{"title":"Hindemith","description":null,"products":[{"product_id":"pasc475","title":"KLEMPERER in Geneva: Bach, Beethoven, Hindemith (1957) - PASC475","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\u003cb\u003eHINDEMITH \u003c\/b\u003eNobilissima Visione\u003cb\u003e\u003cbr\u003eBACH \u003c\/b\u003eOrchestral Suite No. 3\u003cb\u003e\u003cbr\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 7\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\"\u003e\u003cbr\u003eLive broadcast recording, 1957\u003cbr\u003eTotal duration: 79:41\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eOtto Klemperer, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eOrchestre de la Suisse Romande\u003c\/b\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px;\"\u003e\n\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: MusicWeb International \u0026amp; Fanfare578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIn every movement, the OSR responds magnificently, playing with great concentration and faithfully producing the conductor’s trademark granitic Beethoven textures578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eAfter his enforced exile from Nazi Germany, Otto Klemperer endured \ntwenty or more years of wandering before finally making his home in \nSwitzerland. This CD presents a ‘live’ concert with the Orchestre de la \nSuisse Romande (OSR) and is a product of his residency in that country. \nThe performances are impressive for their ‘heroic scale’, as Peter \nHeyworth characterised Klemperer’s conducting in general. His attention \nto detail is accommodated within an unfailing sense of structure. The \nsource of this CD issue is a high-quality French FM re-broadcast of a \nlive recording.\u003cbr\u003e \u003cbr\u003e Paul Hindemith was one of two composers – the \nother was Igor Stravinsky – whose music helped to establish Klemperer’s \nreputation as a modernist during his tenure at the Kroll Opera in Berlin\n between 1927 and 1931. \u003cem\u003eNobilissima Visione\u003c\/em\u003e was a \n‘choreographic legend’ in one act and five scenes for which Hindemith \ncomposed the music. Massine devised the choreography and danced it. The \nSuite which was taken from the music is in three movements. It is \nblazing and powerful – ‘visionary’ indeed – and the OSR under Klemperer \nresponds with whole-hearted commitment to its demands, as it does to all\n the music played here.\u003cbr\u003e \u003cbr\u003e Each of the works performed in this \nconcert had been recorded in the studio by Klemperer with the \nPhilharmonia Orchestra two or three years previously. A performance of \u003cem\u003eNobilissima Visione\u003c\/em\u003e was probably his first recording for EMI. It was issued back-to-back with the Brahms\/Haydn \u003cem\u003eVariations\u003c\/em\u003e\n on a ten-inch medium play disc and was most recently reissued in a CD \nboxed set of Klemperer conducting twentieth century music – \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2013\/Aug13\/Klemperer_20century_4044012.htm\"\u003ereview\u003c\/a\u003e.\n In comparing this performance of the Hindemith with the OSR’s, due \nallowance must be made for the compromises of the ‘live’ recording \nprocess. Perhaps understandably, the Walter Legge\/Philharmonia regime at\n its zenith surpasses the ‘live’ production from Geneva’s Victoria Hall –\n but not by as much as you might expect.\u003cbr\u003e \u003cbr\u003e Klemperer’s direction \nvaried only a little: the OSR performance is just under a minute faster.\n What is noticeable is the superior balance achieved by Klemperer and \nLegge in the studio. In the EMI recording, the drum which accompanies \nthe solo flute (probably Gareth Morris) in the second movement’s March \nhas a very tangible, but not exaggerated, presence – a dramatic effect \nwhich the composer surely wanted. In the OSR production the drum is \nthere but is less present. In the fierce contrapuntal uproar which \nprevails at the conclusion of the third movement’s \u003cem\u003ePassacaglia\u003c\/em\u003e,\n the Philharmonia’s woodwinds are clearly discernible shrieking \nimpressively amid the din, the OSR’s less so. EMI’s clear yet \nfull-bodied, wide-ranging recording is, in short, a stunning example of \nhigh-fidelity mono sound, better than many a modern effort.\u003cbr\u003e \u003cbr\u003e For\n the OSR’s performance of Bach’s Orchestral Suite No. 3, Klemperer uses \nan orchestra of large if indeterminate size and there are few \nconcessions to ‘scholarship’. Yet what is clear from this performance \nand the Philharmonia recording he made in 1954 is that Klemperer was a \nBach interpreter of formidable power, intellect and concentration. The \nstudio performance has somewhat more clarity and may have used a smaller\n body of players and thus sounds a touch more ‘authentic’. The two \nreadings are very similar in outline and their total timings differ by \njust one second. Listeners without ‘HIP’ prejudices, or able to suspend \nthem for half an hour, will be impressed by these performances.\u003cbr\u003e \u003cbr\u003e\n The best is last – Beethoven’s Seventh Symphony. In assessing this \nrecording, my benchmark was Klemperer’s superbly recorded 1955 EMI \u003cem\u003emono\u003c\/em\u003e\n performance, not the one recorded in rather indifferent experimental \nstereo at the same time. Unfortunately, it is the latter version which \nhas been included in the conductor’s EMI\/Warner boxed set of Beethoven’s\n orchestral music. The mono performance was last available on a Naxos \nHistorical release, coupled with the 1955 mono recording of the Fifth \nSymphony. The mono Seventh received Legge’s full attention, resulting in\n superb balance. Just listen to the way the timpani reinforce the climax\n of the last movement and elsewhere.\u003cbr\u003e \u003cbr\u003e The 1955 performance is \nthe fastest of Klemperer’s studio renditions, but this OSR example \nshaves almost two minutes off it. In both readings, he maintains what \nhas been called his “inexorable forward momentum” without the need for \nrushing. In both recordings, the conductor, as is usual for him, \nexaggerates the great double hammer-blows in the first movement’s \u003cem\u003eAllegro\u003c\/em\u003e.\n Rather than impeding the momentum, this reminds us that a real \nconductor is in charge, not a mere time-beater. In every movement, the \nOSR responds magnificently, playing with great concentration and \nfaithfully producing the conductor’s trademark granitic Beethoven \ntextures. If this is not virtuoso orchestral playing, it is something \nvery close to it.\u003cbr\u003e \u003cbr\u003e In the OSR’s third movement \u003cem\u003eTrio\u003c\/em\u003e, \nsomething occurs which I have not noticed in any other Klemperer \nperformance of this music: there is a delightful ‘swing’ and lilt in the\n playing, achieved without the pronounced slowing down Furtwängler used \nin his 1950 EMI studio recording.\u003cbr\u003e \u003cbr\u003e I am almost certainly in a \nminority in disliking ‘express train’ speeds in the final movement. My \nobjection is two-fold. Firstly, if the repeat is omitted - as it usually\n is - a very fast tempo makes the movement sound too short in relation \nto the rest of the work. Secondly, the faster the speed, the harder it \nis to maintain full intensity. Furtwängler managed to bring it off in \nhis swift reading timed at 6:54; two seconds faster than Toscanini and \nthe BBC Symphony Orchestra. Walter took it even faster in his Sony \nstereo recording at 6:43 and didn’t quite bring it off. It was a \nslightly anti-climactic end to an otherwise great performance. Klemperer\n and the OSR allow themselves 7:41. It’s true that when they start this \nmovement, one senses a trudge may be coming – but only for a moment. \nVery soon, there is a feeling of being irresistibly drawn into a vortex \nby what has been called the conductor’s “terrifying intensity”. One \nsurrenders to it and is swept to an overwhelming conclusion. This is \nquite the finest Beethoven Seventh I have heard from Klemperer.\u003cbr\u003e \u003cbr\u003e\n Pristine offers an admirable high fidelity mono recording. It \nfaithfully conveys the warm, full, forward sound familiar to collectors \nof Ernest Ansermet’s recordings from the Victoria Hall. There is a \nslight tendency for the bass to ‘boom’ on occasion, which is easily \nignored. The audience is quiet. Its applause was apparently not \npreserved in the source of the recording and so is not heard here.\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cem\u003eRob W McKenzie\u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003eMusicWeb International\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eFor those who enjoy pigeonholing conductors (e.g. \nSzell and Toscanini are always fast and taut, with a bright, lean \nsonority; Furtwängler is always weighty, massive, and darker in color, \netc.) Otto Klemperer presents the ultimate challenge. Whether for purely\n musical reasons, his well-documented manic-depressive condition, or a \ncombination of both, Klemperer can sound like different conductors at \ndifferent times and places. I own recordings of Bruckner’s Fourth \nSymphony led by Klemperer ranging from 55:00 to 60:58, and Mahler’s \nSecond from 73:30 to 79:43. The general perception of those who know his\n work mainly from his EMI Philharmonia Orchestra recordings is to think \nof his conducting as always on the slow and weighty side, but that is \nsimply not true.   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003ePristine has made a major contribution to the \nKlemperer discography with this release of a complete broadcast concert \nby the Suisse Romande Orchestra from 1957 (with neither applause nor \nannouncements). This same concert was released on the Archiphon label \nearlier; I have not heard it, but that label’s track record would not \nencourage me to think the quality is even close to this. The source of \nPristine’s issue is a French FM radio rebroadcast, to which Pristine has\n added its XR processing, creating a bit more space around the \norchestral sound. The result is a superb mid-1950s sound quality equal \nto that of professional studio recordings.   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Hindemith is perhaps the biggest surprise here\n to those unfamiliar with the conductor’s EMI recording of the work, to \nwhich this is similar in interpretive outline. Klemperer’s tempos in \nthis piece are among the fastest on records. Here are a few comparisons \nfrom my own collection:  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eKondrashin 19:35  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eKlemperer 19:40 (this performance)  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMonteux 20:43  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eTortelier 23:31  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMuti 23:52  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHindemith 24:51  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eNot only is this performance quick, but it is \nlight-footed, even witty at times. The orchestra plays very well \nthroughout, save for a slightly askew entrance at the onset of the \npassacaglia finale. This is a performance of sweep and drama, with a \nrhythmic lift and a degree of intensity not quite present in the EMI \nrecording.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Bach is guaranteed to upset the HIP \nspecialists, with its big sonority, string playing with a fairly strong \nvibrato, and the huge ritard prior to the work’s conclusion. Klemperer \nwas from a generation that performed Bach regularly in a style more \ngrand than is the norm today. He recorded the four Orchestral Suites \ntwice for EMI, in 1954 and 1960. The performance here of the Third is \nfreer, more spontaneously inflected, and a bit more joyous than the \nstudio recordings, with the famous “Air” lovingly and affectionately \nmolded.   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eKlemperer recorded Beethoven’s Seventh Symphony \nfor EMI three times: in 1955, 1960, and 1968—the last being quite slow \nand weighty. A word often applied to this conductor, “granitic,” would \nfit all three recordings to varying degrees. That word is less \napplicable here. This performance is graceful, warmly lyrical and supple\n in the second movement, and the opening movement is moderately quick \nand very energetic. While the third and fourth movements are on the slow\n side, the well-sprung rhythms and an orchestral sonority somewhat \nlighter in texture than the studio efforts make this a more propulsive \nreading, and in my view an extremely successful one.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis will self-recommend to Klemperer collectors, \nbut the more general collector may well want to seek it out as an \nexample of one of the 20th century’s greatest conductors operating at \nhis peak. \u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eHenry Fogel  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\n      \n    \n  \n  \u003cbr\u003e\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003eThis article originally appeared in Issue 40:4 (Mar\/Apr 2017) of \u003ci\u003eFanfare\u003c\/i\u003e Magazine.\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC475.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eKlemperer's incredible 1957 Geneva Beethoven 7th\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"This\n is quite the finest Beethoven Seventh I have heard from Klemperer ... \nOne surrenders to it and is swept to an overwhelming conclusion\" - \nMusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eThis live radio recording, sourced here from a later, high-quality \nFrench FM rebroadcast, offers us nearly eighty minutes of Otto Klemperer\n at the height of his musical powers, some three years after he began \nhis run of extraordinary recordings with the Philharmonia Orchestra for \nEMI, thanks to the efforts of legendary producer Walter Legge.\u003cbr\u003e\u003cli\u003e\n\u003cbr\u003eDespite\n becoming the first principal conductor of the Philharmonia in 1959, it \nwas in Switzerland that Klemperer settled at this stage in his life, and\n this live 1957 radio broadcast is a rare example of him conducting the \nprimary orchestra of his adopted home. Recorded at Victoria Hall, \nGeneva, the venue for the orchestra's many Decca recordings (and thus, \none might expect, well-equipped and well-known to local sound \nengineers), the sound quality is excellent throughout following XR \nremastering, which has dealt effectively with a slightly over-forward \ntonal balance in the original.\u003cbr\u003e\u003cbr\u003eAlas our source material included \nno applause or other material from the original broadcasts, though \ntimings would have been very tight to include any additional content for\n this release.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHINDEMITH\u003c\/b\u003e Nobilissima Visione - Konzert-Suite (1938) \u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eJ. S. BACH\u003c\/b\u003e Orchestral Suite in D major, BWV1068\u003c\/span\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 7 in A major, Op. 97\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eOrchestre de la Suisse Romande\u003cbr\u003eOtto Klemperer\u003c\/b\u003e, conductor \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eBroadcast concert \u003cbr\u003eVictoria Hall, Geneva, Switzerland 6 March 1957\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC475.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC475.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":32417439885,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32417440077,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32417440269,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC475.jpg?v=1487682297"},{"product_id":"pasc464","title":"MONTEUX at Tanglewood, Volume 1 (1958) - PASC464","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Violin Concerto\u003cb\u003e\u003cbr\u003eBEETHOVEN \u003c\/b\u003eThe Creatures of Prometheus - Excerpts\u003cb\u003e\u003cbr\u003eBEETHOVEN \u003c\/b\u003eLeonore Overture No. 3\u003cbr\u003e\u003cb\u003eDEBUSSY\u003c\/b\u003e Nocturnes\u003cb\u003e\u003cbr\u003eRAVEL\u003c\/b\u003e La Valse\u003cb\u003e\u003cbr\u003eMILHAUD\u003c\/b\u003e Prelude from Eumenides\u003cbr\u003e\u003cb\u003eHINDEMITH\u003c\/b\u003e Nobilissima Visione\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\u003cbr\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 stereo recordings, 1958\u003cbr\u003eTotal duration: 2hr 15:06 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003ePierre Monteux, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eBerl Senofsky\u003c\/b\u003e, violin\u003cp\u003e\u003cb\u003eBoston Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe real gems here are the Beethoven and Hindemith...578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003ePierre Monteux, one of the more \nversatile maestros of the 20th century, was never able to shake off his \nunjust typecasting as a specialist in French music and ballet music, \nespecially that of the early part of his century. This pair of CDs, in a\n way, serves as a case in point, for the real gems here are the \nBeethoven and Hindemith performances. CD number one contains unnecessary\n recordings of Debussy’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNocturnes\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and Ravel’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa valse\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n pieces that he made superior studio recordings of and, with outstanding\n and better-sounding recordings by Abbado, Ansermet, and Boulez \navailable, one doesn’t have to go very far into the alphabet to do at \nleast as well. On the other hand, the Beethoven performances strike me \nas outstanding as well as frustrating. In an explanatory note, the \nproducer of this pair of CDs points out the difficulties, including peak\n distortion that he encountered when attempting to bring the original \ntapes up to standard. Unfortunately, he was unable to neutralize it \nenough in loud passages and, for this listener at least, peak distortion\n spoils Monteux’s supercharged \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLeonore \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eNo. 3, his well-judged \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePrometheus\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e excerpts (Would anyone ever perform the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n if it were not the only example of Beethoven’s use of the harp?), and \none of the loveliest, beautifully calculated renditions of Beethoven’s \nViolin Concerto that I have ever experienced … and I learned the piece \ndecades ago on the Heifetz\/Toscanini 78s. Beryl Senofsky’s playing is \nalmost rhapsodic but definitely not episodic. He turns the Kreisler \ncadenzas into miniature dramas, so beautifully shaped are they. The \nwhole performance is more like a dialectic, not a reading, and \nMonteux—not an easy accompanist to “lose”—is with him all the way. But \nthose \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eforte\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es—they turn fuzzy, and this doesn’t help Monteux’s appropriately stately, refined performance of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNobilissima Visione\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n either. I can only hope that there’s a better source tape out there \nsomewhere and that a better source exists for the 1959 and 1961 \nconcerts. If I remember correctly, I attended a dynamic Monteux Brahms \nFirst during the summer of 1961, so I’ll keep my fingers crossed.\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames Miller\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 40:1 (Sept\/Oct 2016) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC464.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eMonteux's stereo Tanglewood broadcasts part 1: 1958\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"One of the loveliest, beautifully calculated renditions of Beethoven’s Violin Concerto that I have ever experienced\" - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eA good number of Pierre Monteux's concerts with the Boston Symphony \nOrchestra at Tanglewood in the summers of 1958, 1959 and 1961 were \nbroadcast in early stereo FM broadcasts and preserved on tapes that have\n circulated privately over the years and, occasionally, seen the light \nof day on commercial releases. This first volume concentrates on 1958 \nperformances of Beethoven and more modern music by French composers \nDebussy, Ravel, Milhaud and the German Paul Hindemith, together \nproviding a contrasting repertoire of music, the highlight of which will\n be, for many, the fine performance of Beethoven's Violin Concerto of \n9th August with American violinist Berl Senofsky.\u003c\/p\u003e\u003cp\u003eThe original tapes were rather hissy and closely recorded, resulting \nin a lack of perspective and space. They also suffered from peak \ndistortion and, in places, intermittent treble dropout on one channel. \nI've done a lot to alleviate all of these problems, as well as seeking \nto improve the overall tonal balance of the recordings. The sound is now\n much cleaner and clearer, with a real sense of space, and if some peak \ndistortion has been impossible to entirely eliminate in the very loudest\n sections, these are relatively few and far between and have been \nsignficantly improved.\u003c\/p\u003e\u003cp\u003eThe stereo imagery is good for a live recording so early in the \nstereo era, assisted by digital phase correction technology. I elected \nto remove the rather lengthy introductions and links from the original \nradio broadcasts to allow for as much music as possible.\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"text-align: left;\" align=\"center\"\u003e\u003cspan class=\"bodymid\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMILHAUD\u003c\/b\u003e Les Eumenides, Op. 41 - Act 3: Prelude\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eDEBUSSY\u003c\/b\u003e Nocturnes\u003c\/span\u003e \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eRAVEL\u003c\/b\u003e La Valse\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eConcert of 25 July, 1958\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHINDEMITH\u003c\/b\u003e Nobilissima Visione\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Leonore Overture No. 3, Op. 72b\u003c\/span\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eThe Creatures of Prometheus, Op. 43 (excerpts)\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eViolin Concerto in D major, Op. 61\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eConcert of 9 August, 1958\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBerl Senofsky\u003c\/b\u003e, violin\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBoston Symphony Orchestra\u003cbr\u003ePierre Monteux\u003c\/b\u003e, conductor \u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded at the Koussevitzky Music Shed, Tanglewood 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class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003eJeu de Cartes \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBETTINELLI \u003c\/b\u003eInvenzione No. 1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eHINDEMITH \u003c\/b\u003eKonzertmusik für Streichorchester und Blechbläser \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003eLa Valse\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 11px;\"\u003eRecorded 1949-54\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 11px;\"\u003eTotal duration: 59:45 \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eBoston Symphony Orchestra\u003cbr\u003eNBC Symphony Orchestra\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eGuido Cantelli \u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC111.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cspan class=\"bodybig\" style=\"font-size: 24px;\"\u003e\u003cem\u003eFour rare and previously unreleased recordings \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;\"\u003eXR-remastered from live broadcast tapes \u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003eThese recordings were remastered from tapes in the collection of Keith Bennett, whose new biography of Guido Cantelli is, at the time of writing, imminent.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eAsked to comment briefly about the collection of performances and recordings presented here, Mr. Bennett replied thus:\u003c\/p\u003e\u003cp class=\"body\" style=\"margin-left: 25px;\" align=\"left\"\u003e\u003cbr\u003e\"I'll deal with the composers in alphabetical order:\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBettinelli \u003c\/b\u003e- this performance of the first of the Due Invenzioni - he [Cantelli] only programmed it twice and the other was in 1946 - has never appeared on CD although it was once on a double LP (LAR 31);\u003cbr\u003e\u003cbr\u003e\u003cb\u003eHindemith \u003c\/b\u003e- Cantelli performed this on four occasions - three with the Philharmonic-Symphony Orchestra of New York one of which has appeared on CD (no doubt it has long been out of print) but this NBC performance has never appeared on CD;\u003cbr\u003e\u003cbr\u003e\u003cb\u003eRavel \u003c\/b\u003e- this can be called core repertoire, Cantelli performed it 38 times! The performance of 1949 was the first of three which he gave with the NBCSO but be warned - it's his worst: however, it has never appeared on CD. The 1951 performance is on Music \u0026amp; Arts CD (in a box of 12) and the 1954 performance was in the first (and only) volume of The Cantelli Legacy issued by the defunct Arturo Toscanini Society of America (LPs of course) and is on an AS disc CD long out of print. Incidentally, La Valse was scheduled for commercial recording on three occasions but, alas, it was one of many where Cantelli had a change of mind;\u003cbr\u003e\u003cbr\u003e\u003cb\u003eStravinsky \u003c\/b\u003e- Cantelli performed this twice with the Orchestra della Scala; once with the NBC SO on 20 December 1952 (which has appeared on CD), but none of the remaining nine performances - all with the Boston Symphony Orchestra - has appeared on CD.\"\u003cbr\u003e\u003c\/p\u003e \n\n\u003cp class=\"body style21\" align=\"left\"\u003eFrom a technical perspective the recordings all responded well to XR remastering, though the older Ravel recording has considerably less dynamic and frequency range that the other three. Overall they make a very fine collection. I have retained Ben Grauer's final continuity announcement at the very end of the Ravel recording which completes this issue. Elsewhere the recordings are left with brief applause where available, which is quickly faded.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003e\u003ci\u003eAndrew Rose\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 Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003cb\u003eStravinsky \u003c\/b\u003e- Jeu de Cartes\u003cbr\u003eBoston Symphony Orchestra (Symphony Hall, 31\/1\/53)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBettinelli \u003c\/b\u003e- Invenzione No. 1 (from Due Invenzione)\u003cbr\u003eNBC SO (Carnegie Hall, 20\/12\/53)\u003cbr\u003e\u003cb\u003e\u003cbr\u003eHindemith \u003c\/b\u003e- Konzertmusik für Streichorchester und Blechbläser, Op. 50\u003cbr\u003eNBC SO (Carnegie Hall 31\/1\/54)\u003cbr\u003e\u003cb\u003e\u003cbr\u003eRavel \u003c\/b\u003e- La Valse\u003cbr\u003eNBC SO (NBC Studio 8H, 5\/2\/49)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBoston Symphony Orchestra\u003cbr\u003eNBC Symphony Orchestra\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eGuido Cantelli \u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eAll believed previously unissued on CD. The Bettinelli once appeared on a long out-of-print LP.