a number of recordings Beecham made at the time which remained unissued\n for contractual reasons until copyright expired in the 1990s.\u003c\/p\u003e\n\u003cp\u003eAs with the previous volumes, sound quality from these 33rpm \ntranscription discs is on a par with good AM broadcasts, greatly \nassisted by XR remastering.\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eBEECHAM The ABC Blue Network Concerts, Volume 4 (1945) - PASC480\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFinal of four newly-discovered broadcast concerts by Beecham at the nascent ABC in 1945\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"His\n NY forces are in splendid form here, the coagulant tone of the lower \nstrings being especially notable, as is the fine brass playing\" \u003cbr\u003e- MusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eInformation concerning Sir Thomas Beecham's four concerts on the \nnascent ABC radio network in April 1945 is scant, but a small notice in \nthe New York Times of 15 April suggests that not only had the Saturday \nconcerts been quickly deemed a success, but that plans were already \nafoot to take the idea forward.\u003c\/p\u003e\n\u003cp\u003eExpecting to follow in Sir Thomas's footsteps were Max Goberman, \nNikolai Beresowski and Paul Whiteman (for a Gershwin memorial concert on\n June 30). Furthermore it was stated that \"\u003cem\u003ewhile there has been no \nofficial announcement of such a plan, it is reported that the orchestra \nmay become a permanent symphony ensemble for the network\u003c\/em\u003e\". \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eBeecham's final concert was once again centred around a classical \nsymphony - this time from Haydn - coupled with a handful of popular \nshorter works.Our source this time lacked an introduction or sign-off \nfrom Milton Cross, and quality varies somewhat across the sides, but \ngenerally we find decent audio quality and, once again, some sterling \nmusicianship from Sir Thomas and his ensemble.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand track listing:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eBEECHAM The ABC Blue Network Concerts, Volume 1 (1945) - PASC461\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cb\u003eNICOLAI\u003c\/b\u003e The Merry Wives of Windsor - Overture\u003cbr\u003e\u003cb\u003eELGAR \u003c\/b\u003e Serenade for Strings in E minor, Op. 20\u003cbr\u003e\u003cb\u003eHANDEL-BEECHAM\u003c\/b\u003e The Great Elopement - Selections\u003cbr\u003e\u003cb\u003eDELIUS\u003c\/b\u003e The Walk to the Paradise Garden \u003cbr\u003e\u003cb\u003eJ STRAUSS II\u003c\/b\u003e Frühlingsstimmen (Voices of Spring Waltz) Op. 410 \u003cbr\u003e\u003cbr\u003eLive broadcast on ABC\/Blue Network, 4pm, 7 April 1945\u003cbr\u003eAnnouncer: Milton Cross\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBlue Network Symphony Orchestra \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Thomas Beecham\u003c\/b\u003e, conductor\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eBEECHAM The ABC Blue Network Concerts, Volume 2 (1945) - PASC470\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\u003cp\u003e\u003cb\u003eWAGNER \u003c\/b\u003eGötterdämmerung, WWV 86D - Siegfried's Funeral March\u003cbr\u003e\u003cb\u003eSIBELIUS\u003c\/b\u003e Pelléas et Mélisande, Suite, Op. 46 - 9. The Death of Mélisande\u003cbr\u003e\u003cb\u003eMOZART\u003c\/b\u003e Divertimento in D, K.131 - 2nd mvt. - Adagio\u003cbr\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003e Symphony No. 8 in B minor, D.759 \"Unfinished\"\u003cbr\u003eABC Radio - Interruption for White House funeral report\u003cbr\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Serenade for Strings, Op. 48 - 3rd mvt. - Elegie\u003cbr\u003e\u003cb\u003eBERLIOZ\u003c\/b\u003e The Trojans, H.133 - Marche Troyenne\u003cbr\u003e\u003cbr\u003eLive broadcast on ABC\/Blue Network, 4pm, 14 April 1945\u003cbr\u003eRitz Theater, W. 48th Street,  New York City\u003cbr\u003eAnnouncer: Milton Cross\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBlue Network Symphony Orchestra \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Thomas Beecham\u003c\/b\u003e, conductor\u003cbr\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eBEECHAM The ABC Blue Network Concerts, Volume 3 (1945) - PASC477\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\u003cp\u003e\u003cb\u003eMOZART \u003c\/b\u003e Symphony No. 31 in D major, \"Paris\", K297\u003cbr\u003e\u003cb\u003eHANDEL-BEECHAM \u003c\/b\u003e Piano Concerto in A major\u003cbr\u003e\u003cb\u003eCHABRIER\u003c\/b\u003e España, Rhapsodie pour orchestre \u003cbr\u003e\u003cbr\u003eLive broadcast on ABC\/Blue Network, 4pm, 21 April 1945\u003cbr\u003eRitz Theater, W. 48th Street,  New York City\u003cbr\u003eAnnouncer: Milton Cross\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBetty Humby, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eBlue Network Symphony Orchestra \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Thomas Beecham\u003c\/b\u003e, conductor\u003cbr\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eBEECHAM The ABC Blue Network Concerts, Volume 4 (1945) - PASC480\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\u003cp\u003e\u003cb\u003eMOZART\u003c\/b\u003e Der Schauspieldirektor, K.486 - Overture\u003cbr\u003e\u003cb\u003eSAINT-SAËNS\u003c\/b\u003e Le Rouet d'Omphale, Op. 31\u003cbr\u003e\u003cb\u003eHAYDN \u003c\/b\u003e Symphony No. 102 in B flat major, Hob. I:102\u003cbr\u003e\u003cb\u003eBERLIOZ\u003c\/b\u003e Les Troyens, H133 - Chasse royale et Orage\u003cbr\u003e\u003cb\u003eBERLIOZ\u003c\/b\u003e La damnation de Faust, H 111 - Marche Hongroise \u003cbr\u003e\u003cbr\u003e\u003cb\u003eBlue Network Symphony Orchestra \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Thomas Beecham,\u003c\/b\u003e conductor\u003cbr\u003e\u003cbr\u003eLive broadcast on ABC\/Blue Network, 4pm, 28 April 1945\u003cbr\u003eRitz Theater, W. 48th Street,  New York City\u003cbr\u003eAnnouncer: Milton Cross\u003cbr\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":93470883866,"sku":null,"price":64.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205553275214,"sku":null,"price":44.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205553307982,"sku":null,"price":36.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC480.jpg?v=1769527904"},{"product_id":"pabx016-cd","title":"BEECHAM The ABC Blue Network Concerts, Complete (1945) - 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PACO144","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eHANDEL \u003c\/b\u003eRodelinda\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast performance, 1959\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 15:26\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eJoan Sutherland - \u003c\/b\u003eRodelinda \u003cb\u003e\u003cbr\u003eRaimund Herincx - \u003c\/b\u003eGaribaldo \u003cb\u003e\u003cbr\u003eJanet Baker - \u003c\/b\u003eEduige \u003cb\u003e\u003cbr\u003eMargreta Elkins - \u003c\/b\u003eBertarido \u003cb\u003e\u003cbr\u003eAlfred Hallett - \u003c\/b\u003eGrimoaldo \u003cb\u003e\u003cbr\u003ePatricia Kern – \u003c\/b\u003eUnulfo\u003cb\u003e\u003cbr\u003e\u003cbr\u003ePhilomusica of London\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eCharles Farncombe\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO144.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"margin-left: 25px;\"\u003eMiss Sutherland's Rodelinda is on\n    a level with her Lucia—confirmation that we have in our midst one of the\n    great sopranos of the world. The brilliance and beauty of her coloratura\n    are matchless. But no less notable is the exquisitely drawn phrasing of the\n    slow melodies and of the recitative, the subtle and intricate line and play\n    of tone-colours by which she gives to Handel’s music such meaning and\n    eloquence. With one aria in particular in the last act, in prison when she\n    believes her husband has been slain, she ravished the ear and melted the\n    heart: but it is perhaps unfair to single out just one passage when the\n    role, a magnificently rewarding one, offered so many treasures. - Opera, 1959\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eHandel's \u003ci\u003eRodelinda\u003c\/i\u003e was one of three operas revived in London in 1959 for the Handel bicentenary. It received just two performances at Sadler's Wells - happily including a live BBC broadcast from the theatre. Whilst this broadcast has surfaced before, on an Italian release from the mid-1990s, the quality of that release was poor, with limited sound quality, wobbly pitch, and other shortcomings. \u003c\/p\u003e\u003cp\u003eBy contrast the sound quality here is superlative almost throughout. Drawn from exemplary transfers of high quality FM tape recordings, the present release offers a vast improvement over the previous issue if you've heard it, and a delight to the ears if you have not. It was in performances like this that the Joan Sutherland legend was born - and cast alongside such fabulous singers as Janet Baker and Raimund Herincx, this really is any opera-lover's delight.\u003c\/p\u003e\u003cp\u003eI should however point out that a number of patches have been necessary: a handful of very short sections to cover tape changes are almost impossible to detect, lasting in some cases no more than a fraction of a second. However some damage to the primary source tape during Act 2 forced me to resort to a secondary source of lesser quality in a handful of places. I have done as much as possible to match the sound of these to that of the main source, but the sonic limits of this secondary source may become audible at times. Nevertheless the bulk of the second act and all of the first and final acts retain the full, excellent quality of the original source.\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eHANDEL \u003c\/b\u003eRodelinda\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cb\u003eJoan Sutherland - \u003c\/b\u003eRodelinda \u003cbr\u003e\u003cp\u003e\u003cb\u003eRaimund Herincx - \u003c\/b\u003eGaribaldo \u003cb\u003e\u003cbr\u003eJanet Baker - \u003c\/b\u003eEduige \u003cb\u003e\u003cbr\u003eMargreta Elkins - \u003c\/b\u003eBertarido \u003cb\u003e\u003cbr\u003eAlfred Hallett - \u003c\/b\u003eGrimoaldo \u003cb\u003e\u003cbr\u003ePatricia Kern – \u003c\/b\u003eUnulfo\u003cb\u003e\u003cbr\u003e\u003cbr\u003ePhilomusica of London\u003cbr\u003e\u003c\/b\u003eContinuo: \u003cb\u003eThurston Dart\u003c\/b\u003e, harpsichord\u003cbr\u003e\u003c\/p\u003e\u003cp\u003econducted by \u003cb\u003eCharles Farncombe\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003e\u003cbr\u003eCover artwork based on a photograph of the performance\u003cbr\u003e\u003cbr\u003eBroadcast on 24 June 1959\u003cbr\u003eSadler's Wells Theatre, London\u003cbr\u003e\u003cbr\u003eSung in English\u003cbr\u003eTranslation by David Harris\u003cbr\u003eTrack titles shown in the original Italian to aid navigation, comparison and score-following\u003cbr\u003e\u003cbr\u003eTotal duration:  2hr 15:26\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO144.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO144.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fSleevenotes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    The bicentenary of Handel’s death and the tercentenary of Purcell’s birth\n    were marked in London in June 1959 by a three week festival of their music.\n    London was an obvious place to hold it: both composers had worked there,\n    and indeed both are buried in Westminster Abbey. Four of Handel’s operas\nwere performed during the festival: \u003cem\u003eSamson\u003c\/em\u003e at Covent Garden,\u003cem\u003eRodelinda\u003c\/em\u003e and \u003cem\u003eSemele\u003c\/em\u003e at Sadler’s Wells, and    \u003cem\u003eSolomon\u003c\/em\u003e at the Royal Festival Hall.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cem\u003eRodelinda\u003c\/em\u003e\n    was written in 1725 for the King’s Theatre, Haymarket but was not heard in\n    Britain between the eighteenth century and a radio performance in 1928. A\n    different radio performance followed in 1935, and finally there was a\n    revival at the Old Vic in 1939. This 1959 production thus brought a rarely\n    heard opera to London audiences.\n\u003c\/p\u003e\n\u003cp\u003e\n    The star of this production was undoubtedly Joan Sutherland. Sutherland had\n    begun the move from dramatic soprano to dramatic coloratura, specialising\n    in previously obscure bel canto operas, with Handel’s \u003cem\u003eAlcina\u003c\/em\u003e in\nMarch 1957. Handel’s \u003cem\u003eSamson\u003c\/em\u003e and Donizetti’s    \u003cem\u003eLucia di Lammermoor\u003c\/em\u003e had followed in late 1958 and early 1959. She\n    takes the title role in this performance, an ideal vehicle for her dazzling\n    coloratura. The reviewer in the \u003cem\u003eTimes\u003c\/em\u003e described her performance as\n    ‘momentous in beauty and dignity, pathos and electric vigour,’ while Opera\n    Magazine saw the performance as ‘confirmation that we have in our midst one\n    of the great sopranos of the world.’\n\u003c\/p\u003e\n\u003cp\u003e\n    Janet Baker sings Eduige in what could easily be called her break-through\n    performance. Aged just 25 at the time, she went on to become Britain’s\n    leading mezzo-soprano with a particular affinity for the bel canto\n    repertoire. Her recordings of the works of Bach, Gluck, Handel and Purcell\n    became benchmarks. Janet Baker was actually a far more versatile singer\n    than that, performing works as diverse as the \u003cem\u003eTrojans\u003c\/em\u003e by Berlioz,\nMahler’s \u003cem\u003eDas Lied von der Erde\u003c\/em\u003e, and Britten’s    \u003cem\u003eOwen Wingrave\u003c\/em\u003e. She was also a regular and notable recitalist.\n    Opera Magazine described her as ‘one of the most arresting, intelligent and\n    imaginative mezzos we have, with vivid declamation and a rich, ringing,\n    individual timbre.’\n\u003c\/p\u003e\n\u003cp\u003e\n    Grimoaldo is sung by the British bass-baritone Raimund Herincx. Aa a house\n    baritone for Welsh National Opera and Sadler’s Wells, Herincx proved\n    himself capable of singing a wide variety of roles and genres, from Verdi\n    to Tippett. Later in his career he became best known for Wagnerian roles.\n\u003c\/p\u003e\n\u003cp\u003e\n    Conductor Charles Farncombe created the Handel Opera Society in 1955, with\n    the aim of restoring Handel’s forgotten operas to the stage. His production\n    of \u003cem\u003eDeidamia\u003c\/em\u003e in 1955 received a positive audience response, and a\n    regular series of opera productions ensued, often at Sadler’s Wells. This\n    BBC broadcast is an important addition to his rather small discography.