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eLive performances recorded 1949-54 in Boston and New York. \u003cbr\u003e Restoration and XR remastering by Andrew Rose at Pristine Audio, April 2008\u003cbr\u003e Cover artwork based on a photograph of Guido Cantelli\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 59:45 \u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cspan class=\"bodysmallarial\"\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\/PASC111.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC111.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":34653063117,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34653063181,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34653063245,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34653063309,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC111.jpg?v=1490262131"},{"product_id":"pasc111-cd","title":"CANTELLI Conducts 20th Century Music (1949-54) - PASC111 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478267597,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478267661,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC111_d3ec9ce6-64f6-4744-a2b5-a2a0f279b3bf.jpg?v=1658241321"},{"product_id":"pasc084","title":"CANTELLI US Debut Concert: Haydn \u0026 Hindemith (1949) - PASC084","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eHAYDN \u003c\/b\u003eSymphony No. 93\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eHINDEMITH \u003c\/b\u003eMathis der Maler\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded live in 1949\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 56:34\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eNBC Symphony Orchestra \u003cbr\u003e \u003c\/b\u003econducted by \u003cb\u003eGuido Cantelli \u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fHis absolutely luminous reading of Paul Hindemith’s Mathis der Maler symphony obviously held the audience spellbound578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eGuido Cantelli’s debut concert with the NBC \nSymphony, preserved here in this rare transcription disc, was a surprise\n to both New Yorkers in particular and the world in general. After \nhearing how Toscanini touted him as “sounding like me,” listeners no \ndoubt expected super-intense, emotionally tumultuous readings with the \nsame kind of extreme x-ray clarity. What they heard, however, is \nevidenced on this album: equal part balance yet within a softer tonal \npalette, a tendency to round off phrases that other conductors often \nslighted or drove too hard, and a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ecantabile\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e quality that can still delight in spite of the dated sound.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Haydn 93rd, so much lighter and more lyrical \nthan his mentor’s approach to this composer, is greeted with polite \napplause, but his absolutely luminous reading of Paul Hindemith’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMathis der Maler\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n symphony obviously held the audience spellbound. All of the deep \nhumanity of the music is there, and Cantelli even manages to imbue the \nsomewhat sour passages with elegance and great depth of inner feeling. \nToscanini is said to have understood this music for the first time after\n hearing Cantelli conduct it. I think that this audience on a chilly \nJanuary night felt the glow, as well. Following the final peroration, \nthey burst into a frenzy of applause to equal some of the ovations they \ngave Toscanini himself.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eOn the heels of his concert, RCA Victor rushed \nCantelli and the orchestra into the recording studio to make commercial \nrecordings of both works, and those recordings have been highly regarded\n by collectors since. (They were issued on a multi-disc set of \nCantelli’s NBC recordings by Testament.) Yet there remains a shade more \ncommitment, a shade more relaxation, in these live performances than \nthere is on the RCA discs. It’s a close call; if you have the commercial\n recordings, you may choose to bypass this issue; but Cantelli \ncompletists will insist on it, and for those of us who do not own the \nTestament set, it is a fine souvenir of two of the conductor’s greatest \nachievements.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAndrew Rose of Pristine Classical had his work cut\n out for him in restoring this concert, particularly the Hindemith, \nwhich was recorded at a much softer volume, resulting in greater hiss \nand far less clarity. The mere fact that he was able to extract a \nlistenable sound from these discs is wonder enough, but the highest \ncompliment I can pay them is that they sound very much like the \ncommercial recordings. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eLynn René Bayley  \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 31:4 (Mar\/Apr 2008) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC084.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 24px;\"\u003eCantelli's American Debut Concert, January 15th, 1949\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003eThe source material for these restorations appears to have been assembled from at least two different disc recordings - it was presented to me as tape dubs of these discs. Of these, the second half of the concert (Hindemith) was of noticeably lower frequency range and fidelity than the first - I have done what I can to try and alleviate this, but the difference will remain apparent to the listener.\n\u003cp class=\"body\" align=\"left\"\u003eDuring the restoration of the Hindemith I became somewhat concerned by the apparent absence of coughing and other audience noises (something I'd worked on reducing or removing from the Haydn). However, other aspects of regular disc surface noise which could be heard towards the end of the final movement and which continued unabated into the immediate, spontaneous and ecstatic applause and final announcements convinced me of the likely authenticity of this part of the recording.\u003c\/p\u003e\n\u003cp\u003e \n\u003c\/p\u003e\u003cdiv align=\"center\"\u003e\n\u003cp align=\"left\"\u003e\u003cspan class=\"bodybig\"\u003e\u003cb\u003eCantelli with the NBC Symphony Orchestra \u003c\/b\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cp class=\"body\"\u003eGuido Cantelli's debut with the NBC Symphony Orchestra, on 15th January 1949, was the first of four guest concerts the 28-year-old conducted with the orchestra that year - a number later expanded to eight concerts per year. Toscanini had been searching for a younger conductor to take over the orchestra created for him by NBC in 1938 during his absences (he was now into his eighties), and during an off-season concert at La Scala conducted by Cantelli, his is said to have commented, partway through, \"\u003cem\u003ethat is me directing this concert\u003c\/em\u003e\".\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe reception to this first concert can be heard at the end of the Hindemith - rapturous applause, cheering, whistles - something not then regularly associated with New York audiences. Similarly the press response was glowing, likening the young conductor physically to Frank Sinatra and musically to Toscanini.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThere is little doubt that Cantelli was being groomed to take over Toscanini's mantle in due course. However the tragic death of the younger conductor in a plane crash in 1956, just two months before Toscanini's own death, put paid to an astonishing early career. Much of what is preserved of Cantelli's work is in the form of broadcast recordings such as those presented here, often in less than perfect condition. But it is a remarkable legacy of superb musicianship that surely deserves wider exposure and recognition.\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eHAYDN \u003c\/b\u003eSymphony No. 93 in D major\u003c\/span\u003e Hob.I:93\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eHINDEMITH \u003c\/b\u003eMathis der Maler\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eNBC Symphony Orchestra \u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cb\u003e \u003c\/b\u003econducted by \u003cb\u003eGuido Cantelli \u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003eBroadcast from Studio 8H, New York, 15th January, 1949\u003cbr\u003e\n Note that there was some variation in sound quality throughout the \nsource material, particularly during the second half of this concert. \u003cbr\u003e Pristine Audio XR remastering by Andrew Rose, July 2007\u003c\/span\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003eTotal duration: 56:34\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\/PASC084.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC084.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":36337887821,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":55205560320334,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC084.jpg?v=1492778342"},{"product_id":"pasc084-cd","title":"CANTELLI US Debut Concert: Haydn \u0026 Hindemith (1949) - 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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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These included \"Mysterious Mountain,\" especially written - in the composer's own words - for \"a very great and wonderful man.\" For his part, in his 1957 appearance on the BBC Radio show \"Desert Island Discs\" (you'll find the programme on YouTube!) Stokowski singled Hovhaness out as a considerable talent among the younger composers of the time.\u003cbr\u003e\u003cbr\u003eThe \"Exile\" Symphony was premiered in England in 1939 by the BBC Symphony under Leslie Heward and was introduced to America by Stokowski in 1942. The music evokes the terrible sufferings of the Armenian people during the First World War. Years later, Hovhaness was to replace the middle movement, here entitled \"Conflict,\" with a completely new one called \"Grazioso.\" Stokowski's NBC premiere broadcast remains the only complete extant recording of the \"Exile\" Symphony as first conceived.\u003cbr\u003e\u003cbr\u003eAlthough Stokowski was renowned for conducting numerous premieres, he was equally keen to perform new works introduced by others. He was already a staunch advocate of Stravinsky's music, having presented to America several of the composer's major works. These included \"The Rite of Spring\" in its concert and ballet presentations, as well as its first US recording. He also featured it, somewhat abridged and rearranged, in Walt Disney's \"Fantasia,\" thus ensuring its continuing popularity in concerts and on records.\u003cbr\u003e\u003cbr\u003eThe Symphony in C was premiered in Chicago in 1940 by Stravinsky himself. He was to conduct it several times with other American orchestras before it was taken up by Stokowski, who said of the work: \"It is remarkable for its simplicity and flowing cadence and has a certain 18th century flavour, with a wonderful expression of rhythm and counter-rhythm.\" The NBC radio premiere heard here was praised by Virgil Thomson for its \"detailed clarity and overall comprehension.\"\u003cbr\u003e\u003cbr\u003eLike so many other German musicians in the 1930s, Paul Hindemith fell foul of the Nazis and in 1940 had to settle in America. The Symphony in E flat was the first of his major works to be composed in the USA and was introduced by Mitropoulos and the Minneapolis Symphony in November the following year. The work consists of a vigorous first movement, a dirge-like second, a 'danse macabre' scherzo and a martial finale. Stokowski was sufficiently taken with the work to play it again with the Hollywood Bowl Symphony and the New York Philharmonic, doubtless revelling in its triumphant closing pages.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003cb\u003eEdward Johnson\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eTechnical note\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eDespite their age, these wonderfully preserved acetate disc recordings reveal an astonishing level of detail and sound quality and a full frequency response. It's easy to forget, when hearing them, just how old they are - at the time of writing nearly 80 years has passed since these performances took place. Not all of their imperfections have been eradicable, but these minor surface noises pale into insignificance against the majesty of Stokowski's 1942\/3 NBC orchestra and the sound quality captured here. Indeed these are some of the very finest quality recordings I've ever heard from this era. I would have liked to preserve the announcements from each of the performances, but to do so would have taken more space than is available on a single disc. In this instance therefore they have been cut and instead a short amount of applause left at the end of each work.\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 Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eSTOKOWSKI \u003c\/b\u003econducts Twentieth Century Symphonies\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eHOVHANESS  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eSymphony No. 1, Op. 17, \"Exile\"\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Lament  (7:40)\u003cbr\u003e2. 2nd mvt. - Conflict  [original version] (3:29)\u003cbr\u003e3. 3rd mvt. - Triumph  (7:29)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 6 December 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eSTRAVINSKY  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eSymphony in C\u003c\/span\u003e\u003cbr\u003e4. 1st mvt. - Moderato alla breve  (9:08)\u003cbr\u003e5. 2nd mvt. - Larghetto concertante  (7:07)\u003cbr\u003e6. 3rd mvt. - Allegretto  (4:24)\u003cbr\u003e7. 4th mvt. - Largo; Tempo giusto, alla breve  (7:43)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 21 February 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eHINDEMITH  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eSymphony in E flat major\u003c\/span\u003e\u003cbr\u003e8. 1st mvt. - Sehr lebhaft  (5:09)\u003cbr\u003e9. 2nd mvt. - Sehr langsam  (9:18)\u003cbr\u003e10. 3rd mvt. - Lebhaft  (6:27)\u003cbr\u003e11. 4th mvt. - Mäßig schnelle Halbe  (8:48)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 28 February 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra  \u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski with Alan Hovhaness in 1958\u003cbr\u003eLive broadcast concerts from NBC Studio 8H, Radio City, New York\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eTotal duration:  76:42    \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\/PASC587.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC587.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":31543470456893,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205535285582,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205535318350,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC587_d33648d2-7664-4c03-8825-9e6e2219a6f2.jpg?v=1581612273"},{"product_id":"pasc587-cd","title":"STOKOWSKI conducts C20 Symphonies - Hovhaness, Stravinsky, Hindemith (1942\/3) - PASC587 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC587.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":31543465050173,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205535056206,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC587.jpg?v=1658750292"},{"product_id":"pasc594","title":"MONTEUX in Philadelphia: Prokofiev, Brahms, Hindemith, Schubert (1945\/1960) - PASC594","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003eRomeo \u0026amp; Juliet Suite No. 1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eTragic Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eHINDEMITH \u003c\/b\u003eMathis der Maler Symphony\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003eSymphony No. 9, 'Great'\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast recordings, 1945 \u0026amp; 1960\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 00:20\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003ePierre Monteux\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC594.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    Pierre Monteux only gave four broadcasts with the Philadelphia Orchestra:\n    two in January, 1945 (the latter of which included the Mendelssohn Violin\n    Concerto with Isaac Stern that appears on PASC 519), one the following\n    October, and the last, broadcast and recorded in stereo, on March 4, 1960.\nThe first of these featured Prokofiev’s Suite No. 1 from    \u003cem\u003eRomeo and Juliet, \u003c\/em\u003ebroadcast on 6 January 1945.\n\u003c\/p\u003e\n\u003cp\u003e\n    Only the first six numbers from the Prokofiev Suite were broadcast,\n    probably due to timing reasons. (This series of broadcasts were done as\n    one-hour programs in an empty hall between 6:00 and 7:00 p.m. on Saturday\n    nights preceding the regular subscription concerts at 8:00.) The seventh\n    number, \"Tybalt's Death\", was omitted. It's the only Monteux recording of\n    the work that we are aware of. He never recorded any Prokofiev\n    commercially, and the only other known live broadcast of his music is the\n    \"Classical\" Symphony with the Boston Symphony in a West Hill Radio Archives\n    release.\n\u003c\/p\u003e\n\u003cp\u003e\n    The 1960 broadcast from WFLN-FM features three works, two of which Monteux\n    did not record commercially (the Hindemith \u003cem\u003eMathis der Maler \u003c\/em\u003e\n    Symphony and the Schubert 9th), along with the Brahms \u003cem\u003eTragic \u003c\/em\u003e\n    Overture, which he did record in the studio but which wasn't released until\n    decades after his death. We have opted to preserve the order in which the\n    pieces were performed in the 1960 concert, and retained the announcements.\n    All the recordings were made in the Academy of Music.\n\u003c\/p\u003e\n\u003cp\u003e\n    As with the Stokowski Philadelphia Orchestra broadcasts of 1962 (PASC372\n    \u0026amp; PASC379) the musical content of these recordings was preserved\n    separately to the applause and announcements, and in a different stereo\n    format normally reserved for broadcasting. I’ve employed cross-fades where\n    possible to reduce any sense of a jump from one to the other, but\n    sharp-eared listeners may still detect this.\n\u003c\/p\u003e\n\u003cp\u003e\n    The 1960 Philadelphia recordings have survived exceptionally well on\n    magnetic tape reels for the last sixty years, and sound quality is superb\n    throughout. By contrast the 1945 acetate discs which preserve the Prokofiev\n    recording have inevitably suffered some wear and damage since their\n    creation, and this will be heard from time to time where it has proved\n    impossible to eliminate in its entirety. I have retained as much of the\n    pre-and post-announcements here as possible, though unfortunately very\n    little remains. Nevertheless, despite these caveats, this remains a hugely\n    enjoyable performance and a vital addition to the Monteux catalogue.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003ci\u003e\u003cb\u003eAndrew Rose\n\u003c\/b\u003e\u003c\/i\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\u003cspan style=\"font-size: 24px;\"\u003eMonteux in Philadelphia\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDisc One\u003c\/b\u003e\u003cbr\u003e1. RADIO 1945 Introduction*  (0:12)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003ePROKOFIEV  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eRomeo \u0026amp; Juliet Suite No. 1, Op. 64bis*\u003c\/span\u003e\u003cbr\u003e2. 1. Folk Dance  (4:26)\u003cbr\u003e3. 2. Scene  (1:25)\u003cbr\u003e4. 3. Madrigal  (3:28)\u003cbr\u003e5. 4. Minuet  (3:04)\u003cbr\u003e6. 5. Masks  (2:03)\u003cbr\u003e7. 6. Romeo and Juliet  (8:14)\u003cbr\u003e\u003cbr\u003e8. RADIO 1960 Introduction to First Half  (3:12)\u003cbr\u003e\u003cbr\u003e9. \u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eBRAHMS  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eTragic Overture, Op. 81\u003c\/span\u003e  (13:22)\u003cbr\u003e\u003cbr\u003e10. RADIO Link to Hindemith  (1:58)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eHINDEMITH  \u003c\/b\u003eMathis der Maler Symphony\u003c\/span\u003e\u003cbr\u003e11. 1st mvt. - Engelkonzert  (8:52)\u003cbr\u003e12. 2nd mvt. - Grablegung  (4:08)\u003cbr\u003e13. 3rd mvt. - Versuchung des heiligen Antonius  (12:57)\u003cbr\u003e\u003cbr\u003e14. RADIO Back anno for Hindemith  (0:48)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDisc Two\u003c\/b\u003e\u003cbr\u003e1. RADIO Introduction to Second Half  (2:34)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eSCHUBERT  \u003c\/b\u003eSymphony No. 9 'Great' in C major, D.944 \u003c\/span\u003e\u003cbr\u003e2. 1st mvt. - Andante - Allegro, ma non troppo - Più moto  (13:36)\u003cbr\u003e3. 2nd mvt. - Andante con moto  (13:07)\u003cbr\u003e4. 3rd mvt. - Scherzo. Allegro vivace - Trio   (10:01)\u003cbr\u003e5. 4th mvt. - Allegro vivace  (12:27)\u003cbr\u003e\u003cbr\u003e6. RADIO Final Announcement  (0:25)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eThe Philadelphia Orchestra  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003ePierre Monteux\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eXR Remastered by  \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003ePierre Monteux\u003c\/b\u003e\u003cbr\u003eLive broadcast recordings, *6 January 1945 (Ambient Stereo) \u0026amp; 4 March 1960 (stereo)\u003cbr\u003eRecorded at the Academy of Music, Philadelphia\u003cbr\u003e\u003cbr\u003eTotal duration:  \u003cb\u003e2hr 00:20\u003c\/b\u003e     \u003c\/p\u003e\u003cp\u003eCD1: 68:09      CD2: 52:11   \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\/PASC594.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC594.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fConcert review, 1960578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003ci\u003e\u003cb\u003eAt the Academy\u003c\/b\u003e\u003c\/i\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cspan style=\"font-size: 24px;\"\u003eMonteux Leads Phila. Orchestra\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    By \u003cb\u003eEDWIN H. SCHLOSS\n\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\n    Pierre Monteux, last of this season’s guest conductors substituting for the\n    vacationing Eugene Ormandy, took the helm at Friday afternoon's\n    Philadelphia Orchestra concert in the Academy of Music.\n\u003c\/p\u003e\n\u003cp\u003e\n    Probably as an aftermath of Thursday's snow blitz, the audience was\n    relatively small.\n\u003c\/p\u003e\n\u003cp\u003e\n    Monteux, as few need be told, is one of the best-known and most admired\n    musical visitors in these parts because of his many appearances in the\n    Academy and Robin Hood Dell.\n\u003c\/p\u003e\n\u003cp\u003e\n    Rotund, benign of countenance, and with his silvered walrus mustache\n    drooping, the distinguished octogenarian maestro stepped briskly on stage\n    to be warmly greeted by the audience. No less cordial were the orchestra\n    players, who stood in the guest’s honor.\n\u003c\/p\u003e\n\u003cp\u003e\n    Making no concession to his 85 years save for a temporary railing erected\n    to help him on and off the podium, Monteux presented a well-chosen program\n    with veteran aplomb. The visitor, one of the grandest of the grand old men\n    of music of our time, is obviously liked and respected by Dr. Ormandy’s\n    players, and they gave him even more than their usual expert support.\n\u003c\/p\u003e\n\u003cp\u003e\n    The afternoon opened with the Brahms “Tragic\" overture. Then came Paul\n    Hindemith’s suite from his opera “Mathis der Maler,” which dates from 1934\n    and was considered pretty avant garde in its day. But like much of this\n    authentically gifted composer’s works, it has worn well and found its own\n    level brilliantly over the years. Almost a semiclassic in the repertory\n    now, “Mathis” is as accessible today as, say, late Richard Strauss or early\n    Schoenberg.\n\u003c\/p\u003e\n\u003cp\u003e\n    A colorful and graphic tone poem in three parts, the suite was inspired by\n    the religious paintings of the 16th century German master Mathias\n    Grünewald.\n\u003c\/p\u003e\n\u003cp\u003e\n    With its resolved dissonances, fragmentary but expressive themes and\n    dramatic chromaticism, it was given a splendid publication that won the\n    maestro prolonged applause.\n\u003c\/p\u003e\n\u003cp\u003e\n    The last half of the bill was entirely devoted to the “heavenly length” of\n    the Schubert Seventh Symphony. That superb classic, the “Great” C major,\n    with its enchanting melodies and infectious rhythmic pulse, was heard in a\n    performance bright with intelligence, warm with understanding and validated\n    by first rate musicianship. It won Monteux an extra ovation.\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eThe Philadelphia Inquirer\u003c\/b\u003e, 5 March 1960\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo \u0026 Ambient Stereo 24-bit FLAC","offer_id":31637252800573,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo \u0026 Ambient Stereo 16-bit FLAC","offer_id":55205533876558,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo \u0026 Ambient Stereo MP3","offer_id":55205533909326,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC594.jpg?v=1585909870"},{"product_id":"pasc594-cd","title":"MONTEUX in Philadelphia: Prokofiev, Brahms, Hindemith, Schubert (1945\/1960) - 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PASC612","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eSCHOENBERG \u003c\/b\u003eGurrelieder\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eDUBENSKY \u003c\/b\u003eThe Raven\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eHINDEMITH \u003c\/b\u003eKammermusik No. 2\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive recordings, 1932\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration:  2hr 21:50 \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePaul Althouse\u003c\/b\u003e Waldemar\u003cbr\u003e\u003cb\u003eJeanette Vreeland\u003c\/b\u003e Tove\u003cbr\u003e\u003cb\u003eRose Bampton\u003c\/b\u003e Die Waldtaube\u003cbr\u003e\u003cb\u003eAbrasha Robofsk\u003c\/b\u003ey Bauer\u003cbr\u003e\u003cb\u003eRobert Betts\u003c\/b\u003e Klaus-Narr\u003cbr\u003e\u003cb\u003eBenjamin de Loache\u003c\/b\u003e Sprecher, Speaker\u003cbr\u003e\u003cbr\u003e\u003cb\u003ePrinceton Glee Club, Fortnightly Club, Mendelssohn Club\u003cbr\u003eEunice Norton\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC612.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    Although completed at a time when his compositions had become increasingly\n    atonal, Schoenberg’s \u003cem\u003eGurrelieder\u003c\/em\u003e is an apotheosis of late Romantic\nmusic, starting with the influence of the “Liebesnacht” from Wagner’s    \u003cem\u003eTristan und Isolde\u003c\/em\u003e and ending with a huge choral affirmation that\n    might have come from his mentor Mahler’s Eighth Symphony. It was perhaps\n    the connection to the latter work that led Leopold Stokowski, who had first\n    put the Philadelphia Orchestra on the national map by conducting its U.S.\npremière in 1916, to try for a similar achievement with    \u003cem\u003eGurrelieder\u003c\/em\u003e. For besides being a first-rank musician, Stokowski\n    was also a showman; and the idea of mounting such a huge work (532\n    performers were involved) during the depths of the Depression must have\n    been an irresistible challenge.\n\u003c\/p\u003e\n\u003cp\u003e\n    That RCA Victor recorded the work live is an equally amazing feat. The\n    performances were given in Philadelphia’s Metropolitan Opera House, perhaps\n    to accommodate the huge choral forces without having to build out the stage\n    of the Academy of Music, as had been done for the Mahler Eighth. The first\n    performance on Friday, April 8th 1932 was marred by singer and ensemble\n    problems, and the final two sides were left unrecorded. The following day,\n    a second attempt was made directly onto 33⅓ rpm wax masters and issued on\n    Victor’s short-lived “Program Transcription” series. The third performance\n    on April 11th, presented here, was recorded on twenty-seven 78 rpm sides.\n    The following month, Stokowski set down an explanatory talk which was used\n    as a filler to the album, which initially cost $28 (the equivalent of $531\n    in 2020!)\n\u003c\/p\u003e\n\u003cp\u003e\n    While \u003cem\u003eGurrelieder\u003c\/em\u003e was recorded direct to disc with a switch\n    sending the audio signal from one wax matrix to the next without overlap,\n    RCA began experimenting with a different system for live recording later\n    that year. In December of 1932, three concerts by Stokowski and the\n    Philadelphia were recorded during performances in the Academy of Music\n    using optical film tracks that were later dubbed to wax disc masters. A\n    number of works were taken down using this method, including a\nWagner-Stokowski \u003cem\u003eSiegfried\u003c\/em\u003e Synthesis and Richard Strauss’    \u003cem\u003eTod und Verklärung\u003c\/em\u003e, but only one would ultimately be issued:\n    Arcady Dubensky’s setting of Poe’s \u003cem\u003eThe Raven\u003c\/em\u003e for speaker and\norchestra, reuniting Stokowski with Benjamin de Loache from the    \u003cem\u003eGurrelieder\u003c\/em\u003e cast. Two ten-inch picture records were issued, with a\n    photo of the conductor and an illustration of the poem on one side of each\n    disc and the complete text on the other sides. Never issued outside the\n    U.S. on 78 rpm, the original discs are among the rarest\n    Stokowski\/Philadelphia records, and command high prices among collectors\n(though still not as high as the “Program Transcription” version of    \u003cem\u003eGurrelieder\u003c\/em\u003e).\n\u003c\/p\u003e\n\u003cp\u003e\n    The final work, Hindemith’s Kammermusik No. 2, was one of the recordings\n    from this series that was not issued on 78 rpm. The soloist was\n    Minneapolis-born pianist Eunice Norton, who had studied in England with\n    Tobias Matthay. The performance only survives in a private collection as a\n    worn acetate dubbing of five original 12-inch shellac sides whose\n    whereabouts are now unknown. The source for \u003cem\u003eGurrelieder\u003c\/em\u003e was a\n    nearly complete set of vinyl test pressings, augmented by shellac discs;\n    and \u003cem\u003eThe Raven\u003c\/em\u003e was transferred from vinyl, as well. Some distortion\n    in the first side of the Wood-Dove’s song is inherent in the original\n    master.\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;\"\u003eSTOKOWSKI conducts Schoenberg, Dubensky, Hindemith\u003c\/span\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    \u003cp\u003e\n        \u003cstrong\u003e \u003c\/strong\u003e\n    \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n    \u003cstrong\u003eCD 1 (67:24)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. \u003cstrong\u003eStokowski discusses \u003ci\u003eGurrelieder\u003c\/i\u003e\u003c\/strong\u003e\u003ci\u003e \u003c\/i\u003e(4:43)\n\u003cstrong\u003e\u003cbr\u003eSylvan Levin ∙ \u003cem\u003epiano\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 4 May 1932 in Victor Church Studio No. 2, Camden, New Jersey\u003cbr\u003e    Matrix: CVE 72621-1\u003cbr\u003eFirst issued on Victor 7524 in album M-127\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eSCHOENBERG Gurrelieder \u003c\/span\u003e\u003c\/strong\u003e\n    \u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e(Text by Jens Peter Jacobsen; German translation by Robert Franz Arnold)\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003ePart 1\u003c\/strong\u003e\n    \u003cstrong\u003e\u003c\/strong\u003e\n\u003cbr\u003e2. I Orchestervorspiel (7:48)\u003cbr\u003e3. II “Nun dämpft die Dämm’rung” – \u003ci\u003eWaldemar \u003c\/i\u003e(4:41)\n\u003cbr\u003e4. III “O, wenn des Mondes Strahlen” – \u003ci\u003eTove \u003c\/i\u003e(3:23)\u003cbr\u003e5. IV “Ross! Mein Ross!” – \u003ci\u003eWaldemar \u003c\/i\u003e(2:26)\n\u003cbr\u003e6. V “Sterne jubeln” – \u003ci\u003eTove \u003c\/i\u003e(2:30)\u003cbr\u003e7. VI “So tanzen die Engel vor Gottes Thron nicht” – \u003ci\u003eWaldemar \u003c\/i\u003e(2:36)\n\u003cbr\u003e8. VII “Nun sag ich dir zum ersten Mal” – \u003ci\u003eTove \u003c\/i\u003e(3:59)\u003cbr\u003e9. VIII “Es ist Mitternachtszeit” – \u003ci\u003eWaldemar \u003c\/i\u003e(7:31)\n\u003cbr\u003e10. IX “Du sendest mir einen Liebesblick” – \u003ci\u003eTove \u003c\/i\u003e(5:43)\u003cbr\u003e11. X “Du wunderliche Tove!” – \u003ci\u003eWaldemar \u003c\/i\u003e(5:22)\n\u003cbr\u003e12. XI Orchesterzwischenspiel (5:26)\u003cbr\u003e13. XII “Tauben von Gurre!” (“Lied der Waldtaube”) – \u003ci\u003eWaldtaube \u003c\/i\u003e(11:15)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 2 (79:54)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003ePart 2\u003c\/strong\u003e\n    \u003cstrong\u003e\u003c\/strong\u003e\n\u003cbr\u003e1. XIII “Herrgott, weißt du, was du tatest” – \u003ci\u003eWaldemar \u003c\/i\u003e(4:12)\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003ePart 3\u003c\/strong\u003e\n\u003cstrong\u003e\u003cbr\u003eDie Wilde Jagd\u003c\/strong\u003e\u003cbr\u003e2. XIV “Erwacht, König Waldemars Mannen wert!” – \u003ci\u003eWaldemar \u003c\/i\u003e(2:08)\n\u003cbr\u003e3. XV “Deckel des Sarges klappert und klappt” – \u003ci\u003eBauer \u003c\/i\u003e(4:29)\u003cbr\u003e4. XVI “Gegrußt, o König” – \u003ci\u003eWaldemars Mannen\u003c\/i\u003e (6:13)\n\u003cbr\u003e5. XVII “Mit Toves Stimme flüstert der Wald” – \u003ci\u003eWaldemar \u003c\/i\u003e(4:25)\u003cbr\u003e6. XVIII “Ein seltsamer Vogel ist so’n Aal” – \u003ci\u003eKlaus-Narr\u003c\/i\u003e (6:09)\n\u003cbr\u003e7. XIX “Du strenger Richter droben” – \u003ci\u003eWaldemar \u003c\/i\u003e(3:17)\u003cbr\u003e8. XX “Der Hahn erhebt den Kopf zur Kraht” – \u003ci\u003eWaldemars Mannen\u003c\/i\u003e (5:43)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eDer Sommerwindes wilde Jagd (Melodram)\u003c\/strong\u003e\n\u003cbr\u003e9. XXI Orchestervorspiel (3:08)\u003cbr\u003e10. XXII “Herr Gänsefuß, Frau Gänsekraut” – \u003ci\u003eSprecher \u003c\/i\u003e(5:24)\n\u003cbr\u003e11. XXIII “Seht die Sonne!” – \u003ci\u003eChor \u003c\/i\u003e(4:26)\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003ePaul Althouse \u003c\/strong\u003e\n    \u003cem\u003etenor\u003c\/em\u003e\n(Waldemar)\u003cbr\u003e\u003cstrong\u003eJeanette Vreeland \u003c\/strong\u003e\u003cem\u003esoprano\u003c\/em\u003e (Tove)\u003cstrong\u003e\u003cbr\u003eRose Bampton \u003c\/strong\u003e\u003cem\u003econtralto\u003c\/em\u003e (Die Waldtaube)\u003cbr\u003e\u003cstrong\u003eAbrasha Robofsky \u003c\/strong\u003e\u003cem\u003ebass\u003c\/em\u003e (Bauer)\u003cbr\u003e\u003cstrong\u003eRobert Betts \u003c\/strong\u003e\u003cem\u003etenor\u003c\/em\u003e (Klaus-Narr)\u003cbr\u003e\u003cstrong\u003eBenjamin de Loache \u003c\/strong\u003e\u003cem\u003espeaker \u003c\/em\u003e(Sprecher)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003ePrinceton Glee Club, Alexander Russell \u003c\/strong\u003e\n    \u003cem\u003edirector\u003cbr\u003e\u003c\/em\u003e\u003cstrong\u003eFortnightly Club, Henry Gordon Thunder \u003c\/strong\u003e\n    \u003cem\u003edirector\u003cbr\u003e\u003c\/em\u003e\u003cstrong\u003eMendelssohn Club, Bruce Carey \u003c\/strong\u003e\n    \u003cem\u003edirector\u003c\/em\u003e\n    \u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 11 April 1932 in the Metropolitan Opera House, Philadelphia (The\n    Met Philadelphia)\u003cbr\u003eMatrices: CSHQ 71674\/92 (Take 2), 71693-6R, 71694\/98\n    (Take 2) \u0026amp; 71712\/3 (Take 1)\u003cbr\u003eFirst issued on Victor 7524\/37 in album\n    M-127\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e12. \u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eDUBENSKY The Raven\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e(Text: Edgar Allan\n    Poe)\u003c\/span\u003e (12:03)\n\u003cstrong\u003e\u003cbr\u003eBenjamin de Loache \u003c\/strong\u003e\n    \u003cem\u003espeaker\u003c\/em\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 9\/10 December 1932 in the Academy of Music, Philadelphia\u003cbr\u003eMatrices: BS 69483\/6 (Take 1), re-recorded from film matrices FRC 74825\/6\u003cbr\u003e    First issued on Victor 2000\/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\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eHINDEMITH\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 17px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 17px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eKammermusik No. 2\u003c\/span\u003e,\u003c\/strong\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n    Op. 36, No. 1 \u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e(Concerto for Piano and Orchestra)\n\u003c\/span\u003e\u003cbr\u003e13. 1st Mvt.: Sehr lebhafte Achtel (3:22)\u003cbr\u003e14. 2nd Mvt.: Sehr langsame Achtel (7:50)\n\u003cbr\u003e15. 3rd Mvt.: Kleines Potpourri: Sehr lebhafte Viertel (1:37)\u003cbr\u003e16. 4th Mvt.: Finale: Schnelle Viertel (5:28)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eEunice Norton \u003c\/strong\u003e\n    \u003cem\u003epiano\u003c\/em\u003e\n\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17 December 1932 in the Academy of Music, Philadelphia\u003cbr\u003eMatrices:\n    CS 75147\/51 (Take 1), re-recorded from film matrices FRC 74867\/9\u003cbr\u003eUnpublished on 78 rpm\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\u003e\u003cspan style=\"font-size: 17px;\"\u003eLeopold Stokowski and the Philadelphia Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Producer and Audio Restoration Engineer: Mark Obert-Thorn\n\u003cbr\u003eCover picture based on a photograph of Leopold Stokowski c.1912, the year \u003ci\u003eGurrelieder \u003c\/i\u003ewas first published\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration:  2hr 21:50 \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eNB. Timings given are for downloads and streaming and are marginally longer than those on our CDs. We have removed approximately 3s of added silence from the end of the final track of CD2 in its physical version for added replay compatibility with certain CD players which struggle with very long discs.\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC612.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC612.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fThe Raven - 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PABX035","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSTOKOWSKI  \u003c\/b\u003eThe Pristine NBC Symphony Series\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eA 16-CD set featuring music by: A\u003cb\u003emfitheatrof, Antheil, Bach, Beethoven, Brahms, Butterworth, Cooley, Copland, Creston, Debussy, Gould, Hanson, Harris, Hindemith, Holst, Hovhaness, Kelly, Lavalle, Milhaud, Mohaupt, Ravel, Rimsky-Korsakov, Schoenberg, Schuman, Shostakovich, Stravinsky, Stringfield, Tchaikovsky, Thomson, Vaughan Williams, Wagner\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eAnne Brown. \u003c\/b\u003esoprano  \u003cb\u003e\u003cbr\u003eWinifred Heidt. \u003c\/b\u003econtralto  \u003cb\u003e\u003cbr\u003eWilliam Horne. \u003c\/b\u003etenor  \u003cb\u003e\u003cbr\u003eLawrence Whisonant. \u003c\/b\u003ebass\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eEduard Steuermann, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eCollegiate Chorale\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eThe Westminster Choir\u003cbr\u003eNBC Symphony Orchestra    \u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eLeopold Stokowski\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC629.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\"\u003eSTOKOWSKI Shostakovich: Symphony No. 7 'Leningrad' (1942) - PASC527\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003eThis remarkable historic document demonstrates just how good a recording it was possible to make as long ago as 1942. It must surely rate as one of, if not the best sounding recordings I have ever encountered from that era. Things would improve dramatically in the years immediately after the end of the Second World War, but it is unusual to find such fidelity during the war years, especially outside Germany.\u003c\/p\u003e\n\u003cp\u003eThe source for this recording was a set of acetate discs apparently prepared for South American broadcasters which, by the sound of them, were never actually played. Comparisons to other sources, such as those used for a previous issue of this concert, indicate just how quickly and badly these delicate discs deteriorated with use. Indeed the bonus track on this release gives the listener some indication of the difference - taken from the English language acetates we hear the familiar indicators of wear and tear even after extensive declicking and cleaning up in the extended commentary that preceded the NBC broadcast .\u003c\/p\u003e\n\u003cp\u003eBy contrast the mint acetates which provide the musical content offer a fidelity one might normally expect from a good late-1950s mono vinyl pressing. For the most part they provided me with a very straightforward task, with XR remastering bringing out the full tonal range of the orchestra, with very low surface noise and an exceptionally full frequency range for an early 1940s recording. As is common with disc recordings there was some gradual loss of treble towards the end of each side, and side changes were pretty brutally chopped, with no overlap to allow for cross-fading. But this aside, the only other challenge was the missing first note! This was ultimately patched in from another \"digitally aged\" recording of more recent vintage, as my other sources of the Stokowski performance were of such lower sonic quality. The result is a seamless patch and and entirely convincing opening.\u003c\/p\u003e\n\u003cp\u003eIt is a shame, but entirely understandable, that we have no 1942 photo of Stokowski and Shostakovich together. As our sleevenotes detail, it's amazing that Stokowski (and a number of other major US-based conductors) were even able to get their hands on a copy of the score. I am very grateful though to Edward Johnson for digging out and sending me the 1958 photograph of composer and conductor which grace the cover of this release. Stokowski was a great champion of the Soviet composer's work. Now at last we have his only recording of the \"Leningrad\" Symphony in sound which truly does justice both to the work and to the performance.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\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\"\u003eSTOKOWSKI conducts Tchaikovsky (1944) - PASC531\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003eThese two 1944 recordings continue to astound me weeks after I first \nheard them. Culled from the same source which provided us with \nStokowski's 1942 Shostakovich \"Leningrad\" Symphony (\u003ca href=\"https:\/\/www.pristineclassical.com\/collections\/artist-leopold-stokowski\/products\/pasc527\" target=\"_blank\"\u003ePASC527\u003c\/a\u003e) they again confound expectations as to what a recording of this vintage should sound like.\u003c\/p\u003e\n\u003cp\u003eHere\n we find Stokowski conducting the brilliant NBC Symphony Orchestra in \nstunning renditions of Tchaikovsky's 6th Symphony and Romeo and Juliet \nfantasy overture - made all the more so by the frankly incredible sound \nquality of the recordings. At times, stereo aside, one might be forgiven\n for thinking some of these recordings had been made last week, rather \nthan nearly three-quarters of a century ago.\u003c\/p\u003e\n\u003cp\u003eNaturally they \nweren't originally quite this good. Pitch jumps in the symphony had to \nbe corrected, clicks and scratches evened out, and Pristine's XR \nremastering system employed to accurately re-equalise the sound and \nbring out the full glory of the NBC orchestra. \u003c\/p\u003e\n\u003cp\u003eWith a full \nfrequency range, exceptionally quiet sides allowing an extraordinarily \nwide dynamic range, and very little in the way of other flaws or \naudience noise to get in the way of the listening experience, one is \nalmost immediately drawn into the performances - and they are white hot,\n as Edward Johnson's excellent sleevenotes explain.\u003c\/p\u003e\n\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\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\"\u003eSTOKOWSKI Beethoven: Symphony No. 9 'Choral' (1941) - PASC541\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\"\u003ci\u003eIt was a rousing performance ... Mr. Stokowski led a dramatic performance that had special drive and crispness in the scherzo and that built up into a series of big climaxes in the last movement\u003c\/i\u003e.\" - New York Times, 1941\u003c\/p\u003e\n\u003cp\u003eExactly one month prior to the entry of the United States into World War II, on Armistice Day 1941, Leopold Stokowski conducted the NBC Symphony Orchestra in a rare performance for him of Beethoven's Symphony No. 9. As the NY Times reviewer pointed out, \"he chose a solemn day in a momentous time to set forth once more Beethoven’s affirmation of the brotherhood of man.\"\u003c\/p\u003e\n\u003cp\u003eIt's a performance that has never been heard in full since. A scheduling anomaly meant that whilst Stokowski performed the entire work before a packed house, radio listeners were treated only to the final choral movement. The first three movements were never broadcast, and as far as we can tell, have not been issued before.\u003c\/p\u003e\n\u003cp\u003eThey were however captured in a line recording, from which the present release is largely drawn, and preserved in stunning sound quality for the day. Indeed the finale, which was drawn from a recording of the broadcast (complete with closing commentary), whilst also of fine sound quality, struggles to quite match that heard in the opening three movements.\u003c\/p\u003e\n\u003cp\u003eIt should at this point be noted that a very short section at the end of the third movement was missing from the original source recording. We assume that the time recording was faded out at this point in order for the commentator to be heard on NBC radio. For this I have patched in a later recording by Stokowski, digitally aged to match the sound of the 1941 recording and spliced in so seamlessly that two Stokowski experts who heard it prior to release were unable to detect the change. It helped enormously that Stokowski's later performance matched the 1941 tempo almost exactly during that third movement. I have also reconstructed a shorter pause between third and fourth movements than was heard by the audience on the night - an extra delay was caused by the need to go \"on air\" prior to commencing the finale, as the Times' reviewer noted the following day.\u003c\/p\u003e\n\u003cp\u003eAnd so we present an entirely new Stokowski performance of the Choral Symphony. As you'll hear from the sample  movement (the second) on this page, it really is a stunning sounding performance - and one you won't wish to be without.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\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\"\u003eSTOKOWSKI conducts British music at the NBC (1943\/44) - PASC546\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003ch1 align=\"center\"\u003e\n    \u003cfont face=\"Arial\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003eSTOKOWSKI\u003c\/span\u003e \u003cbr\u003econducts a British Music programme at the NBC\u003c\/span\u003e\u003c\/font\u003e\n\u003c\/h1\u003e\n\u003cp\u003e\n    \u003cbr\u003eBritish-born Leopold Stokowski came into the world in what is now called\n    New Cavendish Street in London, just a block away from the BBC's\n    Broadcasting House. He attended St. Marylebone School, just up the road,\n    and sang in the choir of the adjoining St. Marylebone Parish Church. It was\n    here, as a 12-year-old choirboy, that he took over the performance of a\n    church service, perhaps choral evensong, when the regular choirmaster\n    failed to show up. The experience gave him a sleepless night and instilled\n    in him an overwhelming desire to become a conductor. He related these early\n    conducting ambitions when choosing his 'Desert Island Discs' for the BBC\n    radio show of that name in 1957 (it's readily available on YouTube!).\n\u003c\/p\u003e\n\u003cp\u003e\n    His musical precocity took him to the Royal College of Music in 1895 where,\n    at the age of 13, he was the youngest student at the time to be admitted.\n    Two of his fellow organ students, both a few years older, were Gustav Holst\n    and Ralph Vaughan Williams. These two were already firm friends, both\n    having a strong interest in English folk music. Stokowski's teachers at the\n    RCM included Sir Hubert Parry and Sir Charles Villiers Stanford. Needless\n    to say Stokowski could not remotely have anticipated that one day he would\n    be performing works by all four of these composers for American audiences.\n\u003c\/p\u003e\n\u003cp\u003e\n    In 1902, the young Leopold became the organist at St. James's, Piccadilly.\n    Here he attracted the attention of the rector of St. Bartholomew's in New\n    York City. He had come to England to find a new music director for this\n    immensely fashionable church and was so impressed with the colourful\n    individuality of Stokowski's organ playing that he immediately offered him\n    the post of choirmaster.\n\u003c\/p\u003e\n\u003cp\u003e\n    Stokowski duly took up the appointment in 1905 and it was in the USA that\n    he made his career and where in 1915 he became an American citizen. During\n    those early years he spent his summers in Europe studying conducting. As a\n    result, his ambition to become an orchestral conductor was fully realised\n    in 1909 when he made his debut in Paris. The Cincinnati Orchestra was\n    looking for a new conductor and their representatives who heard the concert\n    were so impressed by the youthful maestro's \"remarkable qualities\" that he\n    was immediately offered the job.\n\u003c\/p\u003e\n\u003cp\u003e\n    Stokowski's three-year apprenticeship in Cincinnati found him starting as\n    he meant to go on. He studied and learnt the basic repertoire but he also\n    included much that was being written by living composers. When it came to\n    English music, Elgar's made its first appearance in a Stokowski \/\n    Cincinnati concert with the Pomp and Circumstance March No. 1 in 1911.\n    Later that year, on 24 November 1911, came one of Stokowski's innumerable\n    US Premieres when he introduced Elgar’s 2nd Symphony to America. The\n    Cincinnati \u003cem\u003eTimes-Star \u003c\/em\u003ewas unpersuaded of the work’s merits: “The\n    composition is pleasant and interesting; but it is not great, nor in any\n    sense convincing.” Maybe that view still holds good even today, since none\n    of the great American orchestras have yet made a commercial studio\n    recording of the work!\n\u003c\/p\u003e\n\u003cp\u003e\n    In 1912, Stokowski left Cincinnati for Philadelphia where he conducted\nGustav Holst's music for the first time with a performance of the    \u003cem\u003eJapanese Suite \u003c\/em\u003eon 15 October 1925 in yet another US Premiere. He\n    returned to Holst's music in 1934 when, on learning of the composer's\n    death, he conducted \u003cem\u003eThe\u003c\/em\u003e \u003cem\u003ePlanets\u003c\/em\u003e by way of a tribute.\n\u003c\/p\u003e\n\u003cp\u003e\n    His next performance of \u003cem\u003eThe Planets\u003c\/em\u003e came about during his\n    three-season appointment as the NBC Symphony's chief conductor following\n    Toscanini's temporary withdrawal in 1941. The war had its own influence on\n    Stokowski’s NBC programmes and he often advocated music from the Allied\ncountries. England was duly represented on 14 February 1943 by what the    \u003cem\u003eNew York Times \u003c\/em\u003edescribed as “a remarkable performance of Holst’s\ngreat mystical tone-poem\u003cem\u003e.\u003c\/em\u003e” The critic from the daily    \u003cem\u003eBrooklyn\u003c\/em\u003e \u003cem\u003eEagle \u003c\/em\u003eadded that \"Stokowski knew, of course, how\n    to show \u003cem\u003eThe Planets\u003c\/em\u003e their orchestral brilliance most graphically,\n    while the orchestra lent its virtuosity to a good cause.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    A previous incarnation of this same NBC performance several years ago\n    elicited from critic Andrew Achenbach that it was “a \u003cem\u003ePlanets\u003c\/em\u003e\n    crammed full of interpretative incident, superbly played by a legendary\n    orchestra ... Stokowski’s broadcast evinces a giant theatricality and\n    abundant zeal that prove hypnotically compelling.”\n\u003c\/p\u003e\n\u003cp\u003e\n    Stokowski returned to the work in 1956 when he made its first stereo\n    recording in Capitol's 'Full Dimensional Stereo Sound' with the Los Angeles\n    Philharmonic. This reading proved controversial in several ways and was\n    given short shrift in the \u003cem\u003eGramophone\u003c\/em\u003e by Trevor Harvey who in any\n    case confessed in print that he was no admirer of Stokowski. Even so, the\n    LP's total sales, on the original Capitol label together with its Music for\n    Pleasure reissue, reached nearly half-a-million copies in the UK which\n    wasn't bad going!\n\u003c\/p\u003e\n\u003cp\u003e\n    Stokowski's next traversal of \u003cem\u003eThe Planets\u003c\/em\u003e took place in the Royal\n    Albert Hall in 1963 with the London Symphony Orchestra. The programme was\n    all-British, with John Addison's \u003cem\u003eCarte Blanche\u003c\/em\u003e Ballet Suite and\n    Vaughan Williams's \u003cem\u003eTallis Fantasia\u003c\/em\u003e occupying the first half and\n    Holst coming after the interval. This time, as was often the case in those\n    days, the critical reactions to a \"live\" Stokowski performance could be\n    quite different to the reviews of one of his LPs. For example, one\n    commentator wrote of his LSO performance of \u003cem\u003eThe Planets\u003c\/em\u003e that\n    \"Stokowski evoked, with scarcely a vehement gesture, gusts and storms,\n    winged chatter, whimsical heartiness and the mystery of voices dying in\n    space,\" while another described him as \"a marvellous conductor; individual\n    certainly, eccentric even on occasion; but capable of achieving unique,\n    exciting and vastly stimulating results.