\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_labelfb55cd020f0643f08418183279e63a5fContemporary Review578a9379d1e540bd96d26f03a79628d9tab5_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab5_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\nWith Callas singing Medea at Covent Garden, and Joan Sutherland singing    \u003cem\u003eRodelinda\u003c\/em\u003e at Sadler’s Wells, the London summer season was indeed\n    starry. The only pity is that \u003cem\u003eRodelinda\u003c\/em\u003e was done only twice: it\n    would be sad if neither Sadler's Wells nor Covent Garden could see its way\n    into taking over this Handel Opera Society production for some further\n    performances. In 1959 there is no longer need to begin by expressing\n    surprise that—contrary to all the textbooks—Handel’s operas, with da capos,\n    castratos. artificial plots and all, should prove stageworthy. The Germans\n    have known it for years, and thanks to the work of the Handel Opera\n    Society, most opera-loving Britons (the directors of our national theatres\n    of course excepted) know it too. Here is a rich heritage of opera hardly\n    explored by the nation for whom it was written. (To hear Miss Sutherland's\n    superb Alcina again, it looks as if we shall all have to go over to\n    Cologne.) These British Handel performances score over the German ones in\n    that Charles Farncombe does not transpose major roles down an octave, but\n    finds a seemingly endless supply of mezzo-sopranos and contraltos to don\n    with distinction the castrato breeches. Also, he does not tinker with the\n    orchestration, but allows Handel’s extraordinary tone-colours to sound as\n    the composer intended.\n\u003c\/p\u003e\n\u003cp\u003e\n    Reason tells us that the dramatic oratorios are more perfect works of art\n    than the operas—that the plots are finer, the musical spans more sustained,\n    and on a nobler level altogether. But anyone who loves the conventions of\n    opera must capitulate utterly when \u003cem\u003eAlcina\u003c\/em\u003e or \u003cem\u003eRodelinda\u003c\/em\u003e is\n    offered him. Aria follow's glorious aria, poured out like jewels from a\n    treasure hoard. The invention is endless, and constantly astonishing. The\n    music is impassioned, or meltingly beautiful. And. though the situations\n(like those of \u003cem\u003eII Trovatore\u003c\/em\u003e, or \u003cem\u003eForza\u003c\/em\u003e, or    \u003cem\u003eLa Gioconda\u003c\/em\u003e) are contrived, the characterization rings deep and\n    true. Rodelinda, like Fidelia, is a tale of married love, of constancy and\n    courage in adversity. As Winton Dean says well, ‘Handel expresses every\n    facet of conjugal emotion—separation, longing, despair, hope, relief—in\n    music of marvellous eloquence.’ But beyond this it is a nicely complicated,\n    intricate and interesting plot. There is a Machiavellian intriguer (bass),\n    who has betrayed Bertarido, King of Lombardy, and now seeks to betray the\n    usurper he helped to the throne. The heroine has a sister-in-law, Eduige\n    (mezzo), with some vivid arias. Bertarido’s faithful courtier. Unolfo\n    (comprimario castrato), has some fine forthright little arias too. The\n    usurping Grimoaldo (tenor), after his villainous set-pieces, is allocated a\n    scena of rare beauty in which remorse assails him, and he envisages the lot\n    of a shepherd.\n\u003c\/p\u003e\n\u003cp\u003e\n    As with all the operas, the music of \u003cem\u003eRodelinda\u003c\/em\u003e implies far more\n    brilliant singing than that of the oratorios: and a highly distinguished\n    cast was assembled for this performance. Miss Sutherland's Rodelinda is on\n    a level with her Lucia—confirmation that we have in our midst one of the\n    great sopranos of the world. The brilliance and beauty of her coloratura\n    are matchless. But no less notable is the exquisitely drawn phrasing of the\n    slow melodies and of the recitative, the subtle and intricate line and play\n    of tone-colours by which she gives to Handel’s music such meaning and\n    eloquence. With one aria in particular in the last act, in prison when she\n    believes her husband has been slain, she ravished the ear and melted the\n    heart: but it is perhaps unfair to single out just one passage when the\n    role, a magnificently rewarding one, offered so many treasures. Miss\n    Sutherland's acting was also marked by the tenderness and the fire which\n    distinguished her Lucia: expression, gesture and bearing were always such\n    as to enhance the music.\n\u003c\/p\u003e\n\u003cp\u003e\n    There were three other distinguished singers in the cast. Janet Baker\n    (Eduige) is one of the most arresting, intelligent and imaginative mezzos\n    we have, with vivid declamation and a rich, ringing, individual timbre.\n    Margreta Elkins (Bertarido), another truly 'operatic’ mezzo, was\n    particularly artistic in her singing of the lovely ‘Dove sei,’ and of the\n    garden air (one with flutes both transverse and \u003cem\u003eà bec\u003c\/em\u003e). The\n    entrancing duet in which she and Miss Sutherland take a farewell as tender\n    as Belmonte's and Constanze’s must also be mentioned. And Raimund Herincx\n    (Garibaldo, the intriguer) sang as strikingly as befits one of our most\n    stylish bass-baritones.\n\u003c\/p\u003e\n\u003cp\u003e\n    Alfred Hallet (Grimoaldo) and Patricia Kern (Unolfo) were both effective,\n    though not quite on this exalted level. Mr Farncombe again showed a\n    thorough understanding of Handel, and managed both the dramatic and the\n    lyrical passages with equal success. The Philomusica played well. And\nAnthony Besch is a master of the difficult art of staging    \u003cem\u003eopera seria \u003c\/em\u003eso as to convince a modern audience. Eschewing the\n    German tricks of fussification and busy “invention” to take our minds off\n    the da capos (who could want distraction, when these were so beautifully\n    sung, and adorned with new surprises!), presented the drama in a dignified\n    way. There was one modern trick, but that a clever one: during introductory\n    ritornellos, Mr Besch held our attention on the stage picture by keeping us\n    guessing for a while who was due to sing the next aria. Robin Pidcock’s\n    settings missed any very distinctive style, and the out-of-perspective\n    cemetery scene betrayed an inexperienced hand. The prison, however, was\n    most effective. They were pleasant, open, and undisturbing. It remains only\n    to mention a first-rate English translation by David Harris which lies on\n    the music convincingly and never breaks idiom.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eA.P\u003c\/strong\u003e\n    ., Opera magazine, August 1959\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab5_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":2931118014490,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205549900110,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205549932878,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO144.jpg?v=1510763733"},{"product_id":"pasc523","title":"CANTELLI in New York, Vol. 3: Wagner, Verdi, Brahms, Monteverdi, Handel, Hindemith (1956) - PASC523","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eParsifal - Good Friday Spell\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003eTe Deum\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eAlto Rhapsody\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMONTEVERDI \u003c\/b\u003eMagnificat\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eHANDEL \u003c\/b\u003eXerxes - Largo\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003ePiano Concerto No. 1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eHINDEMITH \u003c\/b\u003eConcert Music For Strings And Brass\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast concerts, 1956\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration:  2hr 15:36\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eMartha Lipton, \u003c\/b\u003ealto\u003cb\u003e\u003cbr\u003eRudolf Firkušný\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eNew York Philharmonic-Symphony Orchestra\u003cbr\u003e\u003c\/b\u003eConducted by \u003cb\u003eGuido Cantelli\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIf you love great conducting of great music, make this absolutely a priority, must-have acquisition578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eThis set brings us the last two concerts that Guido Cantelli conducted with the New York Philharmonic—indeed, the final concerts he gave in the USA—before his tragic death on November 24, 1956 in a plane crash. The Brahms Concerto and the Handel and Hindemith selections were performed on April 8, and the other works on April 1. This set is also valuable because only the Handel and Monteverdi works have other performances surviving in Cantelli’s discography; indeed, these were the conductor’s first performances ever of the works by Brahms and Verdi, while he had conducted the Wagner only once before, in 1945. The sound quality throughout the set is excellent; Andrew Rose obviously had access to excellent original sources even before applying his trademark XR sound processing to them. \u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eEven more importantly, with only one exception they are performances of the very front rank. The exception occurs right at the start of the first CD: the Good Friday Spell from Parsifal is prosaic and businesslike, technically well played but completely lacking in atmosphere. After that, Cantelli moves from strength to strength. Both the Verdi Te Deum and the Brahms Alto Rhapsody receive impassioned renditions—the Verdi shows what a grievous loss Cantelli’s premature death was to the opera world—with excellent work by the Westminster Choir matching the instrumentalists of the New York Philharmonic. In the Brahms, Martha Lipton is a very capable soloist, though she lacks the unique vocal profiles and interpretive insights of such great contemporaries as Marian Anderson and Kathleen Ferrier. An unexpectedly fine surprise is provided by Giorgio Federico Ghedini’s arrangement for orchestra of Monteverdi’s Magnificat. A previous performance with identical forces was given on January 6, 1952 and issued in a 12-CD set of Cantelli performances by Music \u0026amp; Arts; there the much inferior recorded sound and more ragged playing and singing made the work something of a trial. Here, it springs vividly to life; if hardly in line with present-day HIP standards for Baroque music, the modern forces make a visceral impact with suitable grandeur. I do wish that the fine solo soprano in the opening lines had been identified. \u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eIn the second concert, the ever-popular Largo from Handel’s Xerxes has competition in the Cantelli discography from a December 27, 1953 NBC Symphony broadcast. While the NBC version has more sonic presence and attains an extra degree of rapt intensity, this one is still quite fine on its own terms (although both versions milk the closing bars for overly Romanticized emotion). The Brahms and Hindemith works that follow receive interpretations that are pinnacles of excellence. Cantelli brings both a fiery intensity and passionate lyricism to the orchestral part that far surpasses the somewhat stolid accompaniment that William Steinberg and the Pittsburgh Symphony would provide for Firkušný in an October 1956 studio recording. For his part, the Czech pianist is inspired by his partner to great heights, balancing high drama with ardent songfulness and technically clean execution. This is one of the truly great accounts of this score that belongs in every collector’s library. The Hindemith Concert Music is well-nigh miraculous. I had never expected to hear anyone equal Leonard Bernstein’s fabled 1961 New York Philharmonic studio recording, but Cantelli actually aces him with a stunningly perfect command of Hindemith’s musical rhetoric. He brings out an extra degree of febrile tension in the score by crisp accentuation of rhythms and articulation and keenly balanced contrasts in the often discordant brass harmonies, while the strings have an almost serpentine menace to them. This is now my go-to version for a performance of this marvelous, too little appreciated masterpiece. \u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eAs usual with Pristine, only minimal notes are provided. While Andrew Rose has issued many fine releases over the years, this one in my estimation ranks in the top 10 percent. If you love great conducting of great music, make this absolutely a priority, must-have acquisition; urgently recommended. \u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003e\u003cspan style=\"font-weight: bold; font-style: italic;\"\u003eJames A. Altena \u003c\/span\u003e\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC523.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"margin-left: 25px;\"\u003eThese two CDs preserve Guido Cantelli's programmes of his last subscription concerts and are valuable for two reasons. First, they contain Cantelli's very last concerts which he gave in America, but second and more importantly three of the compositions - both of the Brahms and the Verdi - were the first time that the conductor had performed these works. Additionally, Cantelli had only conducted the Wagner and Hindemith once: the Wagner was given in Italy during 1945 so it is unlikely that it was recorded but,fortunately, the Hindemith - a new addition to Cantelli's repertoire - was broadcast with the NBC Symphony Orchestra and is available on a Pristine Audio CD, PASC 111. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eKeith Bennnett\u003c\/b\u003e (author of \"\u003ci\u003eGuido Gantelli, Just Eight Years of Fame\u003c\/i\u003e\")\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"\"\u003e\u003cbr\u003e\u003cbr\u003eThese two final broadcast concerts conducted by Guido Cantelli were sourced from high quality mono FM radio recordings and offer excellent sound quality throughout. That said, there were some issues with wow and flutter which I was able to deal with using Capstan pitch stabilisation software, and other minor sonic technical issues were easily overcome. Commentaries were quite long between most works, and these have been trimmed down  - at times considerably. I chose, however, to leave the very final closing as broadcast - it was the last time Cantelli would appear on US radio and on a US concert platform. The following month he headed to London for recording sessions with the Philharmonia Orchestra, and for the rest of the year conducted in London, Milan, Johannesburg, Modena and, finally, in Brescia, Italy on 15 November 1956. Nine days later he was to lose his life in a fatal plane crash in Paris, France, having just a week earlier been named Musical Director of La Scala, Milan.\u003c\/p\u003e\u003cp style=\"\"\u003eNB. The arrangement of Handel's \u003ci\u003eLargo \u003c\/i\u003efrom \u003ci\u003eXerxes\u003c\/i\u003e is attributed by the commentator to the Italian composer Bernadino Molinari, whereas the New York Philharmonic Orchestra's official archive suggests the more common arrangement by Arthur Luck. An examination of the printed concert programme for the evening is of no help - there is no mention here of the arranger (by contrast the Monteverdi arrangement is properly attributed to Ghedini). An examination of the recording indicates that Cantelli does not, in fact, use the Luck arrangement - Luck begins with strings, Cantelli with wind; Luck proceeds with solo violin and harp, Cantelli with solo violin and other orchestral instruments, and so forth. We have been unable to verify 100% that a Molinari arrangement is used here but have no reason to doubt it, despite this contradicting the \"official\" record.