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    But to return to the war-time NBC seasons and \u003cem\u003eA Shropshire Lad\u003c\/em\u003e by\n    George Butterworth. Doubtless Stokowski had heard Sir Adrian Boult's\n    performance in an all-British NBC broadcast in 1938 and decided to revive\n    it himself. Butterworth's idyllic orchestral rhapsody was to prove highly\n    influential on several British composers but as with the seven performances\n    on Pristine's \"Wartime NBC Premieres\" release (PASC 536) this was the only\n    occasion on which Stokowski conducted the work.\n\u003c\/p\u003e\n\u003cp\u003e\n    So to Vaughan Williams. Stokowski was - as with so many living composers at\n    the time - something of an RVW champion as far as American audiences were\n    concerned. He introduced \u003cem\u003eA\u003c\/em\u003e \u003cem\u003ePastoral Symphony\u003c\/em\u003e (RVW's 3rd)\nto his fellow Philadelphians in 1924 and followed that with the    \u003cem\u003eTallis Fantasia\u003c\/em\u003e two years later. He gave a blazing performance of\n    the 4th Symphony with the NBCSO in 1943 and made the first recording of the\n6th with the New York Philharmonic in 1949. He performed the    \u003cem\u003eSinfonia Antartica\u003c\/em\u003e in Houston in 1954 and played No. 8 in London's\n    Royal Festival Hall in 1957 in the delighted composer's presence. The\n    following year, on hearing of Vaughan Williams's death, he paid tribute by\n    conducting the US Premiere of RVW's last Symphony, his Ninth.\n\u003c\/p\u003e\n\u003cp\u003e\n    This leads us to the final work in this NBC selection and something of a\nrarity it is too! The original score of the    \u003cem\u003eFantasia on Christmas Carols\u003c\/em\u003e requires a baritone soloist, a choir\n    and an accompanying orchestra. However, it was also published in other\n    formats, including a version with a string orchestra and organ supplying\n    the accompaniment, or just an organ or a piano on its own.\n\u003c\/p\u003e\n\u003cp\u003e\n    Vaughan Williams's \u003cem\u003eSerenade to Music \u003c\/em\u003ehad also been published in\n    several formats, the original being for 16 voices and orchestra, though the\n    work can also be performed by orchestra alone. We can only speculate on\n    Stokowski's decision in the run-up to his Christmas 1943 concert but it\nseems likely that he took his cue from RVW's own orchestral version of the\u003cem\u003eSerenade to Music \u003c\/em\u003eand adopted the same procedure with the    \u003cem\u003eCarols Fantasia\u003c\/em\u003e. It therefore seems probable that he asked an NBC\n    'house copyist' to cue the vocal parts into the orchestral ones. Thus, for\n    example, the baritone solo at the start is played by a bassoon, while the\n    first choral entry is taken over by the strings. This orchestral version\n    proves an effective alternative to the choral original and one wonders why\n    Stokowski's idea hasn't been adopted and published, so that other\n    orchestras can play it in their own Christmas concerts!\n\u003c\/p\u003e\n\u003cp\u003e\n    To conclude, when it came to English music, Stokowski probably performed\n    more of it than any of his equally illustrious States-side podium\n    colleagues. In addition to those mentioned above, he played compositions by\n    Richard Arnell, Malcolm Arnold, Arnold Bax, Arthur Bliss, Havergal Brian,\n    Benjamin Britten, Henry Walford Davies, George Dyson, Edward German,\n    Kenneth Leighton, Ermest Moeran, Roger Quilter, Alan Rawsthorne, Edmund\n    Rubbra, Cyril Scott, Arthur Sullivan, Michael Tippett, William Walton and\n    David Wooldridge. Happily, broadcasts such as the ones presented here have\n    survived, thus giving us an opportunity to hear Stokowski's \"remarkable\n    qualities\" for ourselves!\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003ci\u003e\u003cb\u003eEdward Johnson\n\u003c\/b\u003e\u003c\/i\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\"\u003eSTOKOWSKI conducts French Music: Debussy, Milhaud, Ravel (1943\/44) - PASC583\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    When Stokowski visited London in 1957 to make his annual appearances in the\n    capital, he was invited onto 'Desert Island Discs.' This is the BBC's\n    long-running radio programme in which well-known persons are asked to\n    choose 8 recordings to take with them, should they be marooned on a desert\nisland. Among Stokowski's choices was \"Sirènes\" from Debussy's    \u003cem\u003eThree Nocturnes\u003c\/em\u003e. \"I am a great lover of Debussy,\" he told the\n    presenter, \"and when I was a student in Paris a long time ago I heard him\n    play the piano and I also heard him conduct. I think he was a great\n    genius.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    Stokowski's devotion to Debussy's music was exemplified in his orchestral\n    arrangements of \"The Engulfed Cathedral\" and \"Night in Granada,\" both\n    presented here. He also transcribed \"Clair de lune,\" his 1937 Philadelphia\n    Orchestra 78rpm disc becoming a huge best-seller in its day.\n\u003c\/p\u003e\n\u003cp\u003e\n    However, the one Debussy piece that Stokowski conducted the most, both on\n    record and in the concert-hall, was \"Prelude to the Afternoon of a Faun.\"\n    He performed it for the first time in Cincinnati in 1912, made the first\n    American recording acoustically in 1924 (PASC 441) and played it for the\n    last time in 1972 at the age of 90. In his notes to a 1958 Capitol LP\n    featuring the work, he wrote: \"This music is a miracle of delicate, erotic\n    beauty, suggesting a dream world of pagan loveliness, utterly original, in\n    every way perfect.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    One of the many interesting aspects of Stokowski's three-season tenure with\n    the NBC Symphony was the extraordinary amount of new music he programmed.\n    Perhaps even more remarkable was that he played many such works just once\n    for a single radio broadcast but never returned to them. The selected\n    'Symphonic Fragments' from \u003ca name=\"page-title\"\u003e\u003c\/a\u003eDebussy's \"Le Martyre\n    de Saint Sebastien\" are a case in point, as is Darius Milhaud's 1st\n    Symphony in what was its New York premiere.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Milhaud family had fled to the USA in early 1940, following the Nazi\n    invasion of France. The Symphony No. 1 had just been completed, having been\n    commissioned by the Chicago Symphony as one of the works marking its 50th\n    Anniversary celebrations that year, and it was conducted by Milhaud himself\n    on 17 October 1940. Commentators have said that this is one of his finest\n    works, with Stokowski's performance having been called \"highly idiomatic\"\n    and the composer himself declaring it \"very powerful.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    Our final selection, the 2nd Suite from Ravel's \"Daphnis and Chloe,\" was\n    also the concluding work on that particular day's programme. Listening to\n    it, one wonders if the great maestro had glanced at the studio clock and\n    wanted to make sure the broadcast didn't over-run. At any rate, in the\n    final dance he pushed the NBC players to their utmost limits and duly\n    brought the house down. One thing can safely be said of Stokowski: he was\n    seldom if ever dull!\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003ci\u003e\u003cb\u003eEdward Johnson\n\u003c\/b\u003e\u003c\/i\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\"\u003eSTOKOWSKI conducts C20 Symphonies - Hovhaness, Stravinsky, Hindemith (1942\/3) - PASC587\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003eWhen the 88-year-old Leopold Stokowski conducted a work by Charles Ives with the London Symphony Orchestra in 1970, one critic referred to the maestro as \"the man who has done more for contemporary music in America than all the rest of his generation put together.\" Indeed, \u003ci\u003eThe New York Times\u003c\/i\u003e once estimated that Stokowski had given around 2,000 \"first performances\" (World Premieres, US Premieres, first broadcasts and so on) and we begin with one of them.\u003cbr\u003e\u003cbr\u003eAlan Hovhaness, American-born of Armenian-Scottish descent, was a highly prolific composer who found in Stokowski his foremost presenter of several World Premieres. These included \"Mysterious Mountain,\" especially written - in the composer's own words - for \"a very great and wonderful man.\" For his part, in his 1957 appearance on the BBC Radio show \"Desert Island Discs\" (you'll find the programme on YouTube!) Stokowski singled Hovhaness out as a considerable talent among the younger composers of the time.\u003cbr\u003e\u003cbr\u003eThe \"Exile\" Symphony was premiered in England in 1939 by the BBC Symphony under Leslie Heward and was introduced to America by Stokowski in 1942. The music evokes the terrible sufferings of the Armenian people during the First World War. Years later, Hovhaness was to replace the middle movement, here entitled \"Conflict,\" with a completely new one called \"Grazioso.\" Stokowski's NBC premiere broadcast remains the only complete extant recording of the \"Exile\" Symphony as first conceived.\u003cbr\u003e\u003cbr\u003eAlthough Stokowski was renowned for conducting numerous premieres, he was equally keen to perform new works introduced by others. He was already a staunch advocate of Stravinsky's music, having presented to America several of the composer's major works. These included \"The Rite of Spring\" in its concert and ballet presentations, as well as its first US recording. He also featured it, somewhat abridged and rearranged, in Walt Disney's \"Fantasia,\" thus ensuring its continuing popularity in concerts and on records.\u003cbr\u003e\u003cbr\u003eThe Symphony in C was premiered in Chicago in 1940 by Stravinsky himself. He was to conduct it several times with other American orchestras before it was taken up by Stokowski, who said of the work: \"It is remarkable for its simplicity and flowing cadence and has a certain 18th century flavour, with a wonderful expression of rhythm and counter-rhythm.\" The NBC radio premiere heard here was praised by Virgil Thomson for its \"detailed clarity and overall comprehension.\"\u003cbr\u003e\u003cbr\u003eLike so many other German musicians in the 1930s, Paul Hindemith fell foul of the Nazis and in 1940 had to settle in America. The Symphony in E flat was the first of his major works to be composed in the USA and was introduced by Mitropoulos and the Minneapolis Symphony in November the following year. The work consists of a vigorous first movement, a dirge-like second, a 'danse macabre' scherzo and a martial finale. Stokowski was sufficiently taken with the work to play it again with the Hollywood Bowl Symphony and the New York Philharmonic, doubtless revelling in its triumphant closing pages.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003cb\u003eEdward Johnson\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003eTechnical note\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDespite their age, these wonderfully preserved acetate disc recordings reveal an astonishing level of detail and sound quality and a full frequency response. It's easy to forget, when hearing them, just how old they are - at the time of writing nearly 80 years has passed since these performances took place. Not all of their imperfections have been eradicable, but these minor surface noises pale into insignificance against the majesty of Stokowski's 1942\/3 NBC orchestra and the sound quality captured here. Indeed these are some of the very finest quality recordings I've ever heard from this era. I would have liked to preserve the announcements from each of the performances, but to do so would have taken more space than is available on a single disc. In this instance therefore they have been cut and instead a short amount of applause left at the end of each work.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\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\"\u003eSTOKOWSKI conducts Beethoven \u0026amp; Wagner (1942\/3) - PASC591\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    Although Stokowski never recorded a complete Beethoven cycle, several of\n    the nine symphonies remained firmly in his repertoire during his long\n    conducting career. He played a Beethoven work for the first time in 1909\n    when, at the age of 27, he conducted the Cincinnati Orchestra in the 5th\n    Symphony. Sixty-five years later, aged 91, he performed Beethoven's music\n    for the last time when he gave an LSO concert that included the 8th\n    Symphony and the \"Eroica,\" both hailed by one critic for their \"striking\n    and imaginative performances.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    Stokowski was among the first conductors to record many works that were -\n    and are - part of the regular concert repertoire. His first Beethoven disc,\n    recorded acoustically in 1920, was of the 8th Symphony's \"Allegretto\n    Scherzando\" (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc192\"\u003ePASC192\u003c\/a\u003e). With the advent of electrical recording, he and his\n    Philadelphians made the first American 78s of the 7th Symphony, an\n    exhilarating performance described by Mark Obert-Thorn as \"a reading of\n    immense vitality and rhythmic propulsion\" (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc483\"\u003ePASC483\u003c\/a\u003e).\n\u003c\/p\u003e\n\u003cp\u003e\n    Next came the Beethoven 5th in another American \"first\" - a specially\n    recorded performance designed to introduce RCA's \"Program Transcription\"\n    LPs in 1931. They couldn't have been worse timed and as a result of the\n    great depression soon died a death. Then in 1934, Stokowski made the first\n    American recording of the \"Choral\" Symphony. Seven years later, in 1941, he\n    was given a three-season contract to take over the NBC Symphony during\n    Toscanini's temporary withdrawal and it was Beethoven's 9th Symphony which\n    featured in his second NBC concert (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc541\"\u003ePASC541\u003c\/a\u003e).\n\u003c\/p\u003e\n\u003cp\u003e\n    The NBC Symphony's players were of course used to performing Beethoven\n    under Toscanini's direction and after his year's absence, the great Italian\n    maestro returned as Stokowski's co-conductor. This arrangement prompted\n    critic David Hall to comment that \"the most spectacular combination of\n    performances and programming were the two Toscanini-Stokowski seasons.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    \"Spectacular\" is a word that can readily be applied to the performances\n    heard here, particularly the Beethoven 5th. The \"Pastoral\" Symphony in this\n    1942 broadcast is now the earliest complete Stokowski performance on\n    record, the \"Fantasia\" soundtrack version having been much abridged. As to\n    the 7th Symphony, Stokowski felt that something stated strongly just once\n    could be weakened by repetition, so he followed the precedents set in other\n    Beethoven symphonies by omitting the second appearance of the Trio in the\n    third movement.\n\u003c\/p\u003e\n\u003cp\u003e\n    Finally to Wagner, whose \"Prelude and Liebestod\" followed the Beethoven 7th in the 1942 broadcast heard here. A one-time church organist, Stokowski clearly enjoyed pulling out all the stops! 'Parsifal' was the only Wagner opera that he conducted complete, with a Philadelphia concert presentation in 1933. He also began making \"Symphonic Syntheses\" of Wagner's music dramas and the \"Good Friday Spell\" is followed by one of these arrangements. It is music from Act 3 evoking the world of the Knights of the Holy Grail and in this 'live' broadcast, Stokowski brings in a chorus from the opera's final pages. It is a wonderful effect not realised in his three orchestral recordings of the 'Parsifal' \"Synthesis\" and thus makes this performance unique in his immense discography.\u003c\/p\u003e\n\u003cp\u003e\n    \u003ci\u003e\u003cb\u003eEdward Johnson\n\u003c\/b\u003e\u003c\/i\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\"\u003eSTOKOWSKI conducts Russian Music: Rimsky-Korsakov, Stravinsky, Tchaikovsky (1941-44) - PASC596\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    \"I'm very fond of Russian music\" Stokowski would often say in interviews\n    and, as with so many contemporary composers during his long career, he was\n    a foremost champion of the Russians, frequently performing works by\n    Rachmaninoff, Shostakovich, Prokofiev, Khachaturian, Scriabin and many\nothers. He was also an advocate of Stravinsky's music, with\u003cem\u003eThe Rite of Spring\u003c\/em\u003e, \u003cem\u003eLes Noces\u003c\/em\u003e, \u003cem\u003eOedipus Rex\u003c\/em\u003e,\u003cem\u003eThe Song of the Nightingale\u003c\/em\u003e and the    \u003cem\u003eSymphonies of Wind Instruments\u003c\/em\u003e all receiving their US premieres\n    under his direction.\n\u003c\/p\u003e\n\u003cp\u003e\nOn Philadelphia Orchestra 78s too, he made the first US recordings of    \u003cem\u003eThe Rite of Spring\u003c\/em\u003e and \u003cem\u003ePetrushka\u003c\/em\u003e, from which he devised\nthe colourful Suite heard here. However, it was \u003cem\u003eThe\u003c\/em\u003e    \u003cem\u003eFirebird\u003c\/em\u003e Suite which appealed to Stokowski the most. He recorded\n    this work no fewer than eight times, starting with an acoustic set in 1924\n    (PASC192, also featuring \u003cem\u003eFireworks\u003c\/em\u003e). Incidentally, he occasionally\n    added the effective clang of a tubular bell at the start of the \"Infernal\n    Dance,\" as in the brilliantly played NBC performance on this CD.\n\u003c\/p\u003e\n\u003cp\u003e\n    Tchaikovky's 4th Symphony also featured in Stokowski's list of numerous\n    disc premieres, its first American recording having been made with the\n    Philadelphia Orchestra in 1928. He was to re-record it for Victor two days\n    after the broadcast heard here in a 78rpm set that has been described as\n    \"fiery and impetuous\" and even \"wilful,\" words that are also applicable to\n    the preceding live performance.\n\u003c\/p\u003e\n\u003cp\u003e\nRimsky-Korsakov was also much in Stokowski's repertoire, with    \u003cem\u003eScheherazade\u003c\/em\u003e excerpted on acoustics (PASC476) and recorded five\ntimes thereafter. He made the first American 78s of the    \u003cem\u003eRussian Easter Festival Overture\u003c\/em\u003e in 1929 and this he also\n    re-recorded with the NBC Symphony for Victor shortly after its 1942\n    broadcast. However, for this performance he made a colourful emendation.\n    About half-way through, Rimsky-Korsakov directs a solo trombone to depict\n    the chanting of a Russian Orthodox priest during an Easter service. At this\n    point, Stokowski decided on what might be called the \"authentic\" touch and\n    engaged Nicola Moscona to intone the Old Slavonic text instead. On the\n    other hand, in the case of the dazzling \u003cem\u003eSpanish Caprice\u003c\/em\u003e, Stokowski\n    rather curiously didn't get round to recording this work commercially until\n    1973, a few months before his 91st birthday!\n\u003c\/p\u003e\n\u003cp\u003e\n    However, it is Tchaikovsky who occupies a major portion of Stokowski's\n    discography and we conclude with the 5th Symphony. He recorded the second\n    movement acoustically in 1923 (PASC441) and one of his commercial LPs -\n    taped in 1953 with his own special team of top-flight New York musicians -\n    can be found on PASC188. The same adjectives that have described\n    Stokowski's reading of the 4th Symphony can also be applied to the 5th.\n    Small cuts in both will be noted, though abridging Tchaikovsky in those\n    days was quite common - witness Toscanini's deletion of over 100 bars from\n    the \u003cem\u003eManfred\u003c\/em\u003e Symphony's finale! Nevertheless, in Stokowski's hands,\n    the NBC Symphony gives these Tchaikovsky symphonies virtuosic performances\n    as visceral, intense and as passionate as they come.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003ci\u003e\u003cb\u003eEdward Johnson\n\u003c\/b\u003e\u003c\/i\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\"\u003eSTOKOWSKI Brahms: Symphonies 3 \u0026amp; 4 (1941) - PASC602\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cdiv align=\"center\"\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 24px;\"\u003eSTOKOWSKI\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003econducts Brahms at the NBC\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\"Joy!\" exclaimed W. R. Anderson in the \u003ci\u003eGramophone \u003c\/i\u003eof July 1930, \"Brahms's Third at long last. Our prayers have prevailed.\" He was reacting with delight to the first complete 78rpm set of the work in which Leopold Stokowski conducted the Philadelphia Orchestra. The review concluded enthusiastically: \"This is a grand orchestra and a constructive conductor; and in this music of fine nerve and developed muscle we find fullness of joy.\"\u003cbr\u003e\u003cbr\u003eStokowski began his 60-year recording career in 1917 with acoustic 78s of Brahms's Hungarian Dances\u003ci\u003e \u003c\/i\u003eNos. 5 and 6 (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC192\" target=\"_blank\"\u003ePASC192\u003c\/a\u003e). In 1921 he made the first recording of any of the movements in Brahms's symphonies, the 3rd Symphony's \u003ci\u003eAllegretto \u003c\/i\u003e(\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC476\" target=\"_blank\"\u003ePASC476\u003c\/a\u003e). With the advent of electrical recording, the Philadelphians under his direction became the first orchestra to record a complete cycle of all four symphonies (1927-1933). (No. 1: \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC500\" target=\"_blank\"\u003ePASC500\u003c\/a\u003e; No.3: \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC540\" target=\"_blank\"\u003ePASC540\u003c\/a\u003e; Nos 2 \u0026amp; 4: \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC562\" target=\"_blank\"\u003ePASC562\u003c\/a\u003e).\u003cbr\u003e\u003cbr\u003eStokowski once confessed that he \"always wanted to be first\" and Brahms featured in quite a few of his first engagements over the years. He played a Brahms symphony for the first time - the 3rd - in his debut season with the Cincinnati Orchestra in 1909. Three years later, he conducted the London Symphony in another debut, this time featuring the 1st Symphony. Also in 1912 came another new appointment, as the Philadelphia Orchestra's chief conductor, and the Brahms 1st was played in his debut concert with them.\u003cbr\u003e\u003cbr\u003eFast forward to 1941 and Stokowski's three-season appointment as the NBC Symphony's chief conductor following Toscanini's temporary withdrawal. In his first NBC concert, it was Brahms who yet again featured in a Stokowski debut, with the 3rd Symphony presented here. In his introduction, he spoke of the work's contrasting moods: \"Fiery agitation, melancholy, tranquillity, childlike simplicity.\" Following a genuine \u003ci\u003eAllegro con brio\u003c\/i\u003e at the start, these moods were then illustrated by some extreme tempo changes. Various musicologists consider this work \"difficult to bring off\" but for his part, Stokowski's somewhat rhapsodic approach, as evidenced in his two commercial recordings and also this broadcast, was notably consistent.\u003cbr\u003e\u003cbr\u003eIn the case of the Brahms 4th Symphony, Stokowski's performances were invariably speedy, with the codas to the \u003ci\u003eAllegro \u003c\/i\u003emovements having the \u003ci\u003estringendo \u003c\/i\u003epedal forcefully applied each time. As it happens, it was the Brahms 4th which Stokowski conducted in his final UK public concert in 1974. \"A performance to set one cheering\" wrote Edward Greenfield in \u003ci\u003eThe Guardian\u003c\/i\u003e, \"as indeed the audience did after the first movement.\"\u003cbr\u003e\u003cbr\u003eEven at the age of 95, Stokowski hadn't quite finished with Brahms. In 1977 he recorded the 2nd Symphony with the National Philharmonic Orchestra. Mortimer Frank in \u003ci\u003eFanfare \u003c\/i\u003ehailed it as \"a great Brahms Second,\" while in Classic Record Collector, Robin Golding remarked: \"For me, Stokowski has suddenly become a conductor of world class.\" Some of us knew he was that the first time we heard him!\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003cb\u003eEdward Johnson\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\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\"\u003eSTOKOWSKI conducts Wagner (1942-44) - PASC609\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    When Stokowski died at the age of 95 in 1977, the vast 60-years discography\n    of his commercial recordings revealed three composers heading the list:\n    Bach, mostly in his own orchestral transcriptions; Tchaikovsky, whom he\n    once declared was his favourite Russian composer; and Wagner, whose music\n    Stokowski also frequently performed both in the concert hall and recording\n    studio.\n\u003c\/p\u003e\n\u003cp\u003e\n    Born in 1882, his first experience as a conductor came when he sang in the\n    choir at St. Marylebone's Parish Church in London. One evening the regular\n    choirmaster was unable to take a rehearsal, so the 12-year-old Leopold\n    stood in for him. He was later to confess that he had a sleepless night, as\n    he suddenly realised that conducting was something he wanted to do above\n    all else. His musical precocity led him the following year to become the\n    youngest student at that time to enter the Royal College of Music. His work\n    as a youthful organist and choirmaster in several London churches led in\n    1905 to a similar appointment at St. Bartholomew's in New York. Here his\n    brilliantly played organ recitals drew large and fashionable crowds,\n    entranced not only by his playing of Bach but also by his own organ\n    arrangements of orchestral music, including many works by Wagner.\n\u003c\/p\u003e\n\u003cp\u003e\n    His musical direction of church services also stood him in good stead for\n    the time when he could fulfil his ambition to be an orchestral conductor.\n    That day arrived in 1909 when he made his official conducting debut with\n    the Colonne Orchestra. The Cincinnati Orchestra was looking for a new\n    conductor and two of their representatives were in the Paris audience.\n    Stokowski received an ovation and the representatives' description of him\n    as \"a magnetic conductor\" ensured his immediate Cincinnati appointment.\n\u003c\/p\u003e\n\u003cp\u003e\n    His first concert with them the following November included works by\nMozart, Weber and Beethoven. The programme ended with music by Wagner - the    \u003cem\u003eSiegfried Idyll\u003c\/em\u003e and the \u003cem\u003eRide of the Valkyries - \u003c\/em\u003eand with\n    these two works Stokowski conducted Wagner's orchestral music for the very\n    first time. The \u003cem\u003eSiegfried Idyll,\u003c\/em\u003e an eloquent birthday present from\n    Wagner to his wife Cosima, was originally scored for a small ensemble and\n    later expanded for larger forces. Although Stokowski recorded numerous\n    works by Wagner commercially, the \u003cem\u003eSiegfried Idyll\u003c\/em\u003e was not among\n    them, so this NBC broadcast is something of a rarity.