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e1. Radio Introduction, 1 April 1956  (1:01)\u003cbr\u003e2. \u003cb\u003eWAGNER \u003c\/b\u003eParsifal - Good Friday Spell  (11:06)\u003cbr\u003e3. \u003cb\u003eVERDI \u003c\/b\u003eTe Deum  (14:32)\u003cbr\u003e4. \u003cb\u003eBRAHMS \u003c\/b\u003eAlto Rhapsody  (16:11)\u003cbr\u003e\u003cb\u003eMartha Lipton\u003c\/b\u003e, alto\u003cbr\u003e5. \u003cb\u003eMONTEVERDI \u003c\/b\u003e(arr. Ghedini) Magnificat for 6 voices (from \u003cspan class=\"st\"\u003eVespro della Beata Vergine, SV 206)\u003c\/span\u003e (21:22)\u003cbr\u003e6. Radio Ending, 1 April 1956  (1:29)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eWestminster Choir\u003c\/b\u003e\u003cbr\u003eDirector: John \u003cb\u003eFinlay Williamson\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e1. Radio Introduction, 8 April 1956  (1:08)\u003cbr\u003e2. \u003cb\u003eHANDEL \u003c\/b\u003e(arr. B. Molinari) Xerxes - Largo  (6:17)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBRAHMS  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ePiano Concerto No. 1 in D minor, Op. 15\u003c\/span\u003e\u003cbr\u003e3. 1st mvt. - Maestoso  (21:15)\u003cbr\u003e4. 2nd mvt. - Adagio  (12:51)\u003cbr\u003e5. 3rd mvt. - Rondo. Allegro non troppo  (11:42)\u003cbr\u003e\u003cb\u003eRudolf Firkušný\u003c\/b\u003e     piano\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e6. \u003cb\u003eHINDEMITH \u003c\/b\u003eConcert Music for Strings and Brass  (15:55)\u003cbr\u003e7. Radio Ending, 8 April 1956  (0:46)\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eNew York Philharmonic-Symphony Orchestra\u003cbr\u003e\u003c\/b\u003eConducted by \u003cb\u003eGuido Cantelli\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Guido Cantelli\u003cb\u003e\u003cbr\u003e\u003cbr\u003eConcert No. 1\u003cbr\u003e\u003c\/b\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 1 April, 1956\u003cb\u003e\u003cbr\u003e\u003cbr\u003eConcert No. 2\u003cbr\u003e\u003c\/b\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 8 April, 1956\u003cbr\u003e\u003cbr\u003eTotal duration:  2hr 15:36\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC523.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC523.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":12856924766269,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205548458318,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205548491086,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC523_d0a34d88-7a40-4603-840c-3e4c603949a4.jpg?v=1537526434"},{"product_id":"pasc523-cd","title":"CANTELLI in New York, Vol. 3: Wagner, Verdi, Brahms, Monteverdi, Handel, Hindemith (1956) - 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not a simple country girl, but an eighteenth-century actress playing in a slightly sophisticated manner at being what she knows perfectly well she is not. Her singing of \"\u003ci\u003eHush the pretty warbling choir\u003c\/i\u003e\" and \"\u003ci\u003eAs when the dove\u003c\/i\u003e\" puts her on a pedestal of classic elegance, and even the short recitatives are given with due regard for their place in the scheme as a whole. Winton Dean finds this \"formal regularity\" of the masque its only discoverable blemish, but I have a feeling that hundreds of ardent Handelians will gladly overlook it and offer up their thanks for the fine performances ofJoan Sutherland and Peter Pears. As Acis, Pears brings something of the same combination of qualities already enumerated in connection with the heroine; his gentle roulades in \"\u003ci\u003eLove in her eyes sits playing\u003c\/i\u003e\", his brisk and valiant prowess in \"\u003ci\u003eLove sounds th' alarm\u003c\/i\u003e\", and his sad and touching demise (when even the friendly sound of the harpsichord is suppressed by Handel's own command) leave the listener in no doubt about the high quality of his portrayal of an endearing character.\"\u003cbr\u003e\u003cb\u003eD.S., The Gramophone\u003c\/b\u003e, March 1960\u003cbr\u003e\u003cbr\u003eJoan Sutherland's 1959 recording of Acis and Galatea is widely regarded as a classic. For many it's the greatest recording of Handel's operatic masterpiece, but over recent years it's become increasingly difficult to find in many parts of the world. This new transfer by Andrew Rose for Pristine has required minimal intervention from near mint discs, with the gentle touch of XR remastering bringing subtle improvements to an excellent 1959 recording. CD purchasers should note that full and vocal scores of the work are available with your free MP3 download, together with a copy of the libretto.\u003cbr\u003e\u003cbr\u003eThe two recitals presented here were, we believe, both recorded in 1961 by the BBC. The first was broadcast on Christmas Eve, 1961, exactly a year after a similar broadcast featuring Joan Sutherland and Richard Bonynge. A recital of 18th and early-19th century music, here it is accompanied by piano. The second recital was recorded and prepared by the BBC Transcription Service but did not receive a domestic broadcast - we have been unable to determine where and when it might have been transmitted, but understand it to have been another 1961 recording session. Here the music has harpsichord accompaniment yet draws from material from a similar era to the first recital.\u003cbr\u003e\u003cbr\u003eTechnically both suffered from a degree of wow and flutter which has required careful intervention to cure or ameliorate. Some upper-frequency peak distortion in the voice marred the piano recital disc, which has largely been fixed. Otherwise both were recorded to the high technical standards one expects from the BBC.\u003cbr\u003e\u003ci\u003e\u003cb\u003e\u003cbr\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eHANDEL  \u003c\/b\u003eAcis and Galatea\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eDISC ONE\u003cbr\u003e1. \u003cb\u003ePart 1\u003c\/b\u003e - Sinfonia  (3:44)\u003cbr\u003e2. O the pleasure of the plains  (5:46)\u003cbr\u003e3. Ye verdant plains  (1:03)\u003cbr\u003e4. Hush, ye pretty warbling choir  (4:34)\u003cbr\u003e5. Where shall I seek the charming fair?  (2:43)\u003cbr\u003e6. Stay, shepherd, stay  (0:35)\u003cbr\u003e7. Shepherd, what art thou pursuing?  (3:05)\u003cbr\u003e8. Lo! here my love  (0:35)\u003cbr\u003e9. Love in her eyes sits playing  (6:09)\u003cbr\u003e10. O didst thou know  (0:26)\u003cbr\u003e11. As when the dove laments her love  (4:57)\u003cbr\u003e12. Happy we  (2:52)\u003cbr\u003e\u003cbr\u003e13. \u003cb\u003ePart 2\u003c\/b\u003e - Wretched lovers  (5:17)\u003cbr\u003e14. I rage, I melt, I burn  (1:40)\u003cbr\u003e15. O ruddier than the cherry  (3:25)\u003cbr\u003e16. Whither, fairest, art thou running?  (1:30)\u003cbr\u003e17. Cease to beauty to be suing  (3:40)\u003cbr\u003e18. Would you gain the tender creature  (4:08)\u003cbr\u003e19. His hideous love  (0:35)\u003cbr\u003e20. Love sounds the alarm  (3:11)\u003cbr\u003e21. Consider, fond shepherd  (4:05)\u003cbr\u003e22. Cease, O cease  (0:39)\u003cbr\u003e23. The flocks shall leave the mountains  (2:36)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eDISC TWO\u003cbr\u003e1. Help, Galatea  (1:35)\u003cbr\u003e2. Mourn, all ye Muses  (3:16)\u003cbr\u003e3. Must I my Acis still bemoan?  (4:34)\u003cbr\u003e4. 'Tis done  (0:31)\u003cbr\u003e5. Heart, the seat of soft delight  (4:02)\u003cbr\u003e6. Galatea, dry thy tears  (3:12)\u003cbr\u003e\u003cbr\u003e7. O ruddier than the cherry (alternative version)  (3:35)\u003c\/p\u003e\u003cp\u003e\u003cb\u003eJoan Sutherland \u003c\/b\u003e(soprano), Galatea, a sea-goddess\u003cbr\u003e\u003cb\u003ePeter Pears\u003c\/b\u003e (tenor), Acis, a shepherd\u003cbr\u003e\u003cb\u003eDavid Galliver \u003c\/b\u003e(tenor), Damon, a shepherd\u003cbr\u003e\u003cb\u003eOwen Brannigan\u003c\/b\u003e (bass), Polyphemus, a giant\u003cbr\u003e\u003cb\u003eThe St. Anthony Singers\u003cbr\u003ePhilomusica of London   \u003cbr\u003eThurston Dart\u003c\/b\u003e, harpsichord\u003cbr\u003e\u003cb\u003eSir Adrian Boult\u003c\/b\u003e, conductor\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSong Recital No. 1\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e8. \u003cb\u003eDALAYRAC \u003c\/b\u003eQuand la bien aimé reviendra (\u003ci\u003eNina\u003c\/i\u003e) (3:56)\u003cbr\u003e9. \u003cb\u003eBONONCINI \u003c\/b\u003ePer la gloria (\u003ci\u003eGrisleda\u003c\/i\u003e)  (4:58)\u003cbr\u003e10. \u003cb\u003eBOYCE \u003c\/b\u003eTell me lovely shepherd (\u003ci\u003eSolomon\u003c\/i\u003e)  (3:49)\u003cbr\u003e11. \u003cb\u003eARNE \u003c\/b\u003eThe traveller benighted (\u003ci\u003eLove in a Village\u003c\/i\u003e)  (1:56)\u003cbr\u003e12. \u003cb\u003ePAISIELLO \u003c\/b\u003eNel cor più non mi sento (\u003ci\u003eLa bella molinara\u003c\/i\u003e)  (4:01)\u003cbr\u003e13. \u003cb\u003eSHIELD \u003c\/b\u003eLight as thistledown (\u003ci\u003eRosina\u003c\/i\u003e)  (1:41)\u003cbr\u003e14. \u003cb\u003eSHIELD \u003c\/b\u003eWhilst with village maids I stray (\u003ci\u003eRosina\u003c\/i\u003e)  (2:44)\u003cbr\u003e15. \u003cb\u003eSHIELD \u003c\/b\u003eWhen William at Eve (\u003ci\u003eRosina\u003c\/i\u003e)  (2:38)\u003cbr\u003e\u003cb\u003eRichard Bonynge\u003c\/b\u003e, piano\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSong Recital No. 2\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e16. \u003cb\u003ePERGOLESI \u003c\/b\u003eNina  (2:38)\u003cbr\u003e17. \u003cb\u003eSOLER \u003c\/b\u003eDolce mi parve un di  (3:01)\u003cbr\u003e18. \u003cb\u003eMAYR \u003c\/b\u003eChe dici  (2:53)\u003cbr\u003e19. \u003cb\u003eHANDEL \u003c\/b\u003eWith plaintive notes  (4:19)\u003cbr\u003e20. \u003cb\u003eARNE \u003c\/b\u003eWhen daisies pied  (2:36)\u003cbr\u003e21. \u003cb\u003eHAYDN \u003c\/b\u003ePastoral Song  (4:09)\u003cbr\u003e22. \u003cb\u003eHAYDN \u003c\/b\u003eShe never told her love  (3:41)\u003cbr\u003e23. \u003cb\u003eSPOHR \u003c\/b\u003eRose, softly blooming  (3:16)\u003cbr\u003e24. \u003cb\u003eHORN \u003c\/b\u003eCherry Ripe  (1:55)\u003cbr\u003e25. \u003cb\u003eRECLI \u003c\/b\u003eBergerette  (1:59)\u003cbr\u003e\u003cb\u003eRichard Bonynge\u003c\/b\u003e, harpsichord\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eJoan Sutherland\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003e, soprano\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003eCover artwork based on a 1962 photograph of \u003cb\u003eJoan Sutherland\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eHANDEL Acis \u0026amp; Galatea\u003c\/b\u003e\u003cbr\u003eRecorded Watford Town Hall, 31 May \u0026amp; 2-4 June 1959\u003cbr\u003eFirst issued as L'Oiseau-Lyre SOL60011-12\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003eSong Recitals\u003c\/b\u003e\u003cbr\u003eBBC Radio recordings, 1961\u003cbr\u003eRecital No. 1 was first broadcast on BBC radio on 24 December 1961\u003c\/p\u003e\u003cp\u003e\u003cb\u003eTotal duration\u003c\/b\u003e:  2hr 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style=\"font-size: 16px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eSymphony No. 41, “Jupiter”\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eOvertures, marches and short works by\u003cbr\u003e\u003cb\u003eAlford, Auber, German, Handel, Meyerbeer, Mozart, Offenbach, Suppé, Wagner\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1927-1934\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 74:38\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eSymphony Orchestra\u003cbr\u003eBournemouth Municipal Orchestra\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eSir Dan Godfrey\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC534.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    The present release celebrates the 150th anniversary of the birth of Sir\n    Dan Godfrey (20 June 1868 – 20 July 1939), founder of the ensemble known\n    today as the Bournemouth Symphony Orchestra. Godfrey was the son of a\n    highly-esteemed bandmaster of the Grenadier Guards. When the elder Godfrey\n    showed little interest in an offer to organize a series of summer concerts\n    at the seaside resort town of Bournemouth in 1893, his son applied in his\n    place and won the post. By that time, the 25-year-old Godfrey had already\n    completed studies at the Royal College of Music, conducted the London\n    Military Band for two years, and served as musical director of an opera\n    company in South Africa.\n\u003c\/p\u003e\n\u003cp\u003e\n    The summer season proved to be an immediate success, and Godfrey worked to\n    have the ensemble established on a permanent basis. Over the following 41\n    years, he built the Bournemouth Municipal Orchestra into one of Britain’s\n    finest ensembles. His efforts to champion British music in particular led\n    to his knighthood in 1922, following a campaign organized by composer Ethel\n    Smyth.\n\u003c\/p\u003e\n\u003cp\u003e\nIn his monograph    \u003cem\u003eSir Dan Godfrey \u0026amp; the Bournemouth Municipal Orchestra\u003c\/em\u003e (1970),\n    Stuart Upton writes that Godfrey was “a spectacular showman” who “had a\n    star-quality of a rare order, similar in certain ways to that of Arthur\n    Fiedler” of the Boston “Pops”, but that Godfrey was “in certain respects a\n    much finer artist” who was “as much at home with the greatest music in the\n    symphony concerts as with a novelty foxtrot on Saturday night.”\n\u003c\/p\u003e\n\u003cp\u003e\n    A bit of the former can be glimpsed in Godfrey’s 1927 recording of the\n    “Jupiter” Symphony. During a period in which Columbia was recording Mozart\n    symphonies with Beecham, Harty, Weingartner and Walter, it was a particular\n    vote of confidence in Godfrey’s abilities to allot the “Jupiter” to him.\n    The “Symphony Orchestra” employed both here and in the Wagner march was\n    most likely the LSO, which had recently switched allegiance to HMV and so\n    could not be credited on Columbia’s discs. Godfrey’s approach is in some\n    ways the antithesis of Albert Coates’ supercharged performance recorded\n    with the same ensemble a few months later (Pristine PASC 455).\n\u003c\/p\u003e\n\u003cp\u003e\n    The Handel and Meyerbeer coupling was Godfrey’s last recording, made two\n    months before his final concert. That same performance featured the Edward\n    German dances, which Godfrey had played at his Bournemouth première and had\n    also filmed for a Pathé short in 1931 (currently on YouTube). The three\n    overtures are good examples of Godfrey’s stylish and energetic way with\n    light Classics. And no Godfrey program would be complete without the\n    inclusion of one of his “novelty” numbers, often written by and\/or\n    featuring soloists from the orchestra.\n\u003c\/p\u003e\n\u003cp\u003e\n    Very little of Godfrey’s recorded legacy has been available since the 78\n    rpm era. Aside from a couple tracks in EMI Bournemouth SO anniversary\n    collections and others in a Guild “Light Music” CD series, the only\n    previous reissue devoted to Godfrey of which I am aware was a Symposium\ndisc featuring his acoustic recordings of Vaughan Williams’    \u003cem\u003eLondon Symphony\u003c\/em\u003e. Nearly all the items in the present collection\n    are appearing in extended play form for the first time, most surprisingly\n    in the case of the Mozart “Jupiter”.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003cstrong\u003eSIR DAN GODFREY: A Sesquicentennial Salute\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\n\u003cdiv\u003e\n    \u003cp\u003e\n        \u003cstrong\u003e \u003c\/strong\u003e\n    \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003cspan style=\"font-size: 16px;\"\u003eMOZART: Symphony No. 41 in C major, K551, “Jupiter”\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. 1st Mvt.: Allegro vivace (8:12)\u003cbr\u003e2. 2nd Mvt.: Andante cantabile (7:09)\u003cbr\u003e3. 3rd Mvt.: Menuetto: Allegretto \u0026amp; Trio (3:51)\u003cbr\u003e4. 4th Mvt.: Finale: Molto allegro (7:03)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 4 February 1927 ∙ Matrices WRAX 2432\/9 (Columbia L 1938\/41)\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e5. \u003cstrong\u003eHANDEL: Largo from \u003cem\u003eXerxes\u003c\/em\u003e \u003c\/strong\u003e (4:41)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 22 July 1934 ∙ Matrix CAX 7231 (Columbia DX 620)\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e6. \u003cstrong\u003eMEYERBEER: Coronation March from \u003cem\u003eLe Prophète\u003c\/em\u003e\u003c\/strong\u003e\n    (4:12)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 22 July 1934 ∙ Matrix CAX 7230 (Columbia DX 620)\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e7. \u003cstrong\u003eWAGNER: Homage March (\u003cem\u003eHuldigungsmarsch\u003c\/em\u003e) \u003c\/strong\u003e(5:59)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 23 March 1927 ∙ Matrices WRAX 2524\/5 (Columbia L 2002)\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eEDWARD GERMAN: Three Dances from \u003cem\u003eHenry VIII\u003c\/em\u003e\u003c\/strong\u003e\n\u003c\/p\u003e8. Morris Dance (1:56)\n\n\u003cp\u003e\n    9. Shepherd’s Dance (2:57)\u003cbr\u003e10. Torch Dance (1:29)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 16 – 17 March 1928 ∙ Matrices WA 8235\/6 (Columbia 5577)\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e11. \u003cstrong\u003eSUPPÉ: \u003cem\u003ePique Dame\u003c\/em\u003e – Overture\u003c\/strong\u003e (7:21)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 29 April 1928 ∙ Matrices WAX 3572\/3 (Columbia 9496)\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e12. \u003cstrong\u003eAUBER: \u003cem\u003eThe Bronze Horse\u003c\/em\u003e – Overture\u003c\/strong\u003e (7:00)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 29 April 1930 ∙ Matrices WAX 5565\/6 (Columbia DX 69)\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e13.    \u003cstrong\u003eOFFENBACH: \u003cem\u003eOrpheus in the Underworld\u003c\/em\u003e – Overture\u003c\/strong\u003e\n    (8:57)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 18 March 1934 ∙ Matrices CAX 7116\/7 (Columbia DX 593)\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e14. \u003ca name=\"OLE_LINK3\"\u003e\u003c\/a\u003e    \u003ca name=\"OLE_LINK2\"\u003e\u003cstrong\u003eK. J. ALFORD: The Two Imps\u003c\/strong\u003e\u003c\/a\u003e (3:51)\u003cstrong\u003e\u003cbr\u003eW. Byrne and W. W. Bennett (xylophone soloists)\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 29 April 1928 ∙ Matrix WAX 3569 (Columbia 9505)\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eSymphony Orchestra (Tracks 1 – 4 \u0026amp; 7)\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003eBournemouth Municipal Orchestra (Tracks 5 – 6 \u0026amp; 8 – 14)\n    \u003c\/strong\u003e\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e Sir Dan Godfrey (conductor)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n    \u003ca name=\"OLE_LINK1\"\u003e\n        \u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003ca name=\"OLE_LINK1\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\n    \u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eCover artwork based on a photograph of Sir Dan Godfrey\u003cbr\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Special thanks to Nathan Brown, Jim Cartwright’s Immortal Performances,\n    Inc. and Charles Niss for providing source material\n\u003c\/p\u003e\n\u003cp\u003e\n    Symphony Orchestra recordings made in the Scala Theatre, London\n\u003c\/p\u003e\n\u003cp\u003e\n    Bournemouth Municipal Orchestra recordings made in the old Winter Gardens\n    (1928) and the Pavilion (1929 – 34), Bournemouth\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eTotal Timing: 74:38\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC534.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC534.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":8822765092925,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205546918222,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC534_e5757721-ca9e-42ee-b671-39e52ede489a.jpg?v=1530611698"},{"product_id":"pasc534-cd","title":"SIR DAN GODFREY A Sesquicentennial Salute (1927-34) - 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After showing promise on\n        the violin at a very young age, he was accepted as a student by Jenő\n        Hubay and made his Berlin debut at thirteen. Shortly thereafter, he\n        settled in England for several years. It was during this period that he\n        met Ferruccio Busoni, who was to become a major influence in moving the\n        young prodigy from being merely a talented virtuoso toward becoming a\n        more intellectual and analytical musician.\n    \n\u003c\/p\u003e\n\u003cp\u003e\n    A stay in a Swiss sanatorium in 1913 to treat his tuberculosis introduced\n    Szigeti to a fellow Hungarian who was to become another major influence on\n    him as a musician and a lifelong friend, Béla Bartók. Szigeti remained in\n    Switzerland for several years, teaching and expanding his facility in\n    playing chamber works. In 1925, he played for a visiting Leopold Stokowski,\n    and was quickly invited to make his American debut. He shortly became\n    established internationally as a concert artist. He settled in the USA in\n    1940, and continued his concert career for another twenty years before\n    retiring to write and teach. He died in 1973.\n\u003c\/p\u003e\n\u003cp\u003e\n    Szigeti’s earliest recordings were made in England for the Gramophone and\n    Typewriter Company between 1908 and 1913. He made no further discs during\n    the acoustic era, save for a handful recorded in Russia in either 1924 or\n    1926. In the latter year, he began an association with English Columbia\n    that lasted for eleven years, with one session for their Japanese affiliate\n    in 1931 that produced four sides. In 1938, he began recording for American\n    Columbia, where he remained until 1956, with one set (the Bloch Concerto)\n    done for French Columbia in 1939, a single disc made for the American New\n    Music Quarterly label in 1941, and a return to English Columbia for four\n    sides in 1946-47. His final recordings were made for Mercury in 1959-61.\n\u003c\/p\u003e\n\u003cp\u003e\n    This series will present all of the Columbia recordings he made in Britain,\n    France and Japan, as well as the one New Music Quarterly disc, as a\n    complement to Sony’s upcoming set comprising his American Columbia\n    recordings. From the 1940s onward, Szigeti began to experience increasing\n    technical problems. American Columbia passed on releasing his 1955-56\n    recordings of Bach Sonatas and Partitas as well as several contemporaneous\n    LPs’ worth of Mozart Sonatas, which were only issued later by Vanguard.\n    Szigeti himself ruefully referred to his final Mercury LPs as his\n    “posthumous recordings”. The performances featured here and in the coming\n    volumes are generally judged to be his finest on disc.\n\u003c\/p\u003e\n\u003cp\u003e\n    Our first volume focuses on Baroque and Classical repertoire. Among the\n    works he recorded at his very first session in 1908 had been the Preludio\n    from Bach’s Partita No 3; and Szigeti continued to champion the composer\n    and contemporaries like Handel and Tartini throughout his career. After the\n    two Bach Sonatas presented here, he recorded the Third Sonata for American\n    Columbia in 1949; but only excerpts from the Partitas appeared on disc\n    before his late LP set of the complete Sonatas and Partitas. Szigeti\n    recorded remakes of the Handel Sonata as well as the Tartini Sonata and\n    Concerto in 1954, and re-recorded the Mozart Sonata with Horszowski the\n    following year. The LP remakes feature broader tempos, a wider vibrato and\n    more problematic intonation than the earlier 78s.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Bach Double Concerto was recorded with Szigeti’s elder Hungarian\n    compatriot, Carl Flesch (1873-1944), who was esteemed as both a violinist\n    and pedagogue. The Mozart Concerto was the first of three classic disc\n    collaborations with Sir Thomas Beecham. Szigeti would return to neither of\n    these works later in his recording career, so their presence here is doubly\n    valuable.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003eJOSEPH SZIGETI\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 24px;\"\u003e The European Columbia Recordings, Volume 1\u003c\/span\u003e\n\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\n\u003cdiv\u003e\n    \u003cp\u003e\n        \u003cstrong\u003e \u003c\/strong\u003e\n    \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eCD 1 (73:13)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003ca name=\"OLE_LINK3\"\u003e\n        \u003cstrong\u003eJ. S. BACH Violin Sonata No. 1 in G minor, BWV1001\u003c\/strong\u003e\u003c\/a\u003e\u003cbr\u003e1. 1st Mvt. – Adagio (4:37)\u003cbr\u003e2. 2nd Mvt. – Fuga: Allegro (5:17)\u003cbr\u003e3. 3rd Mvt. – Siciliana (4:24)\u003cbr\u003e4. 4th Mvt. – Presto (2:26)\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eRecorded 2 February 1931 in the Columbia Petty France Studio, London ∙\n    Matrices: WAX 5958-1, 5959-1, 5960-3 \u0026amp; 5961-2 ∙ First issued on\n    Columbia LX 127\/8\n\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \n        \u003c\/span\u003e\u003cstrong\u003eJ. S. BACH Violin Sonata No. 2 in A minor, BWV1003\u003c\/strong\u003e\u003cbr\u003e5. 1st Mvt. – Grave (4:58)\u003cbr\u003e6. 2nd Mvt. – Fuga (7:17)\u003cbr\u003e7. 3rd Mvt. – Andante (3:19)\u003cbr\u003e8. 4th Mvt. – Allegro (2:29)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 2 June 1933 in Abbey Road Studio No. 3, London ∙ Matrices: CAX\n    6855-1, 6856-1, 6857-2 \u0026amp; 6858-1 ∙ First issued on Columbia LX 259\/60\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e9. \u003cstrong\u003eJ. S. BACH Bourée \u003c\/strong\u003efrom Violin Partita No. 1 in B minor,\n    BWV1002\u003cstrong\u003e \u003c\/strong\u003e(2:40)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1 July 1927 in the Columbia Petty France Studio, London ∙ Matrix:\n    WA 5807 ∙ First issued on Columbia D 1633\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e10. \u003cstrong\u003eJ. S. BACH Gavotte \u003c\/strong\u003efrom Violin Partita No. 3 in B\n    minor, BWV1006 (3:09)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 18th or 19 June 1931 in Tokyo ∙ Matrix: NE 35244 ∙ First issued on\n    Columbia J 5169\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e11. \u003cstrong\u003eJ. S. BACH (arr. Szigeti) Arioso \u003c\/strong\u003efrom Cantata No. 156,    \u003ca name=\"OLE_LINK15\"\u003eBWV156 \u003c\/a\u003e(Sinfonia) (3:45)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 6 December 1937 in Abbey Road Studio No. 1, London ∙ Matrix: CAX\n    8133-2 ∙ First issued on Columbia LX 711\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \n        \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n            \u003c\/span\u003eJ. S. BACH Concerto in D minor for Two Violins, BWV1043\u003c\/strong\u003e\u003cbr\u003e12. 1st Mvt. – Vivace (3:59)\u003cbr\u003e13. 2nd Mvt. – Largo ma non tanto (6:58)\u003cbr\u003e14. 3rd Mvt. – Allegro (4:48)\u003cstrong\u003e\u003cbr\u003ewith \n       Carl Flesch\n        , violin\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 30 August 1937 in Abbey Road Studio No. 1, London ∙ Matrices: CAX\n    8060-1, 8061-1, 8062-1 \u0026amp; 8063-1 ∙ First issued on Columbia LX 659\/60\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003ca name=\"OLE_LINK6\"\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n        \u003c\/span\u003e\u003cstrong\u003eHANDEL Violin Sonata No. 4 in D major, Op. 1, No. 13, HWV371\u003c\/strong\u003e\u003c\/a\u003e\u003cbr\u003e15. 1st Mvt. – Adagio (4:07)\u003cbr\u003e16. 2nd Mvt. – Allegro (2:35)\u003cbr\u003e17. 3rd Mvt. – Larghetto (3:24)\u003cbr\u003e18. 4th Mvt. – Allegro (3:02)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 2 March 1937 in Abbey Road Studio No. 3, London ∙ Matrices: CA\n    16265-1, 16266-1, 16267-1 \u0026amp; 16268-1 ∙ First issued on Columbia LB 36\/7\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n       \u003c\/span\u003e\u003cbr\u003eWalter Goehr\n        ∙ Orchestra\n    \u003c\/strong\u003e\n    (Tracks 11 – 14)\u003cstrong\u003e\u003cbr\u003eNikita Magaloff\u003c\/strong\u003e\n    \u003cstrong\u003e, piano \u003c\/strong\u003e\n    (Tracks 15 – 18)\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 2 (65:57)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n1. \u003cstrong\u003eVERACINI (arr. Corti) Largo \u003c\/strong\u003e(from    \u003ca name=\"OLE_LINK16\"\u003eViolin Sonata Op. 2, No. 6 \u003c\/a\u003ein A major) (3:47)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1 July 1927 in the Columbia Petty France Studio, London ∙ Matrix:\n    WAX 2923-1 ∙ First issued on Columbia L 2097\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \n        \u003c\/span\u003e\u003cstrong\u003eTARTINI Violin Sonata in G major, Op. 2, No. 12, B.G19\u003c\/strong\u003e\u003cbr\u003e2. 1st Mvt. – Andante (2:34)\u003cbr\u003e3. 2nd Mvt. – Allegro (2:05)\u003cbr\u003e4. 3rd Mvt. – Presto assai (1:52)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 29 June 1927 in the Columbia Petty France Studio, London ∙\n    Matrices: WA 5789\/91 ∙ First issued on Columbia D 1629\/30\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e5. \u003cstrong\u003eTARTINI (arr. \u003c\/strong\u003e\u003cstrong\u003eOndřiček\u003c\/strong\u003e    \u003cstrong\u003e) Adagio\u003c\/strong\u003e (3:47)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 6 March 1936 in Abbey Road Studio No. 3, London ∙ Matrix: CAX\n    7750-1 ∙ First issued on Columbia LX 630\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\n        \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n            \u003c\/span\u003eTARTINI (ed. Pente; arr. Szigeti) Violin Concerto in D minor D.45\u003c\/strong\u003e\u003cbr\u003e6. 1st Mvt. – Allegro (5:14)\u003cbr\u003e7. 2nd Mvt. – Grave (3:43)\u003cbr\u003e8. 3rd Mvt. – Presto (4:08)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 6 December 1937 in Abbey Road Studio No. 1, London ∙ Matrices: CAX\n    8130-1, 8131-1 \u0026amp; 8132-2 ∙ First issued on Columbia LX 710\/1\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e9. \u003cstrong\u003eEXAUDET (arr. Nachèz) Minuet and Dance of the Auvergne \u003c\/strong\u003e\n    (3:46)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1 July 1927 in the Columbia Petty France Studio, London ∙ Matrix:\n    WAX 2929-2 ∙ First issued on Columbia 7152-M\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\n        \u003c\/span\u003e\u003cstrong\u003eMOZART Violin Sonata No. 21 in E minor, KV304\u003c\/strong\u003e\u003cbr\u003e10. 1st Mvt. – Allegro (4:26)\u003cbr\u003e11. 2nd Mvt. – Tempo di Menuetto (4:57)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 2 March 1937 in Abbey Road Studio No. 3, London ∙ Matrices: CAX\n    7953-1 \u0026amp; 7954-1 ∙ First issued on Columbia LX 604\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\n        \u003c\/span\u003e\u003cstrong\u003eMOZART Violin Concerto No. 4 in D major, KV218\u003c\/strong\u003e\n\n    (Cadenzas: Joachim)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e12. 