\n\u003c\/p\u003e\n\u003cp\u003e\n    Like Brahms, the music of Wagner was to pop up in a number of Stokowski\n    debuts. For example, his first concert with the London Symphony Orchestra\n    in 1912 began with the \u003cem\u003eMastersingers\u003c\/em\u003e Overture. Later that year,\n    his appointment as the Philadelphia Orchestra's new chief conductor found\n    the \u003cem\u003eTannhäuser\u003c\/em\u003e Overture concluding his opening concert with them.\n    In 1917, when he and his Philadelphians began making 78s, Wagner was\n    naturally included. (All the Stokowski \/ Wagner acoustics have been issued\n    on Pristine Audio: \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc192\" target=\"_blank\"\u003ePASC 192\u003c\/a\u003e, \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc441\" target=\"_blank\"\u003ePASC 441\u003c\/a\u003e and \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc471\" target=\"_blank\"\u003ePASC 471\u003c\/a\u003e).\n\u003c\/p\u003e\n\u003cp\u003e\n    As it happens, the concert listings for Stokowski's Philadelphia seasons\n    reveal that when it came to single-composer programmes, Wagner topped the\nbill. The first of these, in December 1912, included the    \u003cem\u003eSiegfried Idyll\u003c\/em\u003e again. However, Stokowski never conducted a\n    complete Wagner music-drama in the opera house. The nearest he came was\n    when he gave a concert performance of \u003cem\u003eParsifal\u003c\/em\u003e, its three acts\n    given over successive evenings during Easter Week in 1933. It was also\n    around this time that he began creating \"Symphonic Syntheses\" of Wagner's\n    operas and his own arrangement of music from Act 3 of \u003cem\u003eParsifal\u003c\/em\u003e was\n    duly recorded by his Philadelphians in 1934 and repeated for his NBC\n    audience in 1942 (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc591\" target=\"_blank\"\u003ePASC 591\u003c\/a\u003e).\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cem\u003eTristan and Isolde\u003c\/em\u003e\n    was also given the \"Symphonic Synthesis\" treatment, though it exists in\n    more than one version. His first recording, made in 1932, began with the\n    Act 1 Prelude and lasted 35 minutes. He was to record this \"long version\"\n    again for a 1950 LP with his \u003cem\u003ead hoc\u003c\/em\u003e 'Symphony Orchestra' (PASC\n    167). Later, he utilised music just from Acts 2 and 3, originally entitled\n\"Liebesnacht\" and \"Liebestod,\" and this became the \"Love Music\" from    \u003cem\u003eTristan and Isolde\u003c\/em\u003e. Stokowski wrote: \"All through the three acts\n    of \u003cem\u003eTristan\u003c\/em\u003e is sounding the despair and ecstasy of love, but its\n    supreme expression is in the garden scene of the second act and in the last\n    scene of the third act ... This love music continues its overpowering\n    eloquence when words cannot continue. It is the supreme and ultimate of the\n    poetry of love.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    The Prelude to \u003cem\u003eLohengrin\u003c\/em\u003e was one of the many orchestral works that\n    Stokowski transcribed for organ during his St. Bartholomew's period. He\n    conducted it for the first time in Cincinnati during his opening season\n    there and recorded it acoustically in 1924 with the Philadelphia Orchestra.\nHe also recorded an acoustic 78 of a hugely abridged version of    \u003cem\u003eWotan's Farewell and Magic Fire Music\u003c\/em\u003e, actually its closing pages,\n    though his later recordings with the New York Philharmonic and Houston\n    Symphony were both complete. The musical evocation of Wotan, ruler of the\n    gods, putting his disobedient daughter Brünnhilde to sleep on a rock\n    surrounded by flickering flames is well realised in Stokowski's\n    grandiloquent arrangement and provided a splendid addition to that\n    evening's NBC Symphony concert.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003ci\u003e\u003cb\u003eEdward Johnson\n\u003c\/b\u003e\u003c\/i\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\"\u003eSTOKOWSKI conducts 20th Century American Composers (1941-44) - PASC625\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    It was in 1951 that Stokowski became an international maestro, his\n    conducting career up to then having been spent almost exclusively in\n    America. In fact, he'd been hard at work during the post-war period as one\n    of the New York Philharmonic's guest conductors and would dearly have liked\n    to become its principal music director. However, that position went to\n    Dmitri Mitropoulos instead. This left Stokowski free to make annual\n    appearances all over the world, conducting many of the great orchestras in\n    Europe and elsewhere.\n\u003c\/p\u003e\n\u003cp\u003e\n    His concerts in England were notable highlights of each season and were\n    invariably sold out. One such occasion occured in June 1970, when he\n    conducted the London Symphony Orchestra in an adventurous programme which\n    included the first performance outside America of Charles Ives's 2nd\n    Orchestral Set. Music critic Peter Heyworth wrote: \"That astonishing old\n    wizard, now in his eighty-ninth year, showed that those supremely eloquent\n    hands have lost none of their cunning ... And how characteristic it is that\n    a man who has done more for contemporary music in America than all the rest\n    of his generation put together should choose to advocate this problematic\n    score.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    Ives was among the countless American composers whom Stokowski championed,\n    his 1965 performance of the Ives 4th Symphony being just one of the\n    innumerable World Premieres he presented over his six-decades conducting\n    career. In particular, his three-season appointment as the NBC Symphony's\n    chief conductor from 1941-44 found him performing the works of nearly two\n    dozen contemporary American composers. (Several have already been issued on\n    Pristine CDs - Copland, Lavalle, Hanson and Antheil on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc536\" target=\"_blank\"\u003ePASC 536\u003c\/a\u003e, and\n    Hovhaness on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc587\" target=\"_blank\"\u003ePASC 587\u003c\/a\u003e - all 'first performances' of one sort or another.)\n\u003c\/p\u003e\n\u003cp\u003e\nThe present selection of Americana starts with \u003cem\u003eA\u003c\/em\u003e    \u003cem\u003eSymphonic Patrol\u003c\/em\u003e by \u003cb\u003eLamar Stringfield\u003c\/b\u003e (1897-1959). It dates from\n    1931 and was described by the composer as a memorable event in a little\n    Southern village with the sound of beating drums drawing near. \"People -\n    black and white alike - turn their heads and listen to the approaching\n    procession. It is their day. The strutting drum and bugle corps passes in\n    review, sounding a barbaric rhythm of proud hearts.\" It has also been\n    suggested that the piece portrayed the marching of slaves towards freedom,\n    the slow middle section evoking their singing of a gospel-like hymn.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cb\u003eMorton Gould\u003c\/b\u003e (1913-1996) was another composer much championed by Stokowski.\n    His \u003cem\u003eChorale and Fugue in Jazz\u003c\/em\u003e had been given its World Premiere in\n    Philadelphia in 1936, while the \u003cem\u003eDance Variations\u003c\/em\u003e of 1953 were\n    given their first recording that same year by Stokowski and the San\n    Francisco Symphony (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc274\" target=\"_blank\"\u003ePASC 274\u003c\/a\u003e). The \u003cem\u003eSpirituals\u003c\/em\u003e heard here were\n    first performed under the composer's baton in 1941. He wrote: \"The songs\n    range from strictly spiritual ones that are escapist in feeling, to those\n    having tremendous depth and impact. My idea was to get five widely\n    contrasted moods. 'Proclamation' has a dramatic religious intensity.\n    'Sermon' is a sort of lyrical folk tale. 'A Little Bit of Sin' is humorous\n    and good-natured. 'Protest\u003cem\u003e'\u003c\/em\u003e is grim and crying out, while\n    'Jubilee' is a festive dance-like piece.\" When Stokowski reached the age of\n    90 in 1972, numerous musicians from all over the world sent him birthday\n    greetings. Morton Gould wrote: \"We are in your debt for having explored,\n    stimulated, enhanced and guided the sound of our music with your genius.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cb\u003ePaul Creston\u003c\/b\u003e (1906-1985) also found in Stokowski a considerable advocate of\n    his music, notably when the maestro included his \u003cem\u003eToccata \u003c\/em\u003ein a\n    special concert marking his 50 years as a conductor in 1958. The 'Scherzo'\n    from Creston's 1st Symphony of 1940 was recorded the following year by the\n    All-American Youth Orchestra and it was often included in Stokowski's\n    concerts as a separate number. The \u003cem\u003eChant of 1942\u003c\/em\u003e was the\n    composer's \"personal reaction to the tragic events of that year - an\n    expression of sadness and indignation but also hope,\" this last feeling\n    being portrayed at the end by a triumphant marching section. Stokowski's\n    NBC performance was its radio premiere.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cb\u003eWilliam Schuman\u003c\/b\u003e (1910-1992) similarly had a wide range of emotions in mind\n    when he composed his \u003cem\u003ePrayer, 1943. \u003c\/em\u003e\"This work is not programme\n    music,\" he wrote, \"there is no story, nor any realistic event being\n    depicted. The title is merely some indication of the kind of feeling that\n    went into the composition.\" Solemnity characterises the work for the most\n    part, though it is not without energetic moments that introduce a confident\n    mood. However, it ends not in triumph but in a chant-like prayerful\n    close.This was in fact the first time Stokowski conducted any of Schuman's\nmusic and he was to play the work again, under its new title    \u003cem\u003ePrayer in Time of War,\u003c\/em\u003e with the New Orleans Philharmonic-Symphony\n    in 1955.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cb\u003eRobert Kelly\u003c\/b\u003e (1916-2007) began his studies at the Juilliard School of Music\n    in 1935 and was accepted as a composition student by the Curtis Institute\n    of Music in Philadelphia three years later. His \u003cem\u003eAdirondack Suite\u003c\/em\u003e\n    dates from 1941 and its atmospheric 'Sunset Reflections' movement was\n    included by Stokowski in a programme that ended with the Brahms 4th\n    Symphony (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc602\" target=\"_blank\"\u003ePASC 602\u003c\/a\u003e). Kelly's little piece was receiving its first\n    performance and was described by Stokowski as \"impressions of sunset in the\n    mountains, lyrical and poetic, with a quick vibrating rhythm like the\n    pulsations of light.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cb\u003eVirgil Thomson\u003c\/b\u003e (1896-1989) was noted both as a music critic and a composer\n    of symphonies, operas, ballets and film scores. In 1936 he was commissioned\n    to write the music for \u003cem\u003eThe Plow that Broke the Plains\u003c\/em\u003e, a short\n    documentary which revealed the disastrous effect that uncontrolled farming\n    was having on the American and Canadian prairies at the time. Thomson's\n    score for the soundtrack was the basis of a concert suite that the composer\n    himself premiered in Philadelphia in 1943. It consists of six short\n    movements, their titles reflecting what was seen on the screen. Stokowski's\n    NBC broadcast the following year was succeeded in turn by the work's first\n    recording, a set of RCA Victor 78s on which he conducted the Hollywood Bowl\n    Symphony, one of several orchestras that Stokowski himself created. In\n    fact, he was sufficiently taken with the work to re-record it with the\n    Symphony of the Air for Vanguard in 1961. With its mixture of folk music,\n    popular melodies and religious themes, it is probably the most 'American'\n    work in this compendium.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cb\u003eCarlton Cooley\u003c\/b\u003e (1898-1981) was one of America's foremost viola players. He\n    joined the Philadelphia Orchestra at the age of 21, became Principal\n    Violist of the Cleveland Orchestra in 1922 and took up a similar position\n    with the NBC Symphony in 1937. He also authored a number of compositions,\n    the \u003cem\u003eEastbourne Sketches\u003c\/em\u003e being three musical reminiscences of \"a\n    holiday spent at that delightful resort on the English Channel during the\n    summer of 1924.\" The work was scored for strings and the opening\n    'Promenade' heard here, in which the composer himself led the viola\n    section, evokes \"the care-free spirit along the boardwalk, the pranks of\n    the bathers, a small band and the town crier.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cb\u003eRoy Harris\u003c\/b\u003e (1898-1979) composed an enormous number of works in every\n    category imaginable, making him one of the most prolific of American\n    composers. However, it was his 3rd Symphony, premiered by Koussevitzky in\n    1939, which made his name and for which he is probably still best known.\n    His \u003cem\u003eFolk Rhythms of Today\u003c\/em\u003e was another of those war-time works that\n    Stokowski championed during his NBC tenure. It had its origins in a ballet\n    called \u003cem\u003eWhat So Proudly We Hail \u003c\/em\u003eand its rambunctious nature\n    provides a suitably bright and breezy finale to this colourful all-American\n    programme.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003ci\u003e\u003cb\u003eEdward Johnson\n\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cem\u003e\n        With acknowledgements to Adrien Strugeon for his help in researching\n        the above composers.\n    \u003c\/em\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI Bach-Stokowski Symphonic Transcriptions (1941-44) - PASC629\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    In his 1947 collection of essays entitled \u003cem\u003eMi Contra Fa\u003c\/em\u003e, the\n    self-styled 'Machiavellian Musician' Kaikhosru Shapurji Sorabji had this to\n    say about 'The Art of the Arranger': \"The great transcriber expounds,\n    enlarges and amplifies matter and thought inherent in the original text and\n    makes the original a \u003cem\u003epoint de départ\u003c\/em\u003e for a great new creation.\"\n    Sorabji went on to discuss the great piano transcriptions of such masters\n    as Godowsky, Liszt and Busoni but his words could equally apply to many of\n    the orchestral arrangements which have stood the test of time, headed\nnaturally enough by Ravel's orchestration of Mussorgsky's    \u003cem\u003ePictures at an\u003c\/em\u003e \u003cem\u003eExhibition \u003c\/em\u003efor solo piano but also\n    including many of Leopold Stokowski's famous \"Symphonic Transcriptions.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    In considering the Bach arrangements heard here, we should not forget that\n    JSB was himself the foremost borrower of many of his contemporaries' works.\n    Indeed, his reworkings of the music of Buxtehude, Telemann, Corelli,\n    Couperin, Albinoni, Marcello and others were often very free adaptations,\n    rather than straightforward arrangements. A classic example is Bach's\n    Concerto for Four Harpsichords and Orchestra in A minor, a technical tour\n    de force based on Vivaldi's Concerto for Four Violins in B minor.\n\u003c\/p\u003e\n\u003cp\u003e\n    Stokowski was of course familiar with Bach's keyboard works from his early\n    days as a church organist, both in London and New York. His recitals were\n    said to have dazzled listeners, not only with his playing of Bach but also\n    assorted orchestral pieces arranged for the organ. Indeed, on one occasion,\nat the end of a St. Bartholomew's recital, he let rip with    \u003cem\u003eThe Ride of\u003c\/em\u003e \u003cem\u003ethe Valkyries\u003c\/em\u003e, only to be sternly admonished\n    by a local critic for playing music of such \"unchurchliness\"!\n\u003c\/p\u003e\n\u003cp\u003e\n    However, Stokowski soon moved with alacrity from the organ console to the\n    conductor's podium, learning the basic repertoire during his three years\n    with the Cincinnati Orchestra. A few of Bach's instrumental works found\n    their way into his concerts there but with his move to Philadelphia in\n    1912, his repertoire became much more extensive and widespread.\n\u003c\/p\u003e\n\u003cp\u003e\n    With much nostalgia, he looked back to his church organist days,\n    recollected the Bach works he played in his youth and decided to transcribe\n    them for his new Philadelphia audience. The most popular orchestration of\nany of Bach's organ works is undoubtedly Stokowski's transcription of the    \u003cem\u003eToccata and Fugue in D minor\u003c\/em\u003e. This received its premiere on 8\n    February 1926, its first recording being made the following year. That\n78rpm shellac disc was a phenomenal best seller and was hailed in the    \u003cem\u003eGramophone\u003c\/em\u003e as \"one of the most exciting achievements of the\n    American orchestra ... the only word is 'magnificent.' Every organist has\n    his ideal conception of how he would like this arranged for orchestra but I\n    do not think any will withhold very high praise indeed to the transcriber\n    and the players.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    Stokowski's transcription was to find even larger world-wide fame when it\n    was featured in Walt Disney's \u003cem\u003eFantasia\u003c\/em\u003e. As a result, many\n    conductors have included it their concert repertoire and it has been\n    commercially recorded by Wolfgang Sawallisch and Yannick Nézet-Séguin,\n    former and present conductors of the Philadelphia Orchestra, as well as\n    José Serebrier and Matthias Bamert, Stokowski's associates during his time\n    with the American Symphony Orchestra.\n\u003c\/p\u003e\n\u003cp\u003e\n    Less well known perhaps is the \u003cem\u003ePrelude in Eb minor\u003c\/em\u003e from Book 1 of\n    the Well-Tempered Clavier. This arrangement was given its first performance\n    as well as its first recording in 1927. It was also the opening item on\n    Stokowski's debut concert with the NBC Symphony in 1941 and is one of his\n    most solemn and reflective Bach transcriptions.\n\u003c\/p\u003e\n\u003cp\u003e\n    As is well-known, Bach himself often re-used his own music in different\n    works and we have an example in the \u003cem\u003eArioso\u003c\/em\u003e heard next. It is the\n    slow movement from his Keyboard Concerto No. 5 in F minor as well as the\nopening \"Sinfonia\" to the Cantata No. 156    \u003cem\u003eIch steh mit einem Fuß im Grabe. \u003c\/em\u003eIn the \"Sinfonia,\" Bach gives the\n    melody to the solo oboe throughout but in Stokowski's version, it is played\n    by the massed strings.\n\u003c\/p\u003e\n\u003cp\u003e\n    Bach used the Lutheran chorale \u003cem\u003eEin Feste Burg \u003c\/em\u003eon a number of\n    occasions and Stokowski made three versions of it himself. The first one -\n    a \"short\" version - was recorded on a 10\" Philadelphia Orchestra disc in\n1933. It was this arrangement that he used to mark his movie debut in    \u003cem\u003eThe Big Broadcast of 1937\u003c\/em\u003e. He then expanded it to a longer version\n    and this had its first recording in 1939. Two years later, in a New York\n    Philharmonic concert, he introduced a third version which he played again\n    with the NBC Symphony in 1942. It's a real curiosity, in which the Lutheran\n    chorale is interspersed with an assortment of woodwind cadenzas. Evidently\n    Stokowski decided that the second \"long\" version was the best of the three\n    and it was that which he re-recorded on two further occasions. The NBC\n    performance of the third version is presented here in its only extant\n    recording.\n\u003c\/p\u003e\n\u003cp\u003e\n    When Stokowski was invited onto the BBC's long-running radio programme\n    \"Desert Island Discs\" in 1957, the first of the eight records he chose to\n    be marooned with was a Bach Chorale Prelude. He transcribed several of\n    these and of \u003cem\u003eWir glauben all' an einen Gott\u003c\/em\u003e, he wrote: \"In giving\n    this music orchestral expression, I have tried to imagine what Bach would\n    do if he had the vast resources of the modern orchestra as his instrument,\n    instead of the more limited instrumental means of his time.\" Stokowski\n    added that the music is an organ fugue and that the pedal theme \"has the\n    sound of giant-like strides up and down the octave - from which comes the\n    familiar name of the 'Giant Fugue'.\" This performance began the NBC\n    broadcast of 6 December 1942 and was immediately followed by the next piece\n    without a pause.\n\u003c\/p\u003e\n\u003cp\u003e\nIt is the middle movement of the organ    \u003cem\u003eToccata, Adagio and Fugue in C major\u003c\/em\u003e and features what Stokowski\n    described as \"the balance between the intellectual and emotional sides of\n    Bach's personality. It has the improvisational freedom of so much of Bach's\n    music. Possibly the germ of its themes and the mood of its feeling stem\n    from an occasion when Bach was improvising on the organ.\" Stokowski and his\n    Philadelphians made the first recording of the piece in 1933 but he never\n    re-recorded it commercially, thus making his NBC performance something of a\n    rarity.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cem\u003eEs is vollbracht \u003c\/em\u003e\n    comes from the second part of the St. John Passion where it is a solo aria\n    for alto. The opening words translate as \"It is accomplished; what comfort\n    for suffering human souls. I can see the end of the night of sorrow.\" With\n    the words \"The hero from Judah ends his victorious fight!\" the music\n    brightens up and a solo trumpet emulates the alto part, the music then\n    reverting to the grave solemnity with which the piece began.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cem\u003eChrist lag in Todesbanden\u003c\/em\u003e\n    is another of the organ Chorale Preludes which Stokowski transcribed for\n    orchestra. Bach based it on an Easter Hymn by Martin Luther which itself\n    was derived from earlier examples of the melody. Stokowski's arrangement is\n    sombrely scored and was another of the Bach transcriptions which he\n    recorded commercially only once, on a Philadelphia 78 in 1931.\n\u003c\/p\u003e\n\u003cp\u003e\n    To complete the entire selection of Bach arrangements which Stokowski\n    performed, and in some cases introduced, during his three seasons as the\nNBC Symphony's chief conductor, we hear the mighty    \u003cem\u003ePassacaglia and Fugue in C minor. \u003c\/em\u003eBy a remarkable coincidence this\n    was the very last work that he played on his final NBC Symphony programme\nand - rather like a pair of bookends - it mirrored the    \u003cem\u003ePrelude in Eb minor\u003c\/em\u003e with which he opened his first NBC concert\n    three years earlier!\n\u003c\/p\u003e\n\u003cp\u003e\n    This was in fact one of Stokowski's earliest Bach transcriptions and it had\nits premiere on 10 February 1922. As with the    \u003cem\u003eToccata and Fugue in D minor\u003c\/em\u003e, he recorded it several times over\n    the years, the first occasion with the Philadelphia Orchestra in 1929 and\n    the last with the Czech Philharmonic shortly after his 90th birthday in\n    1972. In his published score he wrote: \"Bach's Passacaglia is in music what\n    a great Gothic cathedral is in architecture - the same vast conception -\n    the same soaring mysticism given eternal form. Whether played on the organ,\n    or by the greatest of all instruments - the orchestra - it is one of the\n    most divinely inspired creations ever conceived.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    To conclude, we turn from arranged Bach to an appropriate non-transcribed\n    finale - the closing chorus from the St Matthew Passion, sung in an English\n    edition: \"Here yet awhile, Lord, Thou art sleeping, Hearts turn to Thee, O\n    Saviour blest; rest Thou calmly, Thou calmly, calmly rest.\" This was a work\n    Stokowski conducted several times over the years, starting in 1907 when he\n    was organist and choirmaster at New York's St Bartholomew's Church. His\n    biographer Oliver Daniel was to remark that \"it was surely one of the\n    earliest American performances of the complete work.\" Stokowski also\n    featured it in his very last concerts with the Philadelphia Orchestra in\n    1941, following his resignation from an ensemble he had built into one of\n    the world's finest. This NBC performance of the final chorus is again\n    something of a rarity, insofar as Stokowski's discography is concerned, but\n    it makes a suitable conclusion to a compendium of music by the maestro's\n    declared favourite composer.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003ci\u003e\u003cb\u003eEdward Johnson\n\u003c\/b\u003e\u003c\/i\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\"\u003eSTOKOWSKI Shostakovich: Symphony No. 7 'Leningrad' (1942) - PASC527\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSHOSTAKOVICH  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 7 in C, Op. 60 \"Leningrad\"\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Allegretto  (28:17)\u003cbr\u003e2. 2nd mvt. - Moderato (poco allegretto)  (10:50)\u003cbr\u003e3. 3rd mvt. - Adagio  (17:51)\u003cbr\u003e4. 4th mvt. - Allegro non troppo  (15:55)\u003cbr\u003e\u003cbr\u003e5. Bonus track: Radio Introductory Commentary  (6:41)\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNBC Symphony Orchestra\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eStokowski \u003c\/b\u003eand \u003cb\u003eShostakovich\u003c\/b\u003e, taken in 1958\u003cbr\u003e\u003cbr\u003eLive concert broadcast, 13 December 1942\u003cbr\u003eCarnegie Hall, New York City\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eTotal duration:  79:34\u003cb\u003e\u003cbr\u003e\u003c\/b\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\"\u003eSTOKOWSKI conducts Tchaikovsky (1944) - PASC531\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 20px;\"\u003eSTOKOWSKI conducts Tchaikovsky\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e1. \u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eRomeo and Juliet - Fantasy Overture  (20:34)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eTCHAIKOVSKY  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eSymphony No. 6 in B minor, Op. 74 \"Pathétique\"\u003c\/span\u003e\u003cbr\u003e2. 1st mvt. - Adagio - Allegro non troppo  (19:39)\u003cbr\u003e3. 2nd mvt. - Allegro con grazia  (8:04)\u003cbr\u003e4. 