1st Mvt. – Allegro moderato (9:26)\u003cbr\u003e13. 2nd Mvt. – Andante (8:30)\u003cbr\u003e14. 3rd Mvt. – Rondo: Allegro (7:41)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 October 1934 in Abbey Road Studio No. 1, London ∙ Matrices: CAX\n    7288-2, 7289-1, 7290-1, 7291-2, 7292-2 \u0026amp; 7293-2 ∙ First issued on\n    Columbia LX 386\/8\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003eKurt Ruhrseitz\u003c\/strong\u003e\n    \u003cstrong\u003e, piano \u003c\/strong\u003e\n    (Tracks 1 – 4 and 9)\u003cstrong\u003e\u003cbr\u003eNikita Magaloff, piano \u003c\/strong\u003e\n    (Tracks 5, 10 and 11)\u003cstrong\u003e\u003cbr\u003eWalter Goehr ∙ Orchestra\u003c\/strong\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n    (Tracks 6 – 8)\u003cstrong\u003e\u003cbr\u003eSir Thomas Beecham ∙ \u003c\/strong\u003e\n\u003cstrong\u003eLondon Philharmonic Orchestra\u003c\/strong\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n    (Tracks 12 – 14)\n\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eJoseph Szigeti, violin\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\n        \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source\n    material\u003cbr\u003eCover Artwork based on a photograph of Joseph Szigeti\u003cbr\u003e\u003cbr\u003eTotal duration:  2hr 19:10    CD1: 73:13    CD2: 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(+MP3)","offer_id":33011266125885,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205528895822,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC621.jpg?v=1658751198"},{"product_id":"pasc633","title":"RODZIŃSKI at the NBC Vol. 1: Beethoven, Debussy, Handel, Sibelius (1937) - PASC633","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eHANDEL-HARTY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003e Water Music Suite\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eSIBELIUS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003ePohjola's Daughter\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eNocturnes: Nuages, Fêtes\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eSymphony No. 5\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast recording, 1937\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:29\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eArtur Rodziński\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC633.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: 24px;\"\u003eRodziński at the NBC - an Introduction\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003eAfter initially refusing to accept any American engagement, Toscanini changed his mind and took an offer from the National Broadcasting Company of a new specially-created orchestra for a series of radio concerts. Toscanini, who was enraged at the New York Philharmonic's board for not following his advice and engaging Barbirolli to succeed him at the Philharmonic instead of Rodziński, insisted that David Sarnoff, president of RCA, hire Rodziński to recruit and train the new NBC orchestra. Toscanini was a great admirer of Rodziński, speaking of him on several occasions as his successor. Furthermore, he recognized that Rodziński had already acquired a reputation as an outstanding orchestra builder with the Los Angeles Philharmonic, the Cleveland Orchestra and later with the New York Philharmonic. A long article in the Herald Tribune under the title \"Tuning up the Band\" described Artur's five weeks of training the new NBC orchestra:\u003cp\u003e\u003c\/p\u003e\u003cp style=\"margin-left: 25px;\"\u003e\u003ci\u003eEagerly awaiting the arrival of Maestro Arturo Toscanini, 92 musicians have turned the largest studio in Radio City into a beehive of activity as they rehearse under the baton of drill master Artur Rodziński. The assignment to organize the orchestra… is to Mr. Rodziński \"the answer to a conductors dream… to me this commission brought nothing but pleasure. It is the answer to a lifelong dream.\" During the five weeks’ intensive rehearsal Mr. Rodziński will put the musicians through their musical paces, molding the distinguished individual talent into a unit he hopes will become recognized as one of the finest symphonic bodies of its kind. The orchestra is unique in this respect, the conductor added, insofar as it came into being in full bloom rather than through the process of various stages of growth that usually mark the development of many other symphonic groups. \"I am more than elated with the progress up to now. When I heard the strings after the first rehearsal I wept for pure joy\"\u003c\/i\u003e\u003c\/p\u003eOn November 2, 1937 Rodziński conducted the debut broadcast which had been tagged a \"dress rehearsal\" followed by 10 concerts during the first two seasons, sharing the podium with Pierre Monteux and Arturo Toscanini. This release is drawn entirely from the first full concert given by Rodziński and the orchestra on 4 December 1937. It was the orchestra's fifth broadcast, following the short Rodziński 'dress rehearsal' of 2 November and three full concerts given under Monteux. Toscanini's first NBC concert took place on 25 December 1937.\u003cbr\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eRichard Rodzinski\u003c\/b\u003e \u003cspan style=\"font-size: 12px;\"\u003e(with additional material from Halina Rodziński, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003eOur Two Lives\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e, 1976)\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eRODZIŃSKI \u003c\/b\u003eat the NBC Vol. 1\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e1. \u003cb\u003eRADIO \u003c\/b\u003eIntroduction  (1:24)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHANDEL-HARTY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eWater Music Suite\u003c\/span\u003e\u003cbr\u003e2. I. Allegro  (2:30)\u003cbr\u003e3. II. Air  (5:32)\u003cbr\u003e4. III. Bourée  (0:42)\u003cbr\u003e5. IV. Hornpipe  (0:57)\u003cbr\u003e6. V. Andante espressivo  (3:57)\u003cbr\u003e7. VI. Allegero deciso  (3:11)\u003cbr\u003e\u003cbr\u003e8. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSIBELIUS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePohjola's Daughter\u003c\/span\u003e, Op. 49  (16:00)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003eNocturnes\u003c\/span\u003e\u003cbr\u003e9. I. Nuages  (9:31)\u003cbr\u003e10. II. Fêtes  (6:04)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 5 in C minor, Op. 67\u003c\/span\u003e\u003cbr\u003e11. 1st mvt. - Allegro con brio  (6:02)\u003cbr\u003e12. 2nd mvt. - Andante con moto  (10:12)\u003cbr\u003e13. 3rd mvt. - Scherzo. Allegro - Trio  (5:06)\u003cbr\u003e14. 4th mvt. - Allegro  (8:21)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra  \u003c\/b\u003e  \u003cbr\u003econducted by \u003cb\u003eArtur Rodziński\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered in Ambient Stereo by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Artur Rodziński and Arturo Toscanini\u003cbr\u003eBroadcast of 4 December, 1937\u003c\/p\u003e\u003cp\u003eSpecial thanks to Richard Rodzinski\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  79:29  \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC633.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC633.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5f\"My Father Recalled\"578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 24px;\"\u003eArtur Rodziński: \u003c\/span\u003e\u003cspan style=\"font-size: 24px;\"\u003eMy Father Recalled\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eOur relationship could not have been closer and more loving but beyond that, given the choice of going out to play with my friends or remaining with my father to go for a stroll I always chose to remain with him to enjoy that energy which, despite his being very ill after having suffered multiple heart attacks, still created an excitement that drew you in.\u003cbr\u003e\u003cbr\u003eIt was that same excitement that audiences, critics, and orchestra musicians alike so frequently spoke of. Members of the orchestra said that during recording sessions as the studio red light would go on and when generally players and conductors would concentrate on cautiously getting everything right, my father instead would opt for making the recording with all the intensity of a live performance. \u003cbr\u003e\u003cbr\u003eEven rehearsals were highly charged and though often quite stressful they remained exhilarating. My father was well-known for rehearsing with lightning speed, efficiently, using limited precise words, and could accomplish more and in fewer rehearsals than most of his colleagues. \u003cbr\u003e\u003cbr\u003eAlthough occasionally referred to as a martinet he was profoundly human and respectful in his relationship with the players. I remember once during a rehearsal he repeatedly demanded that the horn section play a very long phrase in one breath. A young fourth horn player, unable to execute the phrase finally broke down in tears. My father called a break, went up to sit with the young man, and calmly spent time going over and over the passage until the player, now beaming, found that he was able to do it.\u003cbr\u003e\u003cbr\u003eMy father was an uncompromising perfectionist and suffered for it. He restlessly was looking for better be it in musical matters or even in human relations. He was invariably unsatisfied with his performances. This inability to compromise spilled over into his conflicts with management concerning his demand for artistic conditions that allowed him the freedom to achieve the highest standards be it in terms of the choice of repertoire and soloists, rehearsals, the number of string players and so forth. His unflinching integrity, for instance, prevented Westminster Records which was pioneering stereo recordings from releasing some of his discs.\u003cbr\u003e\u003cbr\u003eDuring a playback session the producer tried to convince my father to accept the technology. He adamantly refused saying he could hear the sound coming from left and right but there was no depth and refused to lend his name to these records if they were issued in stereo. He then turned to me and said \"you see, we could have  sold more records if I had agreed to release them but I've always insisted on what I feel is right and honest. This ‘stereo’ is still an artifice.\" \u003cbr\u003e\u003cbr\u003eI will best remember what my father was all about for what he said on his deathbed. Following his triumphant and now legendary performances of \u003ci\u003eTristan \u003c\/i\u003ethat he conducted in Chicago and which he knew his ailing health would not allow him to survive, among his final words were \"\"perhaps there are others who might conduct \u003ci\u003eTristan \u003c\/i\u003ebetter than I but I can promise you that nobody could love it more.\"\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 18px;\"\u003eRichard Rodzinski, 2021\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_labelfb55cd020f0643f08418183279e63a5fNY Times Review578a9379d1e540bd96d26f03a79628d9tab5_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab5_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv style=\"text-align: center;\"\u003e\u003cspan style=\"font-weight: bold; font-size: 22px;\"\u003eRODZINSKI LEADS RADIO ORCHESTRA\u003c\/span\u003e\u003c\/div\u003e\u003cdiv style=\"text-align: center;\"\u003eBrilliant Performance Given by New Organization in the NBC Studios\u003c\/div\u003e\u003cdiv style=\"text-align: center;\"\u003e\u003cspan style=\"font-weight: bold;\"\u003eSIBELIUS WORK PLAYED\u003c\/span\u003e\u003c\/div\u003e\u003cdiv style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eIs Performed in Honor of His 72d Birthday—Other Scores by Classics and Moderns\u003c\/span\u003e\u003c\/div\u003e\u003cdiv style=\"text-align: center;\"\u003e\u003cspan style=\"font-weight: bold; font-size: 14px;\"\u003eBy OLIN DOWNES\u003c\/span\u003e\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eTo hear the NBC Symphony Orchestra last night in the great studio in Radio City, one month after its public debut as a new symphonic organization, was to realize what has been accomplished in an amazingly short space of time by this magnificent body of players, and also what has been achieved, in the same interval, in improving acoustical conditions in the concert room and radio transmission of the performances.\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eLast night the man who selected the personnel of the orchestra and directed its preliminary rehearsals, Dr. Artur Rodzinski, was on the conductor's podium. He had been heard at a public rehearsal, so-called, of this orchestra, before Pierre Monteux came to direct the first three Saturday night performances. The results of Mr. Monteux's first concert were significant enough. The concert last night was still more remarkable.\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eThis orchestra is already a virtuoso body of musicians which performs with astonishing sensitiveness, brilliancy and precision. It is already—or would be already, if that were its purpose—a formidable rival of the most celebrated organizations. It is axiomatic that a symphony orchestra, however accomplished the players, does not become a really perfected instrument, with blended tone and unanimity of impulse until the men have played together for years.\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\u003cspan style=\"font-weight: bold;\"\u003eA Feast to the Ear\u003c\/span\u003e\u003c\/div\u003e\u003cdiv\u003eIn view of what has been done at Radio City, one is disposed to question this venerable dictum. No doubt an orchestra with players of various grades of proficiency and experience does need seasons to become unified, but when an orchestra of the best players obtainable, and these men of symphonic experience, is assembled, you have something to work with. Today the playing of this orchestra is a feast to the ear and a delight to the understanding.\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003e \u003c\/div\u003e\u003cdiv\u003eThis also is noticeable: the men who play in Radio City are not only experts of a very high degree of efficiency in their artistic task, but they are also on the qui vive when they play, to do the very best of which they are capable. So far, at least, there has been no suggestion of players sinking lazily or indifferently into routine, or a few leading players of the body carrying less competent and less conscientious performers on their shoulders. The players in the symphony orchestra of the National Broadcasting Company face a very special test. They know it, and appear to glory in meeting it as they do.\u003c\/div\u003e\u003cdiv\u003e \u003c\/div\u003e\u003cdiv\u003eThe studio, which now gives the orchestra more resonance by a good deal than the tone had at the initial concert, is still by no means as vibrant as a big concert hall. The slightest inaccuracy of intonation or execution shows as in a magnifying glass, or a microscope, if you will.\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\u003cspan style=\"font-weight: bold;\"\u003eThe Audience Is Critical\u003c\/span\u003e\u003c\/div\u003e\u003cdiv\u003eThese mistakes, also, can be carried, very clearly and conscientiously, over the air. In responding to these conditions the players of the NBC orchestra have geared their own standards the higher. Orchestra and conductor, heard by a few hundred listeners in the concert room—very critical and informed listeners for the major part—and by the world outside, dare only to give of their very best. This tension is beneficial. \u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eMr. Rodzinski's program of last night consisted of the Hamilton Harty's suite from the Handel \"Water-Music,\" “Pohjola’s Daughter,\" the symphonic poem of Sibelius, played in honor of the Finnish composer’s approaching seventy-second birthday; Debussy's two Nocturnes, “Fetes\" and “Nuages\"; Albeniz’s “Triana\" and Beethoven's Fifth Symphony. The Water Music and the first movement of the symphony were heard as transmitted from the listening room glassed off from the concert studio. In the studio were heard the pieces of Debussy and Albeniz.   \u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eThe interpretations of Handel, Debussy, Albeniz were remarkable for their finish, poetry, and brilliancy; in the fire and the subtlelty brought to play in the music of Debussy and Albeniz, and in the glorious tone qualities evoked from the orchestra. In that studio some of the most beautiful pianissimi heard by the writer in seasons were achieved, and without loss of precision and definiteness of contour. The men responded to the slightest wish of the leader and he was absolute master of the situation.\u003cbr\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\u003cspan style=\"font-weight: bold;\"\u003eHeight of Interpretation\u003c\/span\u003e\u003c\/div\u003e\u003cdiv\u003eInstabilities of temperament and style which used to accompany the performances of a singularly gifted and temperamental musician were last night under the strictest control. Fire, poetry, these were intensified by strength held in reserve, and balanced thinking. These things were reflected in the manner of the conductor on the platform and they were responsible for the profound attention and interest that the audience showed in the performances.\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eOnly the first movement of Beethoven's symphony was heard by this deponent. That much of it was given a straight and dignified reading. It was in the earlier compositions that Mr. Rodzinski reached his height as an interpreter. The countless audience which listened over the radio had its pleasures.\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eThose who sat and listened in the presence of the leader and the men had another sort of experience, and a memorable one. We miss our guess if nearly ideal conditions for hearing an orchestra, one which plays as cleanly and sensitively as a string quartet, but adds to this the imposing sonorities of the many instruments, will not attract more and more of the select, and lucky, of the musicians of the city who can obtain admission to the occasions.\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\u003cspan style=\"font-weight: bold; font-style: italic; font-size: 12px;\"\u003ePublished: December 5, 1937 Copyright © The New York Times\u003c\/span\u003e\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab5_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":39329006092349,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205526864206,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205526896974,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC633_d178ec52-9add-4c8b-ac41-a45afd47f5cc.jpg?v=1622783705"},{"product_id":"pasc633-cd","title":"RODZIŃSKI at the NBC Vol. 1: Beethoven, Debussy, Handel, Sibelius (1937) - PASC633 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC633.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":39328992264253,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205526831438,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC633_51ef4498-dd10-48b3-850e-44e13bd29fb0.jpg?v=1658751469"},{"product_id":"pasc636","title":"WALTER NBC Vol. 2: Brahms, Handel, Mozart (1940) - PASC636","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eHANDEL \u003c\/b\u003eConcerto Grosso in G minor, Op. 6, No. 6\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eSymphony No. 35 in D major, K.385, 'Haffner'\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 2 in D major, Op. 73\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast recording, 1940\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration:  73:54\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e Bruno Walter\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC636.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"margin-left: 25px;\"\u003e\"Bruno Walter, distinguished conductor, made his season’s second appearance with the National Broadcasting Company Symphony Orchestra last night at Radio City. He began the program with the Handel G minor Concerto Grosso. Instead of conducting the work from the podium, Mr. Walter followed his practice of directing from the piano, which he played as part of the performance. Soloists in the Handel parts were Mischa Mischakoff and Edwin Bachmann, violins, and Frank Miller, 'cello.\u003cbr\u003e\u003cbr\u003eThe evening also offered the Mozart “Haffner\" Symphony in D major and, after the intermission, the D major Brahms Symphony No. 2. Mr. Walter was loudly applauded after each selection.\"\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003cb\u003eNew York Times\u003c\/b\u003e\u003c\/i\u003e, 18 February 1940\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBruno Walter conducted a total of ten broadcast concerts with the NBC Symphony Orchestra - five each during the spring of 1939 and the late winter of 1940. During both seasons Toscanini conducted some sixteen concert broadcasts. These were on both occasions split into two runs of eight, but whilst there was a month between the two runs in the second, 1938-39 season, the NBC's third season saw Toscanini break for more than three months, with the orchestra's podium taken by three guest conductors: Désiré Defauw, Bernardino Molinari and, finally, Bruno Walter.\u003cbr\u003e\u003cbr\u003eBy this time the orchestra was in peak condition. The preceding autumn had seen the broadcast of Toscanini's legendary 1939 Beethoven cycle, long regarded as a highlight of his conducting career. Walter could not have asked for a finer body of musicians. Perhaps inspired by this, Walter chose to perform a number of works for which no studio recordings are known to exist: Tchaikovsky's Symphony No. 5 appeared on the first volume of this series PASC628) and Volume Three will see equally rare outings for D'Indy's Istar Variations and Ravel's Rhapsodie Espagnol from the third concert in of that series.\u003cbr\u003e\u003cbr\u003eThe rarity here is the Handel Concerto Grosso Op. 6 No. 6. It joins the Concerto Grosso in B minor, Op. 6, No. 12, recorded in Paris in 1938, and a private recording of a 1945 live rendition of \"My Redeemer Liveth\" from The Messiah as the only examples of Handel in his recorded discography. With its piano accompaniment by Walter and the rich, portamento strings, it's very much a performance of another age, yet is still a fascinating document of one of the great conductors and orchestras together.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eBRUNO WALTER\u003c\/b\u003e at the NBC, Volume 2\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eHANDEL \u003c\/b\u003eConcerto Grosso in G minor, Op. 6, No. 6\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Largo affettuoso  (3:30)\u003cbr\u003e2. 2nd mvt. - A tempo giusto  (2:03)\u003cbr\u003e3. 3rd mvt. - Mussette. Larghetto  (7:23)\u003cbr\u003e4. 4th mvt. - Allegro  (3:25)\u003cbr\u003e5. 5th mvt. - Allegro  (1:43)\u003cbr\u003e\u003cb\u003eBruno Walter\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eMischa Mischakoff\u003c\/b\u003e, violin \u003cbr\u003e\u003cb\u003eEdwin Bachmann\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eFrank Miller\u003c\/b\u003e, cello\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eSymphony No. 35 in D major, K.385, 'Haffner'\u003c\/span\u003e\u003cbr\u003e6. 1st mvt. - Allegro con spirito  (5:14)\u003cbr\u003e7. 2nd mvt. - Andante  (4:41)\u003cbr\u003e8. 3rd mvt. - Menuetto  (3:18)\u003cbr\u003e9. 4th mvt. - Presto  (3:49)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 2 in D major, Op. 73\u003c\/span\u003e\u003cbr\u003e10. 1st mvt. - Allegro non troppo  (14:14)\u003cbr\u003e11. 2nd mvt. - Adagio non troppo  (10:25)\u003cbr\u003e12. 3rd mvt. - Allegretto grazioso (quasi andantino)  (5:10)\u003cbr\u003e13. 4th mvt. - Allegro con spirito  (8:59)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eBruno Walter\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by  Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Bruno Walter \u0026amp; Arturo Toscanini taken in 1930\u003cbr\u003eBroadcast recordings made at NBC Studio 8H, Radio City, New York, 17 February 1940\u003cbr\u003e\u003cbr\u003eTotal duration:  73:54 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC636.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC636.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":39348274757693,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205526470990,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205526503758,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC636.jpg?v=1625199304"},{"product_id":"pasc636-cd","title":"WALTER NBC Vol. 2: Brahms, Handel, Mozart (1940) - PASC636 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC636.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":39348273643581,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205526405454,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC636_667ba008-4159-47f8-ab49-3895d9b0887c.jpg?v=1658751522"},{"product_id":"pasc643","title":"MONTEUX The First NBC SO Concerts, Vol. 2: Griffes, Handel, Ravel, Sibelius, Wagner, Weber (1937) - PASC643","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eWEBER \u003c\/b\u003eEuryanthe - Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eHANDEL \u003c\/b\u003eConcerto Grosso In D\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eSIBELIUS \u003c\/b\u003eSymphony No. 1 (mvts. 2 \u0026amp; 3)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eGRIFFES \u003c\/b\u003eThe Pleasure Dome Of Kubla Khan\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eLohengrin - Prelude\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003eDaphnis Et Chloé Suite No. 2\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast recording, 1937\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 78:27\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003ePierre Monteux\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC643.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"margin-left: 25px;\"\u003e\"The performances reveal the qualities that made Monteux such a beloved figure in Europe and the United States for many decades. He was one of those rare conductors who could make a performance sound special without any specific interpretive idiosyncrasy. There is nothing in his music-making that calls attention to itself, and yet the listener is completely drawn into the music’s spell. Monteux himself has been quoted as saying “I have no interpretation; I play the music.” \u003cbr\u003e \u003cbr\u003eClarity of texture was one of his principal virtues. Monteux took great care in balancing different voices so that everything sounded in the right proportion to everything else. Several orchestral musicians who played under Monteux spoke to me with a reverence towards him that is reserved for very few conductors. More than one musician said something like, “You always gave him everything, because his technique was so clear and because he treated the orchestra so professionally.” There is a particular degree of intensity in the playing here because of the relationship between Monteux and the players, but moreover because of the momentous nature of the occasion...\u003cbr\u003e\u003cbr\u003eThroughout, the NBC Symphony plays remarkably well, especially considering that this was its inaugural concert as an ensemble, and that it had been assembled and trained in only a few months. Pristine maintains the sense of history by including the opening and closing radio announcements (tracked separately), but they omitted the announcements between pieces in order to fit the concert on one disc. Beyond is historical significance, this is a shining example of one of the 20th century’s great conductors heard at his best.\"\u003cbr\u003e\u003cbr\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e, \u003ci\u003eFanfare \u003c\/i\u003emagazine, excerpts from review of Volume 1, Nov-Dec 2021\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThe first few concerts broadcast by the NBC Symphony Orchestra in the autumn of 1937 were somewhat unusual in their programming: one senses a need or desire to cram as much as possible into the available air-time, at the expense of allowing for longer works to be played in their entirety. Thus the second concert features no less than six different works, but only half a symphony - we get just the second and third movements of the first Sibelius symphony rather than the whole thing. (N.B. The apparent reversal of the fifth and sixth movements of the Handel is not a typo - Monteux re-ordered the Concerto Grosso for this performance.)\u003c\/p\u003e\u003cp\u003ePerhaps this is still an orchestra being put through its paces. Having been initially set up by Artur Rodziński, who took the early rehearsals at the request of Toscanini, of the six concerts given before the Italian maestro took charge of his orchestra on Christmas Day 1937 with a concert that featured two full-length symphonies, Pierre Monteux was drafted in to conduct the first three broadcasts, Rodziński being unavailable due to prior commitments to his Cleveland Orchestra. The match was a happy one, and Monteux would return the following spring for two further concerts.\u003c\/p\u003e\u003cp\u003eThis second concert has not survived in quite as good condition sonically as the first - it arrives surprisingly varied: though never especially poor the sparkle is missing in the upper frequencies at times, though at its best it's very good for 1937. Again I've had to cull announcements during the concert in order to keep everything with the duration available to me on a single CD.\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eMONTEUX \u003c\/b\u003eThe First NBC SO Concerts, Vol. 2\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e1. RADIO Opening Announcement  (2:10)\u003cbr\u003e\u003cbr\u003e2. \u003cb\u003eWEBER \u003c\/b\u003eEuryanthe - Overture  (7:59)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHANDEL \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eConcerto Grosso in D major, Op. 6, No. 5\u003c\/span\u003e\u003cbr\u003e3. 1st mvt. - Larghetto e staccato  (1:40)\u003cbr\u003e4. 2nd mvt. - Allegro  (2:31)\u003cbr\u003e5. 3rd mvt. - Presto  (2:51)\u003cbr\u003e6. 4th mvt. - Largo  (3:35)\u003cbr\u003e7. 6th mvt. - Menuet  (3:15)\u003cbr\u003e8. 5th mvt. - Allegro  (2:59)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSIBELIUS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 1 in E minor, Op. 39\u003c\/span\u003e\u003cbr\u003e9. 2nd mvt. - Andante (ma non troppo lento)  (9:50)\u003cbr\u003e10. 3rd mvt. - Scherzo: Allegro  (4:44)\u003cbr\u003e\u003cbr\u003e11. \u003cb\u003eGRIFFES \u003c\/b\u003ethe Pleasure Dome of Kubla Khan  (9:28)\u003cbr\u003e12. \u003cb\u003eWAGNER \u003c\/b\u003eLohengrin - Prelude  (8:45)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRAVEL \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDaphnis et Chloé Suite No. 2\u003c\/span\u003e\u003cbr\u003e13. 