3rd mvt. - Allegro molto vivace  (8:20)\u003cbr\u003e5. 4th mvt. - Adagio lamentoso  (10:52)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra \u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eTotal duration:  67:29    \u003cbr\u003e\u003cbr\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eStokowski\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eTchaikovsky \u003cb\u003eRomeo \u0026amp; Juliet\u003c\/b\u003e\u003cbr\u003eBroadcast of 16 January 1944\u003cbr\u003e\u003cbr\u003eTchaikovsky \u003cb\u003eSymphony No. 6\u003c\/b\u003e\u003cbr\u003eBroadcast of 30 January 1944\u003cbr\u003e\u003cbr\u003eLive broadcast concerts from RCA Studio 8H, Radio City, New York City\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  67:29    \u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\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\"\u003eSTOKOWSKI Wartime NBC Premières (1942-44) - PASC536\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eSTOKOWSKI \u003c\/b\u003eWartime NBC Premières\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDISC ONE\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eCOPLAND \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eShort Symphony (Symphony No. 2)\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - quarter note = 144  (4:31)\u003cbr\u003e2. 2nd mvt. - half note = 44  (4:51)\u003cbr\u003e3. 3rd mvt. - quarter note = 144  (6:04)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 9 January 1944 - US Première\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMOHAUPT \u003c\/b\u003eConcerto for Orchestra based on Red Army Songs\u003c\/span\u003e\u003cbr\u003e4. 1st mvt. - Allegro  (6:39)\u003cbr\u003e5. 2nd mvt. - Largo  (8:30)\u003cbr\u003e6. 3rd mvt. - Vivace  (6:29)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 19 December 1943 - World première\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e7. \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eLAVALLE \u003c\/b\u003eSymphonic Rhumba\u003c\/span\u003e  (5:21)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of  6 December 1942 - World première\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eHANSON \u003c\/b\u003eSymphony No. 4, 'Requiem', Op. 34\u003c\/span\u003e\u003cbr\u003e8. 1st mvt. - Kyrie: Andante inquieto  (7:08)\u003cbr\u003e9. 2nd mvt. - Requiescat: Largo  (4:38)\u003cbr\u003e10. 3rd mvt. - Dies irae: Presto  (2:14)\u003cbr\u003e11. 4th mvt. - Lux aeterna: Largo pastorale  (7:57)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 2 January 1944 - Radio première\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDISC TWO\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e1. \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAMFITHEATROF \u003c\/b\u003eDe profundis clamavi\u003c\/span\u003e  (19:53)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 20 February 1944 - World première\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eANTHEIL \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 4, '1942', W.177\u003c\/span\u003e\u003cbr\u003e2. 1st mvt. - Moderato - Allegretto  (10:11)\u003cbr\u003e3. 2nd mvt. - Allegro  (8:46)\u003cbr\u003e4. 3rd mvt. - Scherzo: Presto  (4:29)\u003cbr\u003e5. 4th mvt. - Allegro non troppo  (8:37)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 13 February 1944 - World première\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e6. \u003cb\u003eSTOKOWSKI \u003c\/b\u003eIntroduction to Schoenberg Piano Concerto  (0:25)\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eSCHOENBERG \u003c\/b\u003ePiano Concerto, Op. 42\u003c\/span\u003e\u003cbr\u003e7. 1st mvt. - Andante  (4:37)\u003cbr\u003e8. 2nd mvt. - Molto allegro  (2:36)\u003cbr\u003e9. 3rd mvt. - Adagio  (6:15)\u003cbr\u003e10. 4th mvt. - Giocoso (Moderato)  (6:11)\u003cbr\u003e\u003cb\u003eEduard Steuermann, \u003c\/b\u003epiano\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 6 February 1944 - World première\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra    \u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eAaron Copland\u003c\/b\u003e and \u003cb\u003eLeopold Stokowski\u003c\/b\u003e in 1942\u003cbr\u003e\u003cbr\u003eTotal duration:  \u003cb\u003e2 hr 16:23   \u003c\/b\u003e\u003cbr\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\"\u003eSTOKOWSKI Beethoven: Symphony No. 9 'Choral' (1941) - PASC541\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 9 in D minor, Op. 125, 'Choral'\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1. 1st mvt. - Allegro ma non troppo, un poco maestoso  (13:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2. 2nd mvt. - Scherzo. Molto vivace - Presto  (10:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3. 3rd mvt. - Adagio molto e cantabile  (15:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4. 4th mvt. - Presto - Allegro assai  (24:37)\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5. RADIO Closing announcements  (2:19)\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cb\u003eAnne Brown. \u003c\/b\u003esoprano  \u003cb\u003e\u003cbr\u003eWinifred Heidt. \u003c\/b\u003econtralto  \u003cb\u003e\u003cbr\u003eWilliam Horne. \u003c\/b\u003etenor  \u003cb\u003e\u003cbr\u003eLawrence Whisonant. \u003c\/b\u003ebass\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe Westminster Choir\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNBC Symphony Orchestra   \u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCosmopolitan Opera House, New York City\u003cbr\u003eMovements 1-3 not broadcast\u003cbr\u003eLive broadcast recording, 11 November 1941\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eTotal duration:  66:04\u003cb\u003e  \u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\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\"\u003eSTOKOWSKI conducts British music at the NBC (1943\/44) - PASC546\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e1 RADIO Introduction  (0:19)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eHOLST  \u003c\/b\u003eThe Planets\u003c\/span\u003e  Op. 32\u003cbr\u003e2. 1. Mars, the Bringer of War  (6:54)\u003cbr\u003e3. 2. Venus, the Bringer of Peace  (8:50)\u003cbr\u003e4. 3. Mercury, the Winged Messenger  (3:40)\u003cbr\u003e5. 4. Jupiter, the Bringer of Jollity  (7:06)\u003cbr\u003e6. 5. Saturn, the Bringer of Old Age  (9:05)\u003cbr\u003e7. 6. Uranus, the Magician  (5:48)\u003cbr\u003e8. 7. Neptune, the Mystic  (10:40)\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e9 \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBUTTERWORTH  \u003c\/b\u003eA Shropshire Lad\u003c\/span\u003e  (9:33)\u003c\/p\u003e\n\u003cp\u003e10. \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eVAUGHAN WILLIAMS\u003c\/b\u003e  Fantasia on Christmas Carols\u003c\/span\u003e (orchestral version)  (9:33)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Stokowski\u003cbr\u003e\u003cbr\u003e\u003cb\u003eHOLST The Planets\u003c\/b\u003e\u003cbr\u003eBroadcast 14 February 1943\u003cbr\u003e\u003cb\u003eBUTTERWORTH A Shropshire Lad\u003c\/b\u003e\u003cbr\u003eBroadcast 13 February 1944\u003cbr\u003e\u003cb\u003eVAUGHAN WILLIAMS Carols Fantasia\u003c\/b\u003e\u003cbr\u003eBroadcast 14 December 1943\u003cbr\u003e\u003cbr\u003eLive performances broadcast from Studio 8H, Radio City, New York\u003cbr\u003e\u003cbr\u003eTotal duration:  71:28\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\"\u003eSTOKOWSKI conducts French Music: Debussy, Milhaud, Ravel (1943\/44) - PASC583\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003eSTOKOWSKI conducts French Music: Debussy, Milhaud, Ravel\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1. RADIO Introduction to The Engulfed Cathedral  (0:24)\u003cbr\u003e2.\u003cspan style=\"font-size: 16px;\"\u003e \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e(arr. Stokowski) La cathédrale engloutie\u003c\/span\u003e  (7:29)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 13 February 1944\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e3. RADIO Introduction to Prelude to the Afternoon of a Faun  (0:30)\u003cbr\u003e4. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ePrélude à l'après-midi d'un faune\u003c\/span\u003e  (11:53)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 9 January 1944\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e5. RADIO Introduction to The Martyrdom of Saint Sebastian  (0:30)\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eLe martyre de saint Sébastien\u003c\/span\u003e\u003cbr\u003e6. I. La Cour des lys  (4:39)\u003cbr\u003e7. II. Danse extatique et Final du 1er Acte  (7:16)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 28 March 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e8. RADIO Introduction to Milhaud Symphony No. 1  (0:13)\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMILHAUD \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 1, Op. 210\u003c\/span\u003e\u003cbr\u003e9. 1st mvt. - Pastoral. Modérément animé  (5:55)\u003cbr\u003e10. 2nd mvt. - Très vif  (3:40)\u003cbr\u003e11. 3rd mvt. - Très modéré  (5:43)\u003cbr\u003e12. 4th mvt. - Final. Animé  (5:51)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 21 March 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e13. RADIO Introduction to Night in Granada  (0:45)\u003cbr\u003e14. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e(arr. Stokowski) - Estampes - 2. La soirée dans Grenade\u003c\/span\u003e  (7:13)\u003cbr\u003e\u003cbr\u003e15. RADIO Introduction to Daphnis and Chloe  (1:05)\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003eDaphnis et Chloé Suite No.2\u003c\/span\u003e\u003cbr\u003e16. 1. Lever de jour  (5:11)\u003cbr\u003e17. 2. Pantomime   (6:53)\u003cbr\u003e18. 3. Danse générale  (2:48)\u003cbr\u003e19. RADIO Final applause and conclusion  (1:28)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 21 February 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra  \u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eXR remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski\u003cbr\u003e\u003cbr\u003eTotal duration:  79:26    \u003cbr\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\"\u003eSTOKOWSKI conducts C20 Symphonies - Hovhaness, Stravinsky, Hindemith (1942\/3) - PASC587\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eSTOKOWSKI \u003c\/b\u003econducts Twentieth Century Symphonies\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eHOVHANESS  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eSymphony No. 1, Op. 17, \"Exile\"\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Lament  (7:40)\u003cbr\u003e2. 2nd mvt. - Conflict  [original version] (3:29)\u003cbr\u003e3. 3rd mvt. - Triumph  (7:29)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 6 December 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eSTRAVINSKY  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eSymphony in C\u003c\/span\u003e\u003cbr\u003e4. 1st mvt. - Moderato alla breve  (9:08)\u003cbr\u003e5. 2nd mvt. - Larghetto concertante  (7:07)\u003cbr\u003e6. 3rd mvt. - Allegretto  (4:24)\u003cbr\u003e7. 4th mvt. - Largo; Tempo giusto, alla breve  (7:43)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 21 February 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eHINDEMITH  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eSymphony in E flat major\u003c\/span\u003e\u003cbr\u003e8. 1st mvt. - Sehr lebhaft  (5:09)\u003cbr\u003e9. 2nd mvt. - Sehr langsam  (9:18)\u003cbr\u003e10. 3rd mvt. - Lebhaft  (6:27)\u003cbr\u003e11. 4th mvt. - Mäßig schnelle Halbe  (8:48)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 28 February 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra  \u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eXR remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski with Alan Hovhaness in 1958\u003cbr\u003eLive broadcast concerts from NBC Studio 8H, Radio City, New York\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eTotal duration:  76:42    \u003cbr\u003e\u003cbr\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\"\u003eSTOKOWSKI conducts Beethoven \u0026amp; Wagner (1942\/3) - PASC591\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eSTOKOWSKI \u003c\/b\u003econducts Beethoven \u0026amp; Wagner\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eDISC ONE\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eSymphony No. 5 in C minor, Op. 67\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Allegro con brio  (6:33)\u003cbr\u003e2. 2nd mvt. - Andante con moto  (11:42)\u003cbr\u003e3. 3rd mvt. - Scherzo. Allegro - Trio  (5:36)\u003cbr\u003e4. 4th mvt. - Allegro  (8:37)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 26 December, 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eSymphony No. 6 in F major, Op. 68, 'Pastoral'\u003c\/span\u003e\u003cbr\u003e5. 1st mvt. - Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande. Allegro ma non troppo  (8:53)\u003cbr\u003e6. 2nd mvt. - Scene am Bach. Andante molto moto  (15:49)\u003cbr\u003e7. 3rd mvt. - Lustiges Zusammensein der Landleute. Allegro  (2:44)\u003cbr\u003e8. 4th mvt. - Gewitter. Sturm. Allegro  (3:15)\u003cbr\u003e9. 5th mvt. - Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm. Allegretto  (10:00)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 24 March, 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eDISC TWO\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eSymphony No. 7 in A major, Op. 92\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Poco sostenuto - Vivace  (11:37)\u003cbr\u003e2. 2nd mvt. - Allegretto  (10:13)\u003cbr\u003e3. 3rd mvt. - Presto  (4:53)\u003cbr\u003e4. 4th mvt. - Allegro con brio  (7:07)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 22 November, 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e5. \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eTristan und Isolde - Prelude and Liebestod\u003c\/span\u003e  (17:16)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 22 November, 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eWAGNER  \u003c\/b\u003eParsifal\u003c\/span\u003e\u003cbr\u003e6. Good Friday Spell  (11:31)\u003cbr\u003e7. Act 3: Symphonic Synthesis (Arr. Stokowski)  (16:51)\u003cbr\u003e\u003cb\u003eCollegiate Choir\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 31 March, 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra  \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by  Andrew Rose\u003cbr\u003eLive broadcast recordings from NBC Studio 8H, Radio City, New York\u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski\u003cbr\u003e\u003cbr\u003eTotal duration:  2hr 32:37     \u003cbr\u003e\u003cbr\u003eCD1: 73:10      \u003cbr\u003eCD2: 79:27    \u003cbr\u003e\u003cbr\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\"\u003eSTOKOWSKI conducts Russian Music: Rimsky-Korsakov, Stravinsky, Tchaikovsky (1941-44) - PASC596\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eSTOKOWSKI \u003c\/b\u003econducts Russian Music\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e1. STOKOWSKI Introduction to Firebird Suite  (1:06)\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSTRAVINSKY  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Firebird - Suite\u003c\/span\u003e\u003cbr\u003e2. I. Introduction  (3:08)\u003cbr\u003e3. II. The Firebird and its Dance  (1:15)\u003cbr\u003e4. III. The Princesses' Round  (5:33)\u003cbr\u003e5. IV. Infernal Dance of King Kashchei  (3:46)\u003cbr\u003e6. V. Lullaby  (3:58)\u003cbr\u003e7. VI. Finale  (2:37)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 7 April 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e8. \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003e(arr. Stokowski) Petrushka - Suite \u003c\/span\u003e (15:33)\u003cbr\u003e\u003cb\u003eEduard Steuermann\u003c\/b\u003e, piano\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 20 February 1944\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e9. STOKOWSKI Introduction to Tchaikovsky Symphony No. 4  (1:32)\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eTCHAIKOVSKY  \u003c\/b\u003eSymphony No. 4 in F minor, Op. 36\u003c\/span\u003e\u003cbr\u003e10. 1st mvt. - Andante sostenuto - Moderato con anima  (15:52)\u003cbr\u003e11. 2nd mvt. - Andantino in modo di Canzona  (10:01)\u003cbr\u003e12. 3rd mvt. - Scherzo. Pizzicato ostinato. Allegro  (5:09)\u003cbr\u003e13. 4th mvt. - Finale. Allegro con fuoco  (9:31)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 25 November 1941*\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e1. STOKOWSKI Introduction to Russian Easter Overture  (0:35)\u003cbr\u003e2. \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e  Russian Easter Festival Overture, Op. 36\u003c\/span\u003e  (12:39)\u003cbr\u003e\u003cb\u003eNicola Moscona\u003c\/b\u003e, bass\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 31 March 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e3. RADIO Introduction to Capriccio Espagnol  (0:15)\u003cbr\u003e4. \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e  Capriccio Espagnol, Op. 34\u003c\/span\u003e  (14:21)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 20 February 1944\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e5. RADIO Introduction to Tchaikovsky Symphony No. 5  (0:43)\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eTCHAIKOVSKY  \u003c\/b\u003eSymphony No. 5 in E minor, Op. 64\u003c\/span\u003e\u003cbr\u003e6. 1st mvt. - Andante - Allegro con anima  (14:04)\u003cbr\u003e7. 2nd mvt. - Andante cantabile con alcuna licenza  (13:08)\u003cbr\u003e8. 3rd mvt. - Valse. Allegro moderato  (5:56)\u003cbr\u003e9. 4th mvt. - Finale. Andante maestoso - Allegro vivace  (11:25)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 29 November 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e  \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeopold Stokowski\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by  Andrew Rose\u003cbr\u003eLive broadcast recordings from NBC Studio 8H, Radio City, New York \u003cbr\u003eexcept *Cosmopolitan Opera House, New York\u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 32: 06 \u003c\/b\u003e    \u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eCD1: 79:00      CD2: 73:06   \u003c\/span\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\"\u003eSTOKOWSKI Brahms: Symphonies 3 \u0026amp; 4 (1941) - PASC602\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003eSTOKOWSKI conducts Brahms\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1. \u003cb\u003eSTOKOWSKI \u003c\/b\u003eIntroduction to Brahms Symphony No. 3  (1:17)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBRAHMS  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 3 in F, Op. 90\u003c\/span\u003e\u003cbr\u003e2. 1st mvt. - Allegro con brio  (9:24)\u003cbr\u003e3. 2nd mvt. - Andante  (10:22)\u003cbr\u003e4. 3rd mvt. - Poco allegretto  (5:59)\u003cbr\u003e5. 4th mvt. - Allegro  (8:40)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 4 November 1941\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e6. \u003cb\u003eSTOKOWSKI \u003c\/b\u003eIntroduction to Brahms Symphony No. 4  (1:50)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBRAHMS  \u003c\/b\u003eSymphony No. 4 in E minor, Op. 98\u003c\/span\u003e\u003cbr\u003e7. 1st mvt. - Allegro non troppo  (10:50)\u003cbr\u003e8. 2nd mvt. - Andante moderato  (11:18)\u003cbr\u003e9. 3rd mvt. - Allegro giocoso  (5:40)\u003cbr\u003e10. 4th mvt. - Allegro energico e passionato  (9:38)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 18 November 1941\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra  \u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e Leopold Stokowski\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by  Andrew Rose\u003cbr\u003eLive broadcast recordings from the Cosmopolitan Opera House, New York\u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski\u003cbr\u003e\u003cbr\u003eTotal duration:  74:58\u003cbr\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\"\u003eSTOKOWSKI conducts Wagner (1942-44) - PASC609\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003eSTOKOWSKI conducts Wagner\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1. \u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eSiegfried Idyll  \u003c\/span\u003e(18:43)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 6 December 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003e(\u003ci\u003earr. Stokowski\u003c\/i\u003e) Tristan und Isolde \u003c\/span\u003e\u003cbr\u003e2. Love Music  (22:19)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 28 February 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eLohengrin\u003c\/span\u003e\u003cbr\u003e3. Prelude  (10:00)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 23 January 1944\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003e(\u003ci\u003earr. Stokowski\u003c\/i\u003e) Die Walküre\u003c\/span\u003e\u003cbr\u003e4. Wotan's Farewell  (13:17)\u003cbr\u003e5. Magic Fire Music  (4:48)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 23 January 1944\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra  \u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eXR Remastered by  Andrew Rose\u003cbr\u003e\u003cbr\u003eLive broadcast recordings from NBC Studio 8H, Radio City, New York \u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski\u003cbr\u003e\u003cbr\u003eTotal duration:  69:07    \u003cbr\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\"\u003eSTOKOWSKI conducts 20th Century American Composers (1941-44) - PASC625\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 24px;\"\u003eSTOKOWSKI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 24px;\"\u003econducts 20th Century American Composers\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLAMAR STRINGFIELD \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e1.\u003cb\u003e A Symphonic Patrol\u003c\/b\u003e  (8:38)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 7 April 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMORTON GOULD  \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSpirituals for String Choir and Orchestra\u003c\/b\u003e\u003cbr\u003e2. I. Proclamation  (4:01)\u003cbr\u003e3. II. Sermon  (3:42)\u003cbr\u003e4. III. A Little Bit of Sin  (2:07)\u003cbr\u003e5. IV. Protest  (2:24)\u003cbr\u003e6. V. Jubilee  (4:19)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 15 November 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePAUL CRESTON \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e7. \u003cb\u003eChant for 1942\u003c\/b\u003e  (9:53)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 26 December 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWILLIAM SCHUMAN \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e8. \u003cb\u003ePrayer, 1943\u003c\/b\u003e  (13:26)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 12 December 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eROBERT KELLY \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e9. \u003cb\u003eAdirondack Suite - \u003c\/b\u003e\u003ci\u003eSunset Reflections\u003c\/i\u003e  (5:28)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 18 November 1941\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eVIRGIL THOMSON  \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe Plow That Broke The Plains, Suite\u003c\/b\u003e\u003cbr\u003e10. Prelude  (1:46)\u003cbr\u003e11. Pastorale (Grass)  (1:28)\u003cbr\u003e12. Cattle  (2:43)\u003cbr\u003e13. Blues (Speculation)  (2:36)\u003cbr\u003e14. Drought  (1:05)\u003cbr\u003e15. Devastation  (5:36)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 16 January 1944\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eCARLTON COOLEY \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e16. \u003cb\u003eEastbourne Sketches\u003c\/b\u003e - \u003ci\u003ePromenade  \u003c\/i\u003e(4:18)\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBroadcast of 24 March 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eROY HARRIS \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e17. \u003cb\u003eFolk Rhythms of Today\u003c\/b\u003e  (6:08)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 19 December 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eNBC Symphony Orchestra  \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eLeopold Stokowski\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by  Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Morton Gould and Leopold Stokowski\u003cbr\u003eSpecial thanks to Edward Johnson and Adrien Strugeon\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eTotal duration:  79:38  \u003cbr\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\"\u003eSTOKOWSKI Bach-Stokowski Symphonic Transcriptions (1941-44) - PASC629\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 24px;\"\u003eBACH-STOKOWSKI\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 24px;\"\u003e Symphonic Transcriptions\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003e1. \u003cb\u003eToccata and Fugue in D minor\u003c\/b\u003e  \u003cspan style=\"font-size: 12px;\"\u003e(9:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 12 December 1943  \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e2.\u003cb\u003e Prelude in E flat minor\u003c\/b\u003e (from \u003ci\u003eThe Well-Tempered Clavier,\u003c\/i\u003e Book 1)  \u003cspan style=\"font-size: 12px;\"\u003e(7:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 4 November 1941\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e3. \u003cb\u003eArioso \u003c\/b\u003e(Largo from \u003ci\u003eHarpsichord Concerto No. 5\u003c\/i\u003e in F minor)  \u003cspan style=\"font-size: 12px;\"\u003e(8:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 25 November 1941\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e4. \u003cb\u003ePrelude on Ein Feste Burg\u003c\/b\u003e  (6:54)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 7 April 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e5. \u003cb\u003eWir Glauben all' an Einen Gott\u003c\/b\u003e (Chorale-Prelude '\u003ci\u003eGiant Fugue\u003c\/i\u003e')  \u003cspan style=\"font-size: 12px;\"\u003e(3:09)\u003c\/span\u003e\u003cbr\u003e6. \u003cb\u003eAdagio \u003c\/b\u003e(from \u003ci\u003eToccata, Adagio and Fugue in C minor\u003c\/i\u003e)  \u003cspan style=\"font-size: 12px;\"\u003e(5:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 6 December 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e7. \u003cb\u003eEs ist Vollbracht\u003c\/b\u003e (from the \u003ci\u003eSt. John Passion\u003c\/i\u003e)  \u003cspan style=\"font-size: 12px;\"\u003e(9:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 28 March 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e8. \u003cb\u003eChrist lag in Todesbanden\u003c\/b\u003e (\u003ci\u003eChorale-Prelude\u003c\/i\u003e)  \u003cspan style=\"font-size: 12px;\"\u003e(3:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 12 December 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e9. \u003cb\u003ePassacaglia and Fugue in C minor\u003c\/b\u003e  \u003cspan style=\"font-size: 12px;\"\u003e(13:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 27 February 1944\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eBonus track:\u003cbr\u003e10. \u003cb\u003eSt. Matthew Passion\u003c\/b\u003e - Final Chorus  \u003cspan style=\"font-size: 12px;\"\u003e(8:52)\u003c\/span\u003e\u003cbr\u003e\"\u003ci\u003eHere yet awhile, Lord, Thou art sleeping, Hearts turn to Thee, O Saviour blest\u003c\/i\u003e\"\u003cbr\u003e\u003cb\u003eCollegiate Chorale\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 31 March 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra  \u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eXR Remastered by \u003cb\u003eAndrew Rose\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eLeopold Stokowski\u003cbr\u003e\u003c\/b\u003eSpecial thanks to \u003cb\u003eEdward Johnson\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eTotal duration:  77:11 \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC629.