1. Lever de jour  (5:47)\u003cbr\u003e14. 2. Pantomime  (6:14)\u003cbr\u003e15. 3. Danse générale  (3:53)\u003cbr\u003e\u003cbr\u003e16. RADIO Closing Announcement  (2:46)\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePierre Monteux\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eLive broadcast from Studio 8H, Radio City, New York City: 10pm, 20 November 1937\u003c\/p\u003e\u003cp\u003eXR Remastered by  Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Pierre Monteux\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  78:27  \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC643.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC643.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":39407963471933,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205525324110,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205525356878,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC643_b0546a38-77a7-423f-9cc1-4a5dfd92f3d2.jpg?v=1632456904"},{"product_id":"pasc643-cd","title":"MONTEUX The First NBC SO Concerts, Vol. 2: Griffes, Handel, Ravel, Sibelius, Wagner, Weber (1937) - PASC643 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC643.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":39407961342013,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205525291342,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC643.jpg?v=1658751696"},{"product_id":"pabx042","title":"SZIGETI The Complete European Columbia Recordings (1926-46) - PABX042","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eBACH \u003c\/b\u003eViolin Sonatas 1 \u0026amp; 2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eBACH \u003c\/b\u003eConcerto for Two Violins\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eHANDEL \u003c\/b\u003eViolin Sonata No. 4\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eTARTINI \u003c\/b\u003eViolin Sonata in G\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eTARTINI \u003c\/b\u003eViolin Concerto in D minor\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eViolin Sonata No. 21\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eViolin Concerto No. 4\u003c\/span\u003e\u003cbr\u003eshort works by \u003cb\u003eBACH, EXAUDET, TARTINI, VERACINI\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eViolin Concerto\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eWEBER \u003c\/b\u003eViolin Sonata No. 3\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003ePAGANINI \u003c\/b\u003eCaprices\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003eRondo\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMENDELSSOHN \u003c\/b\u003eViolin Concerto\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eViolin Concerto\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eViolin Sonata No. 3\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eMusic by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eBerlioz, Hubay, Elgar, Kreisler, Dvořák, Chabrier, Rimsky-Korsakov, Falla\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWARLOCK \u003c\/b\u003eCapriol Suite\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003eViolin Concerto\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBARTÓK \u003c\/b\u003eHungarian Folk Tunes\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBARTÓK \u003c\/b\u003eRomanian Folk Dances\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eIVES \u003c\/b\u003eViolin Sonata No. 4\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBLOCH \u003c\/b\u003eViolin Concerto\u003c\/span\u003e\u003cbr\u003emusic by \u003cb\u003eDebussy, Ravel, Milhaud, Lie, Szymanowski, Scriabin, Stravinsky\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC695.mp3","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":46887754137934,"sku":null,"price":77.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205515624782,"sku":null,"price":63.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC695.jpg?v=1772119371"},{"product_id":"pabx042-cd","title":"SZIGETI The Complete European Columbia Recordings (1926-46) - PABX042 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"7 CDs only in plastic sleeves (+MP3)","offer_id":46888422900046,"sku":null,"price":88.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC695_2e293642-8e38-46fb-938f-ce7b1ffdb00f.jpg?v=1689864122"},{"product_id":"pasc732","title":"HENRY WOOD conducts Bach and Handel (1925-35) - PASC732","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eJ. S. BACH\u003c\/b\u003e Brandenburg Concerto No. 3\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eJ. S. BACH\u003c\/b\u003e Brandenburg Concerto No. 6\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eJ. S. BACH\u003c\/b\u003e (arr. Wood) Orchestral Suite No. 6\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eHANDEL\u003c\/b\u003e Messiah - Choruses\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio and live recordings, 1925-35\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 76:20\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eVarious Orchestras\u003cbr\u003econducted by \u003cb\u003eSir Henry Wood\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC732.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n            This release spotlights Sir Henry Wood (1869-1944) in the works of two\n        Baroque composers with whom he was particularly associated, Bach and\n        Handel.  Wood was known as a popularizer  of Classical music in his\n        time, creating and leading the Proms for many years;  and to that end,\n        he was also an inveterate orchestrator of works written for  other\n        instruments.  We hear some of those  here (at least one version of all\n        of his Bach transcription recordings),  although our program starts with\n        \u003cem\u003eecht\u003c\/em\u003e-Bach in the form of two  Brandenburg Concertos in which\n        Wood’s tempi are faster than the norm for the  time, anticipating later\n        performance practice.\n   \n\u003c\/p\u003e\n\n\u003cp\u003e\n    During an era in which Bach’s orchestral music was  so little known that\n    Gustav Mahler could assemble and re-orchestrate a suite with  movements\n    cherry-picked from Bach’s Second and Third Orchestral Suites, it was  not\n    surprising that Wood would seek to extend Bach’s four suites by two more,\n    arranging a fifth drawn from three movements of Bach’s Trio Sonatas for\n    Organ,  and a sixth comprised of works originally written for solo violin or\n    keyboard.  Wood only inscribed one  version of the latter during the final\n    days of acoustic recording, a set which  did not last long in the catalog\n    and has not previously been reissued.  Also presented here is an electrical\n    re-recording of the final movement (the \u003cem\u003ePreludio\u003c\/em\u003e from the Third\n    Violin  Partita) made four years later, which vividly demonstrates the\n    difference the  microphone made to recordings.\n\u003c\/p\u003e\n\u003cp\u003e\n    Listeners to the Bach-Wood Suite might notice that  some of the original\n    keys have been changed in order to better link the  movements.  What seems\n    stranger at first  glance is Wood’s decision to pitch the famous Air from\n    the Third Orchestral  Suite in C rather than the original D.   The answer is\n    found on the original record label, where the credit is  given as\n    ‘Bach-Wilhelmj’, showing that Wood used Wilhelmj’s famous violin-piano\n    arrangement of the ‘Air on the G String’, written in C, as the basis for his\n    orchestration.\n\u003c\/p\u003e\n\u003cp\u003e\n    Wood, who began his career as an organist, wrote his  transcription of\n    Bach’s \u003cem\u003eToccata and Fugue in D minor\u003c\/em\u003e in 1929 (perhaps  not\n    coincidentally two years after Stokowski’s first recording of his own\n    transcription appeared) as a rebuke to critics and musicologists who took a\n    dim  view of his reworkings of Bach’s originals.   Initially, he published\n    it as the work of ‘Paul Klenovsky’, a  non-existent Russian composer, as a\n    joke on his detractors.  As Wood expected, the arrangement received more\n    enthusiastic reviews than those which had been credited to himself.  In\n    1934, he revealed his authorship, which  was taken in good stride by some of\n    the reviewers who had been tricked, but  reassessed downward by others.\n    Interestingly, the labels of the Decca recording Wood made the following\n    year still credit Klenovsky.\n\u003c\/p\u003e\n\u003cp\u003e\n    The final selections on this release document a lost  era of Handel choral\n    performance.  During  the 19th Century, a tradition of employing huge\n    choruses of to perform Handel’s  oratorios had arisen in Britain, centered\n    on the Triennial Handel Festival  performances held in the Crystal Palace,\n    the huge, glass-covered hall  originally erected for the Great Exhibition of\n    1851 and ultimately destroyed by  fire in 1936.  The festivals began in\n    1862, with the final one held in 1926.\n\u003c\/p\u003e\n\u003cp\u003e\n    By coincidence, the adoption of electrical recording  the previous year had\n    enabled ‘live’ recordings to be made in large  venues.  For the 1926\n    festival, Columbia  recorded nine sides of choruses from the\n    \u003cem\u003e\n        Messiah\u003c\/em\u003e, of which six were  released.  The balances are not ideal,  and the\n    recordings start and stop abruptly at times.  Moreover, it seems that even\n    Wood’s trademark  long baton could not keep all of the sections of the\n    chorus synchronized at all  times (particularly apparent during ‘He trusted\n    in God’ and ‘Let us break their  bonds asunder’).  Noteworthy too are the\n    slow tempi (compared to  contemporary, HIP-influenced practice) that were\n    needed in order to avoid utter  chaos with such a large assemblage.\n\u003c\/p\u003e\n\u003cp\u003e\n    Some  individual choruses have been reissued on previous LPs and CDs; but as\n    far as  could be determined, not all have previously been re-released.  They\n    are being presented together for the  first time, with the progressively\n    dropping pitch of the original records  corrected through computerized pitch\n    stabilization.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMark  Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eHENRY WOOD\u003c\/b\u003e conducts Bach and Handel\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eJ. S. BACH\u003c\/b\u003e  Brandenburg Concerto No. 3 in G, BWV 1048\u003c\/span\u003e\u003cbr\u003e1.    1st Mvt. – [Allegro] (5:56)\u003cbr\u003e2.    2nd Mvt. – Adagio (0:11)\u003cbr\u003e3.    3rd Mvt. – Allegro (2:34)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 16 June 1932 in Abbey Road Studio No. 1, London ∙ Matrices: CAX\n    6439-2 \u0026amp; 6440-1 ∙ First issued on Columbia LX 173\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eJ. S. BACH\u003c\/b\u003e  Brandenburg Concerto No. 6 in B flat, BWV 1051\u003c\/span\u003e\u003cbr\u003e4.    1st Mvt. – [Allegro] (5:25)\u003cbr\u003e5.    2nd Mvt. – Adagio ma non tanto (3:58)\u003cbr\u003e6.    3rd Mvt. – Allegro (5:21)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 June 1930 in Central Hall, Westminster ∙ Matrices: WAX 5617-2,\n    5618-2, 5619-1 \u0026amp; 5620-1 ∙ First issued on Columbia LX 41\/2\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eJ. S. BACH\u003c\/b\u003e \u003cspan style=\"font-size: 14px;\"\u003e(\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 14px;\"\u003earr. Wood\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 14px;\"\u003e)\u003c\/span\u003e  Suite No. 6 for Orchestra\n\n\u003c\/span\u003e\u003cbr\u003e\n\u003cp\u003e\n    7.    1st Mvt. – Prelude \u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e(Prelude No. 3 in C sharp from Well-Tempered\n    Clavier Book I, BWV 848)\u003c\/span\u003e\u003c\/i\u003e (1:18)\u003cbr\u003e8.    2nd Mvt. – Lament \u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e(Capriccio on the departure of a beloved brother,\n    BWV 992)\u003c\/span\u003e\u003c\/i\u003e (2:49)\u003cbr\u003e9.    3rd Mvt. – Scherzo \u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e(Scherzo from Partita No. 3 in A minor, BWV 827)\u003c\/span\u003e\u003c\/i\u003e\n    (1:00)\u003cbr\u003e10.    4th Mvt. – Gavotte \u0026amp; Musette \u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e(Gavottes I \u0026amp; II from English\n    Suite No. 6 in D minor, BWV 811)\u003c\/span\u003e\u003c\/i\u003e (2:58)\u003cbr\u003e11.    5th Mvt. – Andante mistico \u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e(Prelude No. 22 in B flat minor, BWV 867)\u003c\/span\u003e\u003c\/i\u003e\n    (3:31)\u003cbr\u003e12.    6th Mvt. – Finale \u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e(Preludio from Partita for Violin solo No. 3 in E,\n    BWV 1006)\u003c\/span\u003e\u003c\/i\u003e (3:22)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 5 February 1925 in the Clerkenwell Road Studios, London ∙ Matrices:\n    AX 909-2, 910-2, 911-1 \u0026amp; 912-1 ∙ First issued on Columbia L 1684\/5\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e13. \u003cb\u003e   J. S. BACH\u003c\/b\u003e \u003ci\u003e(arr. Wood\u003c\/i\u003e)  Gavotte \u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e(from Partita No. 3 in E, BWV 1006)\u003c\/span\u003e\u003c\/i\u003e\n    (4:00)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 16 June 1932 in Abbey Road Studio No. 1, London ∙ Matrix: CAX\n    6442-2 ∙ First issued on Columbia LX 173\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e14.    \u003cb\u003eJ. S. BACH\u003c\/b\u003e (\u003ci\u003earr. Wilhelmj-Wood\u003c\/i\u003e)  Air \u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e(from Suite No. 3 in D, BWV\n    1068)\u003c\/span\u003e\u003c\/i\u003e (4:21)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 16 June 1932 in Abbey Road Studio No. 1, London ∙ Matrix: CAX\n    6441-1 ∙ First issued on Columbia LX 173\n\n\u003c\/span\u003e\u003c\/p\u003e\n15.    \u003cb\u003eJ. S. BACH\u003c\/b\u003e (\u003ci\u003earr. Wood\u003c\/i\u003e)  Preludio \u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e(from Partita No. 3 in E, BWV 1006)\u003c\/span\u003e\u003c\/i\u003e\n    (3:27)\n\n\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    Recorded 19 June 1929 in Central Hall, Westminster ∙ Matrix: WAX 5031-4 ∙\n    First issued on Columbia L 2335\n\u003c\/span\u003e\u003c\/p\u003e\n16.    \u003cb\u003eJ. S. BACH\u003c\/b\u003e (\u003ci\u003earr. Wood\u003c\/i\u003e)  Toccata and Fugue in D minor, BWV 565 (8:30)\n\n\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    Recorded 2 May 1935 in the Thames Street Studio, London ∙ Matrices: TA\n    1781-2 \u0026amp; 1782-3 ∙ First issued on Decca K 768\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eHANDEL\u003c\/b\u003e  Messiah, HWV 56\u003c\/span\u003e\u003cbr\u003e17.    No. 4, “And the glory of the Lord” (3:46)\u003cbr\u003e18.    No. 22, “Behold the Lamb of God” (3:37)\u003cbr\u003e19.    No. 28, “He trusted in God that he would deliver him” (2:59)\u003cbr\u003e20.    No. 33, “Lift up your heads, O ye gates” (4:11)\u003cbr\u003e21.    No. 41, “Let us break their bonds asunder” (2:54)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 June 1926 in the Crystal Palace, London ∙ Matrices: WAX 1595\n    (Track 17), 1597 (18), 1599 (19); WA 3413\/4 (20); and WAX 1600 (21), all\n    Take 1 ∙ First issued on Columbia L 1768\/9 (17-19, 21) \u0026amp; D 1550 (20)\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eSir Henry J. Wood\u003c\/b\u003e, conductor\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e1-3, 13-14:    \u003cb\u003eBritish Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e4-6: \u003cb\u003e       Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e7-12, 15:    \u003cb\u003eNew Queen’s Hall Orchestra\u003c\/b\u003e\u003cbr\u003e16: \u003cb\u003e       Queen’s Hall Orchestra\u003c\/b\u003e\u003cbr\u003e17-21:        \u003cb\u003eHandel Festival Choir and Orchestra\n\n\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProducer and Audio Restoration Engineer:  \u003cb\u003eMark Obert-Thorn\u003cbr\u003e\u003c\/b\u003eSpecial thanks to the British Library (Jonathan Summers, Curator of\n    Classical Music\/Karl Jenkins, engineer), Nathan Brown, Charles Niss and the\n    collection of the late Don Tait for providing source material\n\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTotal timing:  76:20\n\u003c\/b\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cbr\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\/PASC732.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC732.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":50628333896014,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205507793230,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC732.jpg?v=1734667205"},{"product_id":"pasc732-cd","title":"HENRY WOOD conducts Bach and Handel (1925-35) - 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2hr 24:05  - Download 2hr 41:04 (includes bonus tracks)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eJennifer Vyvyan\u003c\/b\u003e, soprano\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMonica Sinclair\u003c\/b\u003e, alto\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eJon Vickers\u003c\/b\u003e, tenor\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eGiorgio Tozzi\u003c\/b\u003e, bass\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRoyal Philharmonic Orchestra and Chorus\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003cb\u003eSir Thomas Beecham\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO230.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp data-start=\"714\" data-end=\"1384\"\u003eWhen Sir Thomas Beecham set out to record \u003cem data-start=\"756\" data-end=\"765\"\u003eMessiah\u003c\/em\u003e in 1959, he wasn’t merely revisiting Handel’s most famous oratorio; he was creating his own. Beecham had long felt that \u003cem data-start=\"886\" data-end=\"895\"\u003eMessiah\u003c\/em\u003e needed rescuing from what he considered a century of undernourished performance tradition. A visionary impresario as much as a conductor, he turned to a trusted collaborator, Sir Eugene Goossens, to reimagine the score for modern forces. The result is not so much a “version” as a full-scale reinvention of Handel’s masterpiece, crafted for a large symphony orchestra, colouristic woodwind doublings, and a palette of percussion that ranges from timpani to—famously—cymbals and side drum.\u003c\/p\u003e\u003cp data-start=\"1386\" data-end=\"1890\"\u003eFrom the outset Beecham was unapologetically candid: this was\u003ci\u003e \u003cspan data-start=\"1448\" data-end=\"1471\"\u003e“\u003c\/span\u003e\u003cspan data-start=\"1448\" data-end=\"1471\"\u003eBeecham’s Messiah\u003c\/span\u003e\u003cspan data-start=\"1448\" data-end=\"1471\"\u003e”\u003c\/span\u003e\u003c\/i\u003e, not Handel’s alone, and the Gramophone critic reviewing the LP in May 1960 agreed that RCA had been admirably upfront in presenting it as such. The edition’s lineage was traced frankly as \u003cem data-start=\"1661\" data-end=\"1701\"\u003e“Handel–Mozart–Prout–Beecham–Goossens”\u003c\/em\u003e, a mischievous but accurate summation of just how much 150 years of performance culture had already altered the score before Goossens ever touched it.\u003c\/p\u003e\u003cp data-start=\"1892\" data-end=\"2608\"\u003eThe recording sessions stretched across June and July 1959 in the well-loved acoustic of Walthamstow Assembly Hall, where the Royal Philharmonic Orchestra was at its peak. Beecham presides with total conviction. He delights in the expanded sonic world Goossens created: trumpets and horns blaze with theatrical splendour, strings sing with Romantic vibrato, and the added percussion contributes a sense of drama that is—let’s be honest—pure Beecham theatre. A moment the Gramophone critic singled out occurs in \u003cem data-start=\"2403\" data-end=\"2430\"\u003e“The Trumpet Shall Sound”\u003c\/em\u003e, where Giorgio Tozzi’s noble phrasing floats above orchestral writing that swells with a grandeur unimaginable in period style performance. \u003c\/p\u003e\u003cp data-start=\"2610\" data-end=\"3129\"\u003eYet the most unusual feature of the recording, as the reviewer noted, is its \u003ci\u003e\u003cspan data-start=\"2687\" data-end=\"2710\"\u003eprofessional chorus\u003c\/span\u003e.\u003c\/i\u003e While \u003cem data-start=\"2718\" data-end=\"2727\"\u003eMessiah\u003c\/em\u003e had long been the domain of amateur choral societies, Beecham turned to the RPO Chorus—80 voices strong on average—whose immaculate tuning, clarity of attack, and polished diction lend the choral movements a weight and finish rare in any age. The critic admired their sound and remarked that Handel himself, with his love of polyphony, would surely have approved.\u003c\/p\u003e\u003cp data-start=\"3131\" data-end=\"3713\"\u003eThe four soloists form a luxury cast, each bringing charisma and individuality. Jennifer Vyvyan, long admired by Beecham and already experienced in  \u003cem data-start=\"3260\" data-end=\"3269\"\u003eMessiah\u003c\/em\u003e on disc, brings her trademark clarity and expressive intelligence to the soprano arias. The Gramophone reviewer found her interpretation attractively direct, though occasionally sharp at the top, yet praised the emotional intelligence she brought to “Rejoice greatly” and her radiant sense of line. Monica Sinclair’s contralto contributions offer warmth without heaviness; her “He was despised” has a human simplicity that contrasts beautifully with the orchestra’s augmented colours. \u003c\/p\u003e\u003cp data-start=\"3715\" data-end=\"4242\"\u003eJon Vickers, meanwhile, is a tenor of unmistakable presence. His “Comfort ye” carries the fervour and emotional immediacy of an operatic recitative, and the Gramophone critic admired the “real virility” of his delivery, noting that this kind of dramatic projection aligned surprisingly well with Handel’s directness and boldness. Giorgio Tozzi contributes a poised, resonant bass—never overstated, always noble—his “The trumpet shall sound” balancing ceremonial pomp with expressive depth.\u003c\/p\u003e\u003cp data-start=\"4244\" data-end=\"4964\"\u003eTo modern ears, this \u003cem data-start=\"4265\" data-end=\"4274\"\u003eMessiah\u003c\/em\u003e exists in a world far removed from historically informed performance. And that is exactly why it still matters. Beecham and Goossens weren’t attempting authenticity; they were crafting an oratorio for mid-century audiences, orchestras, and halls. Their goal was to restore \u003cem data-start=\"4548\" data-end=\"4557\"\u003eMessiah\u003c\/em\u003e to popular favour through richness, grandeur, and unashamed theatricality. As the 1960 review observed, if Handel was to be brought back into mainstream appreciation, “some reasonable compromise must be effected between excessive grossness and exaggerated leanness.” Beecham believed this version achieved that balance, and hearing it today, one understands his point. \u003c\/p\u003e\u003cp data-start=\"4966\" data-end=\"5322\"\u003eThere is no other \u003cem data-start=\"4984\" data-end=\"4993\"\u003eMessiah\u003c\/em\u003e quite like it. The orchestral rewrite may forever spark debate, but the performance’s craftsmanship, polish, and sheer personality remain irresistible. It captures a moment when Britain’s postwar musical life was bursting with ambition, and when a conductor of towering charisma could still bend repertoire entirely to his will.\u003c\/p\u003e\u003cp data-start=\"5324\" data-end=\"5769\"\u003eFor collectors, historians, and anyone who enjoys musical storytelling writ large, this recording is a vivid reminder that Handel’s masterpiece has never been one thing. It has survived precisely because it attracts reinvention. Beecham’s version may not aim for authenticity, but it offers something just as valuable: a thrilling, unapologetically dramatic encounter with a score reborn through the imagination of musicians who loved it deeply.\u003c\/p\u003e\u003cp data-start=\"5771\" data-end=\"5939\"\u003eAnd whether you approach it as scholarship, spectacle, or simply glorious sound, this \u003cspan data-start=\"5857\" data-end=\"5868\"\u003e\u003ci\u003eMessiah\u003c\/i\u003e\u003c\/span\u003e remains one of the 20th century’s most singular Handelian experiences.\u003c\/p\u003e\u003cp data-start=\"5771\" data-end=\"5939\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp data-start=\"5771\" data-end=\"5939\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003ch3 data-start=\"307\" data-end=\"345\"\u003e\u003cstrong data-start=\"311\" data-end=\"345\"\u003eA Note on the Additional Arias\u003c\/strong\u003e\u003c\/h3\u003e\u003cp data-start=\"347\" data-end=\"843\"\u003eAlthough Beecham and Goossens prepared a broader span of material for their reimagined \u003cem data-start=\"434\" data-end=\"443\"\u003eMessiah\u003c\/em\u003e, the conductor was ultimately selective about what he wished to present to the public. For the original 1959 issue, he shaped the oratorio with a firm dramatic arc, omitting several arias and movements that, while fully orchestrated, he felt lay outside the narrative focus and musical balance he intended. These cuts were also practical: the LP format of the time imposed strict limits on duration.\u003c\/p\u003e\u003cp data-start=\"845\" data-end=\"1158\"\u003eIn the decades since, newer editions have sometimes reinstated these movements as appendices, offering a more expansive view of the Goossens–Beecham project. For this Pristine release, however, we have retained Beecham’s own two-disc structure exactly as issued, preserving the pacing and proportions he approved.\u003c\/p\u003e\u003cp data-start=\"1160\" data-end=\"1599\"\u003eFor listeners who wish to explore further, the additional arias — fully restored and remastered from the same sessions — are offered as exclusive download-only bonus tracks. They provide a fascinating glimpse into the wider scope of Goossens’s orchestration and the material Beecham recorded but chose not to include, enriching the historical picture while allowing the main album to remain faithful to the conductor’s original conception.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 24px;\"\u003eHANDEL \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 24px;\"\u003eMessiah\u003c\/span\u003e\u003c\/span\u003e (arr. Goosens\/Beecham) \u003c\/p\u003e\u003cp\u003e\u003cb\u003edisc one\u003c\/b\u003e (70:26)\u003cbr\u003e\u003cb\u003ePart I\u003c\/b\u003e\u003cbr\u003e1. \u003cb\u003eScene 1 \u003c\/b\u003e- Sinfony  (4:49)\u003cbr\u003e2. Comfort ye, my people  (3:41)\u003cbr\u003e3. Every valley shall be exalted  (3:32)\u003cbr\u003e4. And the glory of the Lord  (3:38)\u003cbr\u003e5. \u003cb\u003eScene 2 \u003c\/b\u003e- Thus saith the Lord of Hosts  (1:53)\u003cbr\u003e6. But who may abide  (5:02)\u003cbr\u003e7. And he shall purify  (3:16)\u003cbr\u003e8. \u003cb\u003eScene 3 \u003c\/b\u003e- Behold, a virgin shall conceive  (0:46)\u003cbr\u003e9. O thou that tellest good tidings  (7:23)\u003cbr\u003e10. For, behold, darkness shall cover  (3:02)\u003cbr\u003e11. The people that walked in darkness  (4:52)\u003cbr\u003e12. For unto us a child is born  (4:54)\u003cbr\u003e13. \u003cb\u003eScene 4 \u003c\/b\u003e- Pastoral Symphony  (4:39)\u003cbr\u003e14. There were shepherds abiding  (1:00)\u003cbr\u003e15. And the angel said unto them  (0:53)\u003cbr\u003e16. And suddenly there was  (0:21)\u003cbr\u003e17. Glory to the God in the highest  (2:17)\u003cbr\u003e18. \u003cb\u003eScene 5 \u003c\/b\u003e- Recjoice greatly, O daughter of Zion  (4:34)\u003cbr\u003e19. Then shall the eyes  (0:36)\u003cbr\u003e20. He shall feed his flock; Come unto him  (6:12)\u003cbr\u003e21. His yoke is easy  (3:06)\u003cbr\u003e\u003cbr\u003e\u003cb\u003edisc two\u003c\/b\u003e (73:26)\u003cbr\u003e\u003cb\u003ePart II\u003c\/b\u003e\u003cbr\u003e1. \u003cb\u003eScene 1\u003c\/b\u003e - Behold the Lamb of God  (4:10)\u003cbr\u003e2. He was despised  (6:03)\u003cbr\u003e3. Surely he hath borne our griefs  (3:00)\u003cbr\u003e4. And with His stripes we are healed  (2:21)\u003cbr\u003e5. All we like sheep have gone astray  (4:03)\u003cbr\u003e6. All they that see Him  (0:53)\u003cbr\u003e7. He trusted in God  (2:25)\u003cbr\u003e8. Thy rebuke hath broken his Heart  (2:39)\u003cbr\u003e9. Behold, and see if there be  (2:04)\u003cbr\u003e10. \u003cb\u003eScene 2\u003c\/b\u003e - He was cut off out of the land  (0:27)\u003cbr\u003e11. But Thou didst not leave  (3:23)\u003cbr\u003e12. \u003cb\u003eScene 3\u003c\/b\u003e-  Lift up your heads  (3:14)\u003cbr\u003e13. \u003cb\u003eScene 5\u003c\/b\u003e - How beautiful are the feet  (3:05)\u003cbr\u003e14.Their sound is gone out  (1:43)\u003cbr\u003e15. Scene 6 - Why do the nations so furiously rage together  (2:53)\u003cbr\u003e16. Let u break their bonds asunder  (1:50)\u003cbr\u003e17. He that dwelleth in heaven  (0:22)\u003cbr\u003e18. Scene 7 - Thou shalt break them with a rod of iron  (2:10)\u003cbr\u003e19. Hallelujah  (3:32)\u003cbr\u003e\u003cbr\u003e\u003cb\u003ePart III\u003c\/b\u003e\u003cbr\u003e20. \u003cb\u003eScene 1\u003c\/b\u003e-  I know that my Redeemer liveth  (7:44)\u003cbr\u003e21. Since by man came death  (2:30)\u003cbr\u003e22. \u003cb\u003eScene 2 \u003c\/b\u003e- Behold, I tell you a mystery  (0:42)\u003cbr\u003e23. The trumpet shall sound  (4:20)\u003cbr\u003e24. \u003cb\u003eScene 4\u003c\/b\u003e - Worthy is the lamb  (7:53)\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eADDITIONAL TRACKS \u003c\/b\u003e(download only)\u003cbr\u003e1. Unto which of the angels (0:26)\u003cbr\u003e2. Let all the angels of God worship Him (1:37)\u003cbr\u003e3. Thou art gone up on high (3:59)\u003cbr\u003e4. The Lord gave the word (1:12)\u003cbr\u003e5. Then shall be brought to pass (0:21)\u003cbr\u003e6. O death, where is thy sting (1:23)\u003cbr\u003e7. But thanks be to God (2:23)\u003cbr\u003e8. If God be for us (5:35)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003cbr\u003eJennifer Vyvyan\u003c\/b\u003e, soprano\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMonica Sinclair\u003c\/b\u003e, alto\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eJon Vickers\u003c\/b\u003e, tenor\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eGiorgio Tozzi\u003c\/b\u003e, bass\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRoyal Philharmonic Orchestra and Chorus\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003cb\u003eSir Thomas Beecham\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by: Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Beecham\u003cbr\u003eRecorded at Walthamstow Assembly Hall, June 9-13, 15-17, 20, 24 + 26 \u0026amp; 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