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC629.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":39288619335741,"sku":null,"price":256.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205527552334,"sku":null,"price":176.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205527585102,"sku":null,"price":144.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC629.jpg?v=1769529897"},{"product_id":"pabx035-cd","title":"STOKOWSKI The Pristine NBC Symphony Series (1941-1944) - 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STRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003e Symphonia Domestica\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003e Waltzes from Der Rosenkavalier\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eJ. STRAUSS II\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003e Three Waltzes\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eDie Meistersinger von Nürnberg - \u003ci\u003eexcerpts\u003c\/i\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1937-41\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 19:12\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eEugene Ormandy\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC634.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003ca name=\"OLE_LINK2\"\u003e\n        The present release is the third in a series devoted to Eugene\n        Ormandy’s early recordings with the Philadelphia Orchestra for the\n        Victor and World’s Greatest Music labels from 1936 through 1942, with\n        one additional Victor recording from 1945. While the recordings he made\n        during this period with such legendary soloists as Rachmaninov,\n        Kreisler, Heifetz, Feuermann, Rubinstein, Flagstad, Melchior and others\n        have deservedly remained in the catalog for decades, this series\n        focuses on his purely orchestral recordings, which have been rather\noverlooked in reissues. Except for the \u003cem\u003eSymphonia\u003c\/em\u003e        \u003cem\u003eDomestica\u003c\/em\u003e, which was previously reissued on LP (Camden) and CD\n        (Biddulph), none of the recordings presented here have been available\n        since the 78 rpm era.\n    \u003c\/a\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Leopold Stokowski left a formidable legacy of Wagner recordings during the\n    years of his directorship of the Philadelphia Orchestra, enough to fill\n    more than four CDs; so it is rather surprising that Ormandy’s 10-inch disc\n    of \u003cem\u003eMeistersinger\u003c\/em\u003e excerpts presented here is his only example of\n    orchestral Wagner on record during this period, although he also provided\n    several vocal accompaniments for Flagstad and Melchior.\n\u003c\/p\u003e\n\u003cp\u003e\n    Ormandy had first recorded the Brahms Second Symphony with the\n    Philadelphians anonymously for the World’s Greatest Music series nine\n    months before the version presented here (to be released in Volume 5 of\n    this series). The earlier version was on ten sides, while this one was on\n    twelve, like the 1929 Stokowski version (reissued on Pristine \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc562\" target=\"_blank\"\u003ePASC 562\u003c\/a\u003e) it\n    was intended to replace. Apparently, this was not due to a more expansive\n    interpretation; indeed, according to Richard Kaplan’s Philadelphia\n    Orchestra discography, the 12-sided version is 11 seconds faster than the\n    ten-sided one. Victor’s decision made the set rather uncompetitive in a\n    field which otherwise had ten- or even eight-sided Brahms Seconds.\n    (Interestingly, the earlier version was reissued on RCA’s Camden LP series,\n    the only World’s Greatest Music release to be so chosen.)\n\u003c\/p\u003e\n\u003cp\u003e\n    Ormandy had already recorded a best-selling album of Johann Strauss\n    overtures and waltzes with the Minneapolis Symphony before setting down the\n    three waltzes heard here. While he remade the \u003cem\u003eEmperor \u003c\/em\u003eWaltz ten\n    years later for a Columbia LP, the other two had to wait until the stereo\nera for another Ormandy\/Philadelphia version. Richard Strauss’    \u003cem\u003eRosenkavalier\u003c\/em\u003e Waltzes had also already been set down by Ormandy in\n    Minneapolis on three ten-inch sides. Here, he was able to take advantage of\n    longer recording times to re-record it on a single 12-inch disc.\n\u003c\/p\u003e\n\u003cp\u003e\n    Hindemith’s \u003cem\u003eMathis der Maler\u003c\/em\u003e Symphony was a mere six years old\n    when Ormandy made the recording included here. It was only the second\n    version on disc, following the composer’s own 1934 recording; and the two\n    would go on to become the only sets available during the 78 rpm era. As so\n    often when they were playing what was then “new music”, Ormandy and his\n    Philadelphians bring an almost missionary zeal to the performance, which\n    blazes with intensity, particularly in the brass.\n\u003c\/p\u003e\n\u003cp\u003e\n    For his first Richard Strauss tone poem on disc, Ormandy chose the then\n    lesser-known \u003cem\u003eSymphonia Domestica\u003c\/em\u003e for what became its first\n    electrical recording. (There had been a late acoustic set with Eduard\n    Mörike; and the only other 78-era recording would be Carl Schuricht’s\n    version from three years later, on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc320\" target=\"_blank\"\u003ePASC 320\u003c\/a\u003e.) For the next couple years,\n    Ormandy would be Victor’s “go-to” conductor for Strauss tone poems, setting\n    down \u003cem\u003eEin Heldenleben\u003c\/em\u003e in 1939 (in Volume 1 of our series, \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc578\" target=\"_blank\"\u003ePASC 578\u003c\/a\u003e)\n    and \u003cem\u003eDon Quixote\u003c\/em\u003e with Feuermann the following year (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc168\" target=\"_blank\"\u003ePASC 168\u003c\/a\u003e).\n    While he continued to record and re-record most of the major Strauss\norchestral works until the end of his career, he never returned to the    \u003cem\u003eDomestica\u003c\/em\u003e, leaving this his sole statement on the work.\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    \u003c\/p\u003e\u003cp\u003e\n    \n        \u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003eEugene Ormandy and The Philadelphia Orchestra: The Early Years ∙ Volume 3\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cdiv\u003e\n    \u003cp\u003e\n        \u003cstrong\u003e \u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003e \u003c\/strong\u003e\n    \u003c\/p\u003e\n\u003c\/div\u003e\u003cp\u003e\n\n    \u003cstrong\u003eCD 1\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \n    \u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 17px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eDie Meistersinger von Nürnberg\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 17px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003e (Act 3)\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e1. Dance of the Apprentices (2:59)\u003cbr\u003e2. Entrance of the Mastersingers (3:12)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 9 January 1937 ∙ Matrices: BS 03192-2 \u0026amp; 03193-1 ∙ First issued\n    on Victor 1807\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: 17px;\"\u003eBRAHMS Symphony No. 2 in D major, Op. 73\u003c\/span\u003e\u003c\/strong\u003e\n    \n    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e3. 1st Mvt. – Allegro non troppo (14:01)\u003cbr\u003e4. 2nd Mvt. – Adagio non troppo (10:38)\u003cbr\u003e5. 3rd Mvt. – Allegretto grazioso (5:29)\u003cbr\u003e6. 4th Mvt. – Allegro con spirito (9:15)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 21 December 1939 and *27 March 1940 ∙ Matrices: CS 045653-1,\n    045654-1, 045655-1, 045656-2, 045657-1, 045658-1. 045659-1, *045660-3,\n    045661-2, 045662-2, 045663-1 \u0026amp; 045664-1 ∙ First issued on Victor\n    17302\/7 in album M-694\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e7.\n    \n        \u003cstrong\u003e\n            \u003cspan style=\"font-size: 17px;\"\u003eJ. STRAUSS II Wiener Blut (Vienna Blood) - Waltz, Op. 354\u003c\/span\u003e\n        \u003c\/strong\u003e\n    \n    (5:02)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 15 March 1941 ∙ Matrices: CS 062561-1 ∙ First issued on Victor\n    18060\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    8.\n    \u003cstrong\u003e\n        \u003cspan style=\"font-size: 17px;\"\u003eJ. STRAUSS II Frühlingsstimmen (Voices of Spring) - Waltz Op. 410\u003c\/span\u003e\n    \u003c\/strong\u003e\n    (5:00)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 15 March 1941 ∙ Matrices: CS 062560-1 ∙ First issued on Victor\n    18060\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e9. \u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eJ. STRAUSS II Kaiser-Walzer (Emperor Waltz), Op. 437\u003c\/span\u003e \u003c\/strong\u003e\n    (10:04)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1 August 1941 ∙ Matrices: CS 062562-3 \u0026amp; 062563-4A ∙ First\n    issued on Victor 18220\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\n    \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eCD 2 \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\u003cspan style=\"font-size: 17px;\"\u003eHINDEMITH Symphony “Mathis der Maler”\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e1. 1st Mvt. – Engelkonzert (Ruhig bewegt) (7:35)\u003cbr\u003e2. 2nd Mvt. – Grablegung (Sehr langsam) (4:08)\u003cbr\u003e3. 3rd Mvt. – Versuchung des heiligen Antonius (Sehr langsam frei im\n    Zeitmaß – \u003ca name=\"OLE_LINK7\"\u003eSehr\u003c\/a\u003e lebhaft) (11:46)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 October 1940 ∙ Matrices: CS 056578-1, 056579-1A, 056580-1,\n    056581-1A, 056582-1A \u0026amp; 056583-1 ∙ First issued on Victor 18333\/5 in\n    album M-854\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e4. \u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eR. STRAUSS Waltzes from Der Rosenkavalier\u003c\/span\u003e \u003c\/strong\u003e(10:14)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 25 October 1941 ∙ Matrices: CS 071208-1 \u0026amp; 071209-1A ∙ First\n    issued on Victor 18390\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    \n        \u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eR. STRAUSS Symphonia Domestica, Op. 53\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e5. Thema I (Bewegt) (0:56)\u003cbr\u003e6. Thema II (Sehr lebhaft) (2:05)\u003cbr\u003e7. Thema III (Ruhig) (1:45)\u003cbr\u003e8. Scherzo (Munter) (5:54)\u003cbr\u003e9. Mässig langsam (Wiegenlied) (5:33)\u003cbr\u003e10. Adagio (Langsam) (10:57)\u003cbr\u003e11. Finale (Sehr lebhaft) (12:29)\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eRecorded 9 May 1938 ∙ Matrices: CS 022364-3, 022365-3, 022366-3, 022367-1,\n    022368-1, 022369-3, 022370-3, 022371-3, 022372-2A \u0026amp; 022373-1 ∙ First\n    issued on Victor 15225\/9 in album M-520\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eEugene Ormandy ∙ The Philadelphia Orchestra\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \n        Producer and Audio Restoration Engineer: Mark Obert-Thorn\n    \n\u003c\/p\u003e\n\u003cp\u003e\n    \n        Special thanks to Nathan Brown, Richard Kaplan and Charles Niss for\n        providing source material\u003cbr\u003eAll recordings made in the Academy of Music, Philadelphia\u003cbr\u003eCover artwork based on a photograph of Eugene Ormandy from the Tully Potter Collection\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 19:12   \u003c\/b\u003e   \u003c\/p\u003e\u003cp\u003eCD1: 65:44     CD2: 73:28    \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC634.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC634.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":39339567218749,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205526667598,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC634.jpg?v=1623989705"},{"product_id":"pasc634-cd","title":"ORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 3 (1937-41) - PASC634 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC634.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2 CDs with case \u0026 artwork (+MP3)","offer_id":39339564236861,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2 CDs only in plastic sleeves (+MP3)","offer_id":55205526634830,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC634_f051d6a6-687a-49bf-b4da-a698304c14ac.jpg?v=1658751488"},{"product_id":"pabx046","title":"ORMANDY and The Philadelphia Orchestra - The Early Years Complete - PABX046","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003eMusic by\u003cb\u003e \u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBach, Barber, Beethoven, Brahms, Liszt, Mozart, Ravel, Rimsky-Korsakov, Schubert, Schumann, Sibelius, J. Strauss, R. Strauss, Tchaikovsky, Telemann, Wagner\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e and more\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Philadelphia Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by Eugene Ormandy\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eStudio \u0026amp; live recordings, 1936-1945\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC726.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\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 1 (1936-42) - PASC578\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    The present release is the first in a series devoted to Eugene Ormandy’s\n    early recordings with the Philadelphia Orchestra for the Victor and World’s\n    Greatest Music labels from 1936 through 1942, with one additional Victor\n    recording from 1945. While the recordings he made during this period with\n    such legendary soloists as Rachmaninov, Kreisler, Heifetz, Feuermann,\n    Rubinstein, Flagstad, Melchior and others have deservedly remained in the\n    catalog for decades, this series will focus on his purely orchestral\n    recordings, which have been rather overlooked in reissues. Several of the\n    works, like the Schumann, Menotti, Barber and Roy Harris items in this\n    release, were never re-recorded by the conductor in his long career, and\n    some have not been available since the 78 rpm era.\n\u003c\/p\u003e\n\u003cp\u003e\n    As a musician born and trained in Budapest, one would expect Ormandy’s\n    Liszt to be idiomatic and exciting, and so it is. All the more strange,\n    then, that he recorded \u003cem\u003eLes préludes\u003c\/em\u003e only once more, for Columbia\n    in 1946, and not at all in the LP era. Stranger still is his track record\n    with Schumann. The Second Symphony heard here was begun at his first\n    Philadelphia session in December, 1936 and completed the following month.\n    Prior to that, Ormandy had recorded the composer’s Fourth Symphony in\n    Minneapolis; but after the Second, he was to make no more Schumann symphony\n    recordings for the rest of his career, a particular loss given the strong\n    and committed reading we have here.\n\u003c\/p\u003e\n\u003cp\u003e\n    Ravel might seem to be an odd discmate to Liszt and Schumann; but Ormandy’s\n    Philadelphia recordings during this period included very little French\n    music – just this, and a couple aria accompaniments for soprano Dorothy\n    Maynor. He would go on to re-record the \u003cem\u003eDaphnis\u003c\/em\u003e suite four more\n    times during the LP era (two mono and one stereo version for Columbia, as\n    well as a stereo RCA taping); but the present recording has not been\n    available since the 78 era – surprisingly, given its supercharged\n    excitement that surpasses even Munch’s tempo in the finale.\n\u003c\/p\u003e\n\u003cp\u003e\n    During the late 1930s and early ‘40s, Ormandy became the go-to conductor\n    for Victor’s recordings of Richard Strauss tone poems. Starting with the\n    first electrical recording of the \u003cem\u003eSymphonia Domestica\u003c\/em\u003e in 1938,\n    Ormandy and the Philadelphia recorded the present \u003cem\u003eEin Heldenleben \u003c\/em\u003e\n    the following year, and would go on to record \u003cem\u003eDon Quixote\u003c\/em\u003e with\n    Emanuel Feuermann in 1940 (Pristine \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc168\"\u003ePASC 168\u003c\/a\u003e). Ormandy recorded three more\n    versions of \u003cem\u003eHeldenleben \u003c\/em\u003eduring the LP era (Columbia mono, 1954;\n    Columbia stereo, 1960; RCA stereo, 1978), but the present one is the\n    swiftest of them all.\n\u003c\/p\u003e\n\u003cp\u003e\n    Throughout his conducting career, Ormandy was a committed champion of\n    American music. The works by Menotti and Barber were not only disc\n    premières; they were the first recording of any piece by the former, and\n    the earliest recorded orchestral work of the latter. The Roy Harris suite\nis comprised of the two orchestral interludes from the composer’s    \u003cem\u003eFolksong Symphony\u003c\/em\u003e framing a newly-added middle section. It\n    remained unissued during the 78 era.\n\u003c\/p\u003e\n\u003cp\u003e\n    The two Sousa marches, never reissued until now, were recorded as a display\n    of patriotism at the orchestra’s first session after America entered the\n    Second World War. It was to be the last under their Victor contract.\n    Shortly afterward, the first Petrillo Ban on recording went into effect;\n    and when it was over in 1944, the Philadelphia Orchestra began what was to\n    be a twenty-four year association with Columbia (except for one make-up\n    session in 1945 – but that’s a story for another volume . . . )\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 2 (1937-41) - PASC605\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n   \n        The present release is the second in a series devoted to Eugene\n        Ormandy’s early recordings with the Philadelphia Orchestra for the\n        Victor and World’s Greatest Music labels from 1936 through 1942, with\n        one additional Victor recording from 1945. While the recordings he made\n        during this period with such legendary soloists as Rachmaninov,\n        Kreisler, Heifetz, Feuermann, Rubinstein, Flagstad, Melchior and others\n        have deservedly remained in the catalog for decades, this series will\n        focus on his purely orchestral recordings, which have been rather\n        overlooked in reissues. No remade versions of the Telemann and Mozart works in this release ever appeared during the conductor's long career, and only the Beethoven ever received an “official” extended play reissue from\n        RCA, on a Camden LP.\n    \n\u003c\/p\u003e\n\u003cp\u003e\n    Ormandy’s forays into the Baroque repertoire during this period centered\n    around Bach transcriptions arranged by Lucien Cailliet (collected on\n    Pristine PASC 444 and 532), although he and the orchestra did record the\n    second and third Brandenburg Concertos anonymously for World’s Greatest\n    Music, forthcoming in this series. The Telemann work, which is reminiscent\n    of Bach’s more well-known Suite in B minor for Flute and Strings, is a\n    showpiece for the Philadelphia’s principal flute, William Kincaid, who\n    joined the orchestra in 1921 and stayed just long enough to welcome\n    Stokowski back in 1960. In an early nod to Historically Informed\n    Performance, an ensemble of 29 players including a harpsichord continuo was\n    used for this recording, although some changes to the text were made in the\n    edition employed (shortening the ending of the Ouverture, playing only the second Minuet and moving the Réjouissance to the end, probably to make it structured more like Bach's suite, which concludes with a fast Badinerie). Twice during the 1950s,\n    Columbia re-recorded the work for an LP issue that never materialized,\n    leaving this the sole Ormandy version.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Mozart Divertimento which follows on our program is probably the rarest\n    of all of Ormandy’s Philadelphia 78s due to the way it was originally\n    packaged, as two 10-inch discs and a 12-inch disc, the last of which is\n    almost invariably found broken in the album. It was a work to which Ormandy\n    never returned in the studio. The Beethoven symphony is seldom found for a\n    different reason: Ormandy had the bad timing to record it nine months\n    before Toscanini made his own much-admired set with the BBC Symphony, which\n    appeared on the same HMV\/Victor labels. Like the Mengelberg\/New York\n    Philharmonic account which it was intended to replace in the catalog, it\n    ran to eight sides in order to include the first movement repeat, making it\n    somewhat less competitive to record buyers who could purchase Weingartner’s\n    repeat-free version (made the same month as Toscanini’s) on six sides.\n\u003c\/p\u003e\n\u003cp\u003e\n    Sibelius was one of Ormandy’s specialties throughout his career. He had\n    already recorded the First Symphony in Minneapolis on ten sides, but\n    re-made the set only six years later in Philadelphia on eight longer sides\n    in a somewhat faster (but not by much!) reading. The recordings of the\n    three tone poems were done for an album celebrating the composer’s 75th\nbirthday. Although he was to re-record \u003cem\u003eFinlandia\u003c\/em\u003e and    \u003cem\u003eThe Swan of Tuonela\u003c\/em\u003e several more times over his career, Ormandy\n    only returned to \u003cem\u003eLemminkäinen’s Return\u003c\/em\u003e on disc for his two\n    complete recordings of the \u003cem\u003eLemminkäinen\u003c\/em\u003e \u003cem\u003eSuite\u003c\/em\u003e (the\n    earlier of which is on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc205\"\u003ePASC 205\u003c\/a\u003e). As commentator Edward Johnson points out,\nOrmandy adds tam-tam strokes in the nine bars before Letter P of the    \u003cem\u003eReturn\u003c\/em\u003e, an addition to the score also employed by Beecham in his\n    earlier recording. The Enescu was another work Ormandy had previously\n    recorded in Minneapolis, the earlier version on four 10-inch sides. Here,\n    the conductor was able to fit it on two rather long 12-inch sides in a\n    performance, like that of \u003cem\u003eLemminkäinen’s Return\u003c\/em\u003e, of incredible\n    speed and immense excitement. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 3 (1937-41) - PASC634\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    \u003ca name=\"OLE_LINK2\"\u003e\n        The present release is the third in a series devoted to Eugene\n        Ormandy’s early recordings with the Philadelphia Orchestra for the\n        Victor and World’s Greatest Music labels from 1936 through 1942, with\n        one additional Victor recording from 1945. While the recordings he made\n        during this period with such legendary soloists as Rachmaninov,\n        Kreisler, Heifetz, Feuermann, Rubinstein, Flagstad, Melchior and others\n        have deservedly remained in the catalog for decades, this series\n        focuses on his purely orchestral recordings, which have been rather\noverlooked in reissues. Except for the \u003cem\u003eSymphonia\u003c\/em\u003e        \u003cem\u003eDomestica\u003c\/em\u003e, which was previously reissued on LP (Camden) and CD\n        (Biddulph), none of the recordings presented here have been available\n        since the 78 rpm era.\n    \u003c\/a\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Leopold Stokowski left a formidable legacy of Wagner recordings during the\n    years of his directorship of the Philadelphia Orchestra, enough to fill\n    more than four CDs; so it is rather surprising that Ormandy’s 10-inch disc\n    of \u003cem\u003eMeistersinger\u003c\/em\u003e excerpts presented here is his only example of\n    orchestral Wagner on record during this period, although he also provided\n    several vocal accompaniments for Flagstad and Melchior.\n\u003c\/p\u003e\n\u003cp\u003e\n    Ormandy had first recorded the Brahms Second Symphony with the\n    Philadelphians anonymously for the World’s Greatest Music series nine\n    months before the version presented here (to be released in Volume 5 of\n    this series). The earlier version was on ten sides, while this one was on\n    twelve, like the 1929 Stokowski version (reissued on Pristine \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc562\" target=\"_blank\"\u003ePASC 562\u003c\/a\u003e) it\n    was intended to replace. Apparently, this was not due to a more expansive\n    interpretation; indeed, according to Richard Kaplan’s Philadelphia\n    Orchestra discography, the 12-sided version is 11 seconds faster than the\n    ten-sided one. Victor’s decision made the set rather uncompetitive in a\n    field which otherwise had ten- or even eight-sided Brahms Seconds.\n    (Interestingly, the earlier version was reissued on RCA’s Camden LP series,\n    the only World’s Greatest Music release to be so chosen.)\n\u003c\/p\u003e\n\u003cp\u003e\n    Ormandy had already recorded a best-selling album of Johann Strauss\n    overtures and waltzes with the Minneapolis Symphony before setting down the\n    three waltzes heard here. While he remade the \u003cem\u003eEmperor \u003c\/em\u003eWaltz ten\n    years later for a Columbia LP, the other two had to wait until the stereo\nera for another Ormandy\/Philadelphia version. Richard Strauss’    \u003cem\u003eRosenkavalier\u003c\/em\u003e Waltzes had also already been set down by Ormandy in\n    Minneapolis on three ten-inch sides. Here, he was able to take advantage of\n    longer recording times to re-record it on a single 12-inch disc.\n\u003c\/p\u003e\n\u003cp\u003e\n    Hindemith’s \u003cem\u003eMathis der Maler\u003c\/em\u003e Symphony was a mere six years old\n    when Ormandy made the recording included here. It was only the second\n    version on disc, following the composer’s own 1934 recording; and the two\n    would go on to become the only sets available during the 78 rpm era. As so\n    often when they were playing what was then “new music”, Ormandy and his\n    Philadelphians bring an almost missionary zeal to the performance, which\n    blazes with intensity, particularly in the brass.\n\u003c\/p\u003e\n\u003cp\u003e\n    For his first Richard Strauss tone poem on disc, Ormandy chose the then\n    lesser-known \u003cem\u003eSymphonia Domestica\u003c\/em\u003e for what became its first\n    electrical recording. (There had been a late acoustic set with Eduard\n    Mörike; and the only other 78-era recording would be Carl Schuricht’s\n    version from three years later, on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc320\" target=\"_blank\"\u003ePASC 320\u003c\/a\u003e.) For the next couple years,\n    Ormandy would be Victor’s “go-to” conductor for Strauss tone poems, setting\n    down \u003cem\u003eEin Heldenleben\u003c\/em\u003e in 1939 (in Volume 1 of our series, \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc578\" target=\"_blank\"\u003ePASC 578\u003c\/a\u003e)\n    and \u003cem\u003eDon Quixote\u003c\/em\u003e with Feuermann the following year (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc168\" target=\"_blank\"\u003ePASC 168\u003c\/a\u003e).\n    While he continued to record and re-record most of the major Strauss\norchestral works until the end of his career, he never returned to the    \u003cem\u003eDomestica\u003c\/em\u003e, leaving this his sole statement on the work.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 4 (1936-45) - PASC693\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    The present release is the fourth in a  series devoted to Eugene Ormandy’s\n    early recordings with the Philadelphia  Orchestra for the Victor and World’s\n    Greatest Music labels from 1936 through  1942, with one additional Victor\n    recording (the \u003cem\u003eNutcracker\u003c\/em\u003e Suite presented  here) from 1945.  While\n    the recordings he  made during this period with such legendary soloists as\n    Rachmaninov, Kreisler,  Heifetz, Feuermann, Rubinstein, Flagstad, Melchior\n    and others have deservedly  remained in the catalog for decades, this series\n    focuses on his purely  orchestral recordings, which have been rather\n    overlooked in reissues.  Among the items included in the present  program,\n    only the Tchaikovsky “Pathétique” has seen previous reissue on both  LP and\n    CD.  The \u003cem\u003eNutcracker\u003c\/em\u003e Suite was  last offered on a 10-inch LP in the\n    early 1950s; the Tchaikovsky Fifth has been  unavailable since the 78-rpm\n    era; and the two Rimsky-Korsakov items are seeing their  first release here.\n\u003c\/p\u003e\n\u003cp\u003e\n    The \u003cem\u003eNutcracker\u003c\/em\u003e Suite might rightly  be called the Philadelphia\n    Orchestra’s “contractual obligation album.”    Ormandy  had first recorded\n    the work with them in December, 1941; but like many Victors  of that period\n    (including the Philadelphia sides conducted by Toscanini), the  matrices\n    suffered from processing problems that rendered them too noisy to  release.\n    By the end of the first  Petrillo recording ban (1942-44), the orchestra had\n    switched to Columbia, making  their first records for that label in\n    November, 1944.  However, under their contract, they were  allowed to\n    re-make existing Victor sides that were awaiting release.  And so, in\n    January of 1945, this single album  was made for RCA.  The Overture is taken\n    at a notably broader tempo than Ormandy would use in his 1952\/3 Columbia LP\n    remake, although for that later recording, he would still have the violins\n    play  an octave higher in repeated phrases in the “Waltz of the Flowers.”\n\u003c\/p\u003e\n\u003cp\u003e\n    Although he inherited Stokowski’s  orchestra, Ormandy’s conducting idol was\n    Toscanini, whose influence can be  heard in the two Tchaikovsky symphony\n    recordings.  While the Fifth Symphony was not in the  Italian Maestro’s\n    repertoire, Ormandy’s 1941 recording reflects a Toscanini-like  approach,\n    with swift tempi and ever-forward movement (e.g., the end of the  first\n    movement).  Ormandy restores the  big cut in the fourth movement taken by\n    Mengelberg (Pristine PASC 511) and  Stock (PASC 684), as well as smaller\n    ones imposed by Stokowski, like the  lead-in to the final peroration in the\n    fourth movement.  A similar aesthetic is evident in the “Pathétique”,  which\n    dates from Ormandy’s first recording session with the Philadelphians in\n    December, 1936 (with the first and last sides remade a month later).\n    Ormandy would go on to re-record these two  symphonies four more times over\n    his long career, in increasingly more expansive  readings.\n\u003c\/p\u003e\n\u003cp\u003e\n    The arrangement Ormandy made of a short,  atmospheric scene from\n    Rimsky-Korskakov’s opera, \u003cem\u003eChristmas Eve\u003c\/em\u003e, begins  with music\n    reminiscent of the Eastern Orthodox hymn Tchaikovsky used to open  his\n    \u003cem\u003e\n        1812\n    \u003c\/em\u003e\n    Overture.  No coupling  for this side was recorded at the time, so it has\n    remained unissued until now.\n\u003c\/p\u003e\n\u003cp\u003e\n    Ormandy’s Philadelphia recordings of  Russian repertoire during this period\n    are sparse; the only other work taken  down in the studio was Lucien\n    Cailliet’s transcription of Mussorgsky’s \u003cem\u003ePictures  at an Exhibition\u003c\/em\u003e\n    (already reissued on PASC 444).  To conclude our program, we turn to a\n    previously  unpublished live performance.  On the  same Easter Sunday that\n    Marian Anderson’s historic recital on the steps of the  Lincoln Memorial\n    captured the attention of American radio listeners, Ormandy  and his\n    Philadelphians offered a broadcast concert on NBC’s “Magic Key of RCA”\n    program,  concluding with a blazing performance of Rimsky-Korsakov’s\n    \u003cem\u003e\n        Russian Easter  Overture\n    \u003c\/em\u003e\n    , which had to be abridged to fit the one-hour time constraint of  the\n    program.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMark  Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 5 (1938-40) - PASC726\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    The present release is the fifth and  last in a series devoted to Eugene\n    Ormandy’s early recordings with the  Philadelphia Orchestra for the Victor\n    and World’s Greatest Music labels from  1936 through 1942, with one\n    additional Victor recording from 1945.  While the recordings he made during\n    this  period with such legendary soloists as Rachmaninov, Kreisler, Heifetz,\n    Feuermann, Rubinstein, Flagstad, Melchior and others have deservedly\n    remained  in the catalog for decades, this series has focused on his purely\n    orchestral  recordings, which have been rather overlooked in reissues.\n    Among the items included in the present  program, only the Brahms has seen a\n    previous LP reissue, while none of the  recordings have been released on CD.\n\u003c\/p\u003e\n\u003cp\u003e\n    The “World’s Greatest Music” label was  begun by the Publishers Service\n    Company (a distribution arm of the New York \u003cem\u003ePost\u003c\/em\u003e) to market\n    recordings of standard Classical repertoire at  prices which substantially\n    undercut the majors.   Neither the conductors nor the orchestras were named\n    on the labels; but  subsequent research has identified albums recorded by\n    Fritz Reiner and the New  York Philharmonic and Artur Rodziński with the NBC\n    Symphony, among others.  The recordings were made by RCA Victor and  were\n    pressed by them as well, with nothing on the discs or packaging to betray\n    their origins.  The recordings were  phenomenally successful, with\n    \u003cem\u003e\n        Time\n    \u003c\/em\u003e\n    magazine reporting in 1940 that over  one million records in the symphonic\n    series had been sold.\n\u003c\/p\u003e\n\u003cp\u003e\n    In order to keep production costs down,  reduced forces were used for the\n    sessions (here, 49 players for the Bach and  Mozart works, and 74 for the\n    remainder).   The chamber-sized forces work to the advantage of the earlier\n    music,  with the Bach in particular losing the bloated, Romanticized\n    approach of  Stokowski’s 1928 recording of the Second Brandenburg with the\n    same  ensemble.  While no one will confuse  Ormandy’s Bach with an “H.I.P.”\n    reading, the approach here was part of an  interim step (exemplified by the\n    Busch Chamber Players’ 1935 set of the  Brandenburgs) to move past the slow\n    tempi and massive sound that characterized many  orchestral Bach\n    performances up through the early 1930s.  Alone among the standard\n    repertoire “greatest  hits” on this release, the Bach items were never later\n    re-recorded by Ormandy during  his long career.\n\u003c\/p\u003e\n\u003cp\u003e\n    Although he inherited Stokowski’s  orchestra with its lush sound, Ormandy’s\n    conducting idol was Toscanini; and  that connection informs his approach to\n    the Classical and Romantic era works  here.  The Mozart (even with its\n    slight  portamento on the opening phrase, heard also in some Toscanini\n    performances),  Beethoven and Schubert might almost be mistaken for the work\n    of The Maestro,  save for a reluctance to fully press the vehemence of the\n    louder passages,  opting instead for a more rounded, “beautiful” sound.  In\n    some of the recordings (the first movement  of the Beethoven and the\n    Brandenburg Second in particular), the lack of  rehearsal for the sessions\n    can occasionally be heard in slight off-beat  ensemble irregularities,\n    albeit ones from which the orchestra quickly recovers.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Brahms is a particularly successful  interpretation in this series – a\n    glowing, full-hearted reading which finds  Ormandy avoiding the temptation\n    to accelerate toward the ending.  It was re-recorded for release on Victor\n    nine  months later, in a version lavishly spread over twelve sides (as\n    opposed to the  ten for WGM), a reading which was actually a few seconds\n    faster than the one  presented here.  (The later one has been  reissued in\n    Volume Three of this series, PASC 634).  As one might expect, there are no\n    great  differences between the two; yet, oddly, the WGM version was chosen\n    by RCA for  reissue in its Camden LP series (CAL-236), where it was credited\n    to the  “Claridge Symphony Orchestra”, the only such attribution given.\n\u003c\/p\u003e\n\u003cp\u003e\n    Prefacing the WGM releases here is a  Victor recording inadvertently left\n    out of previous volumes in our series.  The arranger, Charles O’Connell, was\n    Victor’s  Red Seal director, and made recordings as a conductor and organist\n    for the  label.  As producer for the Philadelphia  Orchestra’s sessions, he\n    was intimately familiar with Stokowski’s Bach  orchestrations, and was able\n    to replicate his “formula” of introducing various  orchestral choirs in\n    succession very closely in the excerpt from the\n    \u003cem\u003e\n        St.  Matthew Passion\n    \u003c\/em\u003e\n    presented here.   O’Connell also persuaded other conductors to record his\n    transcriptions,  including Monteux and Stokowski himself.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMark  Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand track listing:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 1 (1936-42) - PASC578\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003eEugene Ormandy and The Philadelphia Orchestra\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eThe Early Years ∙ Volume 1\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eStudio Recordings ∙ 1936 - 1942\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cdiv\u003e\n    \u003cp\u003e\n        \u003cstrong\u003e\n            \u003cbr\u003e\n        \u003c\/strong\u003e\n    \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n    \u003cstrong\u003eCD 1 (66:33)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. \u003cstrong\u003eLISZT: Les préludes, S.97\u003c\/strong\u003e (15:51)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17 October 1937 ∙ Matrices: CS 013065\/8 (all Take 1) ∙ First\n    issued on Victor 14924\/5 in album M-453\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003eSCHUMANN: Symphony No. 2 in C, Op. 61\u003c\/strong\u003e\u003cbr\u003e2. 1st Mvt.: Sostenuto assai – Allegro, ma non troppo (10:38)\u003cbr\u003e3. 2nd Mvt.: Scherzo: Allegro vivace (7:01)\u003cbr\u003e4. 3rd Mvt.: Adagio espressivo (9:38)\u003cbr\u003e5. 4th Mvt.: Allegro molto vivace (7:56)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 13 December 1936 \u0026amp; 9 January 1937 ∙ Matrices: CS 03141-1,\n    03142-1, 03143-1, 03144-1, 03145-1, 03146-1, 03147-1, 03148-1, 03189-1\n    \u0026amp; 03190-2 ∙ First issued on Victor 14885\/9 in album M-448\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003eRAVEL: Daphnis et Chloé – Suite No. 2\u003c\/strong\u003e\u003cbr\u003e6. Lever du jour (Daybreak) (4:48)\u003cbr\u003e7. Pantomime (7:26)\u003cbr\u003e8. Danse générale (3:15)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 January 1939 ∙ Matrices: CS 030900-1, 030901-1, 030902-2 \u0026amp;\n    030903-1 ∙ First issued on Victor 16147\/8 in album M-667\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003eCD 2 (69:27)\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 R. STRAUSS: Ein Heldenleben, Op. 40\u003c\/strong\u003e\u003cbr\u003e1. Der Held (The Hero) (4:06)\u003cbr\u003e2. Des Helden Widersacher (The Hero’s Adversaries) (3:12)\u003cbr\u003e3. Des Helden Gefährtin (The Hero’s Companion) (12:30)\u003cbr\u003e4. Des Helden Walstatt (The Hero’s Battlefield) (8:08)\u003cbr\u003e5. Des Helden Friedenswerke (The Hero’s Works of Peace) (4:23)\u003cbr\u003e6. Des Helden Weltflucht und Vollendung (The Hero’s Retreat from the World\n    and Fulfillment) (10:24)\u003cstrong\u003e\u003cbr\u003eAlexander Hilsberg ∙ \u003cem\u003esolo violin\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 30 April 1939 ∙ Matrices: CS 035813-1, 035814-1, 035815-2,\n    035816-1, 035817-1, 035818-1, 035819-1, 035820-1, 035821-1 \u0026amp; 035822-1 ∙\n    First issued on Victor 15661\/5 in album M-610\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e7. \u003cstrong\u003eMENOTTI: Amelia Goes to the Ball – Overture \u003c\/strong\u003e(4:15)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 January 1939 ∙ Matrix: CS 030904-2 ∙ First issued on Victor\n    15377\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e8. \u003cstrong\u003eBARBER: First Essay for Orchestra, Op. 12\u003c\/strong\u003e (7:27)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 October 1940 ∙ Matrices: CS 056573-1 \u0026amp; 056574-2 ∙ First\n    issued on Victor 18062\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003eROY HARRIS: Three Pieces for Orchestra\u003c\/strong\u003e\u003cbr\u003e9. Dance Tunes for Strings and Percussion (2:45)\u003cbr\u003e10. Evening Piece (3:47)\u003cbr\u003e11. Dance Tunes for Full Orchestra (2:42)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 25 October 1941 ∙ Matrices: CS 071290\/1 (both Take 1) ∙ Unissued\n    on 78 rpm\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e12. \u003cstrong\u003eSOUSA: Washington Post March \u003c\/strong\u003e(2:24)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 6 March 1942 ∙Matrix: CS 073214-2 ∙ First issued on Victor 11-8451\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e13. \u003cstrong\u003eSOUSA: The Stars and Stripes Forever \u003c\/strong\u003e(3:24)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 6 March 1942 ∙Matrix: CS 073213-1 ∙ First issued on Victor 11-8451\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eEugene Ormandy ∙ The Philadelphia Orchestra\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown, Richard Kaplan and Charles Niss for\n    providing source material\u003cbr\u003eAll recordings made in the Academy of Music, Philadelphia\n\u003cbr\u003eCover artwork based on a photograph of Eugene Ormandy from the Tully Potter Collection\u003c\/p\u003e\n\u003cp\u003eTotal duration: \u003cb\u003e2hr 16:00 \u003c\/b\u003e\u003cbr\u003eCD1: 66:34 CD2: 69:26\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\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 2 (1937-41) - PASC605\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    \n        \u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003eEugene Ormandy and The Philadelphia Orchestra: The Early Years ∙ Volume 2\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003c\/p\u003e\n\u003cdiv\u003e\n    \u003cp\u003e\n        \u003cstrong\u003e \u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003e \u003c\/strong\u003e\n    \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n    \u003cstrong\u003eCD 1 (63:16)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\n        TELEMANN \n        \n            Suite in A minor for Flute and Strings, TWV 55:a2\u003c\/strong\u003e\u003cbr\u003e1. I Ouverture (4:50)\u003cbr\u003e2. II Les plaisirs (2:02)\u003cbr\u003e3. III Air à L’Italienne (4:04)\u003cbr\u003e4. IV Menuet [II] (2:13)\u003cbr\u003e5. VI Passepied I \u0026amp; II (1:07)\u003cbr\u003e6. VII Polonaise (2:19)\u003cbr\u003e7. V Réjouissance (1:33)\u003cstrong\u003e\u003cbr\u003eWilliam Kincaid ∙ \u003cem\u003eflute\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 15 March 1941 ∙ Matrices: CS 062546-1, 062547-2A, 062548-1A \u0026amp;\n    062549-1 ∙ First issued on Victor 11-8120\/2 in album M-890\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\n        \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMOZART\n        \n            Divertimento No. 10 in F major for Strings and 2 Horns, K.247\u003c\/strong\u003e\u003cbr\u003e8. 1st Mvt. - Allegro (5:52)\u003cbr\u003e9. 2nd Mvt. - Andante grazioso (5:26)\u003cbr\u003e10. 3rd Mvt. - Menuetto \u0026amp; Trio (3:12)\u003cbr\u003e11. 4th Mvt. - Andante - Allegro assai (4:33)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17 April 1938 ∙ Matrices: BS 022328\/31 \u0026amp; CS 022332\/3 (all Take\n    1) ∙ First issued on Victor 2014\/5 \u0026amp; 15639 in album M-603\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBEETHOVEN Symphony No. 1 in C major, Op. 21\u003c\/strong\u003e\u003cbr\u003e12. 1st Mvt. - Adagio molto - Allegro con brio (9:35)\u003cbr\u003e13. 2nd Mvt. - Andante cantabile con moto (7:12)\u003cbr\u003e14. 3rd Mvt. - Menuetto: Allegro molto e vivace (3:29)\u003cbr\u003e15. 4th Mvt. - Adagio - Allegro molto e vivace (5:49)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 9 January 1937 ∙ Matrices: CS 03194\/9 \u0026amp; 04000\/1 (all Take 1) ∙\n    First issued on Victor 14691\/4 in album M-409\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eCD 2 (68:48)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. \u003cstrong\u003eSIBELIUS Finlandia, Op. 26 \u003c\/strong\u003e(7:54)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 October 1940 ∙ Matrices: CS 047821-2 \u0026amp; 047822-2 ∙ First\n    issued on Victor 17701 in album M-750\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    2.\n    \u003cstrong\u003e\n        SIBELIUS The Swan of Tuonela (No. 2 of Lemminkäinen Suite, Op. 22)\n    \u003c\/strong\u003e\n    (8:30)\u003cstrong\u003e\u003cbr\u003eJohn Minsker ∙ \u003cem\u003eEnglish horn\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 October 1940 ∙ Matrices: CS 047823-2 \u0026amp; 047824-2 ∙ First\n    issued on Victor 17702 in album M-750\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    3.\n    \u003cstrong\u003e\nSIBELIUS         Lemminkäinen’s Return (No. 4 of Lemminkäinen\n        Suite, Op. 22)\n    \u003c\/strong\u003e\n    (5:34)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 October 1940 ∙ Matrices: CS 047823-2 \u0026amp; 047824-2 ∙ First\n    issued on Victor 17702 in album M-750\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\n\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSIBELIUS Symphony         No. 1 in E minor, Op. 39\u003c\/strong\u003e\u003cbr\u003e4. 1st Mvt. - Andante, ma non troppo - Allegro energico (9:40)\u003cbr\u003e5. 2nd Mvt. - Andante (ma non troppo lento) (9:26)\u003cbr\u003e6. 3rd Mvt. - Scherzo: Allegro (4:46)\u003cbr\u003e7. 4th Mvt. - Finale (Quasi una fantasia) (12:37)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 25 October 1941 ∙ Matrices: CS 071200-2A, 071201-1, 071202-1,\n    071203-1, 071204-1, 071205-1, 071206-1 \u0026amp; 071207-1 ∙ First issued on\n    Victor 18499\/502 in album M-881\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    8. \n  \n        \u003cstrong\u003eENESCU Romanian Rhapsody No. 1, Op. 11\u003c\/strong\u003e\n   \n    \u003cstrong\u003e \u003c\/strong\u003e\n    (10:22)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1 August 1941 ∙ Matrices: CS 066735-1 \u0026amp; 066736-2A ∙ First\n    issued on Victor 18201 in album M-830\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eEugene Ormandy ∙ The Philadelphia Orchestra\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n   \n        \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eProducer and Audio Restoration Engineer: \u003cb\u003eMark Obert-Thorn\u003c\/b\u003e\u003cbr\u003eSpecial thanks to Nathan Brown, Richard Kaplan and Charles Niss for\n    providing source material\u003cbr\u003eAll recordings made in the Academy of Music, Philadelphia\u003cbr\u003eCover artwork based on a photograph of Eugene Ormandy from the Tully Potter Collection\u003c\/p\u003e\n\u003cp\u003eTotal duration: \u003cb\u003e2hr 12:05\u003c\/b\u003e   \u003c\/p\u003e\n\u003cp\u003eCD1: 63:16   CD2: 68:48    \u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003c\/div\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\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 3 (1937-41) - PASC634\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\n\u003cp\u003e\n    \n        \u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003eEugene Ormandy and The Philadelphia Orchestra: The Early Years ∙ Volume 3\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003c\/p\u003e\n\u003cdiv\u003e\n    \u003cp\u003e\n        \u003cstrong\u003e \u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003e \u003c\/strong\u003e\n    \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n\n    \u003cstrong\u003eCD 1\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \n    \u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 17px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eDie Meistersinger von Nürnberg\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 17px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003e (Act 3)\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e1. Dance of the Apprentices (2:59)\u003cbr\u003e2. Entrance of the Mastersingers (3:12)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 9 January 1937 ∙ Matrices: BS 03192-2 \u0026amp; 03193-1 ∙ First issued\n    on Victor 1807\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \n        \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eBRAHMS Symphony No. 2 in D major, Op. 73\u003c\/span\u003e\u003c\/strong\u003e\n    \n    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e3. 1st Mvt. – Allegro non troppo (14:01)\u003cbr\u003e4. 2nd Mvt. – Adagio non troppo (10:38)\u003cbr\u003e5. 3rd Mvt. – Allegretto grazioso (5:29)\u003cbr\u003e6. 4th Mvt. – Allegro con spirito (9:15)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 21 December 1939 and *27 March 1940 ∙ Matrices: CS 045653-1,\n    045654-1, 045655-1, 045656-2, 045657-1, 045658-1. 045659-1, *045660-3,\n    045661-2, 045662-2, 045663-1 \u0026amp; 045664-1 ∙ First issued on Victor\n    17302\/7 in album M-694\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e7.\n    \n        \u003cstrong\u003e\n            \u003cspan style=\"font-size: 17px;\"\u003eJ. STRAUSS II Wiener Blut (Vienna Blood) - Waltz, Op. 354\u003c\/span\u003e\n        \u003c\/strong\u003e\n    \n    (5:02)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 15 March 1941 ∙ Matrices: CS 062561-1 ∙ First issued on Victor\n    18060\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    8.\n    \u003cstrong\u003e\n        \u003cspan style=\"font-size: 17px;\"\u003eJ. STRAUSS II Frühlingsstimmen (Voices of Spring) - Waltz Op. 410\u003c\/span\u003e\n    \u003c\/strong\u003e\n    (5:00)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 15 March 1941 ∙ Matrices: CS 062560-1 ∙ First issued on Victor\n    18060\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e9. \u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eJ. STRAUSS II Kaiser-Walzer (Emperor Waltz), Op. 437\u003c\/span\u003e \u003c\/strong\u003e\n    (10:04)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1 August 1941 ∙ Matrices: CS 062562-3 \u0026amp; 062563-4A ∙ First\n    issued on Victor 18220\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\n    \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eCD 2 \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\u003cspan style=\"font-size: 17px;\"\u003eHINDEMITH Symphony “Mathis der Maler”\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e1. 1st Mvt. – Engelkonzert (Ruhig bewegt) (7:35)\u003cbr\u003e2. 2nd Mvt. – Grablegung (Sehr langsam) (4:08)\u003cbr\u003e3. 3rd Mvt. – Versuchung des heiligen Antonius (Sehr langsam frei im\n    Zeitmaß – \u003ca name=\"OLE_LINK7\"\u003eSehr\u003c\/a\u003e lebhaft) (11:46)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 October 1940 ∙ Matrices: CS 056578-1, 056579-1A, 056580-1,\n    056581-1A, 056582-1A \u0026amp; 056583-1 ∙ First issued on Victor 18333\/5 in\n    album M-854\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e4. \u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eR. STRAUSS Waltzes from Der Rosenkavalier\u003c\/span\u003e \u003c\/strong\u003e(10:14)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 25 October 1941 ∙ Matrices: CS 071208-1 \u0026amp; 071209-1A ∙ First\n    issued on Victor 18390\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \n        \u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eR. STRAUSS Symphonia Domestica, Op. 53\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e5. Thema I (Bewegt) (0:56)\u003cbr\u003e6. Thema II (Sehr lebhaft) (2:05)\u003cbr\u003e7. Thema III (Ruhig) (1:45)\u003cbr\u003e8. Scherzo (Munter) (5:54)\u003cbr\u003e9. Mässig langsam (Wiegenlied) (5:33)\u003cbr\u003e10. Adagio (Langsam) (10:57)\u003cbr\u003e11. Finale (Sehr lebhaft) (12:29)\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eRecorded 9 May 1938 ∙ Matrices: CS 022364-3, 022365-3, 022366-3, 022367-1,\n    022368-1, 022369-3, 022370-3, 022371-3, 022372-2A \u0026amp; 022373-1 ∙ First\n    issued on Victor 15225\/9 in album M-520\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEugene Ormandy ∙ The Philadelphia Orchestra\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \n        Producer and Audio Restoration Engineer: Mark Obert-Thorn\n    \n\u003c\/p\u003e\n\u003cp\u003e\n    \n        Special thanks to Nathan Brown, Richard Kaplan and Charles Niss for\n        providing source material\u003cbr\u003eAll recordings made in the Academy of Music, Philadelphia\u003cbr\u003eCover artwork based on a photograph of Eugene Ormandy from the Tully Potter Collection\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 19:12   \u003c\/b\u003e   \u003c\/p\u003e\n\u003cp\u003eCD1: 65:44     CD2: 73:28    \u003cbr\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\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 4 (1936-45) - PASC693\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eORMANDY \u003c\/b\u003eand The Philadelphia Orchestra - The Early Years ∙ Volume 4\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eCD 1\n        (66:10)\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY  The Nutcracker - Suite, Op. 71a\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e1. Miniature Overture (3:30)\u003cbr\u003e2. March (2:14)\u003cbr\u003e3. Dance of the Sugar-Plum Fairy (1:44)\u003cbr\u003e4. Russian Dance (1:07)\u003cbr\u003e5. Arabian Dance (3:46)\u003cbr\u003e6. Chinese Dance (1:07)\u003cbr\u003e7. Dance of the Flutes (2:06)\u003cbr\u003e8. Waltz of the Flowers (6:31)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 10 January 1945 ∙ Matrices: D5-RC-643\/8 ∙ First  issued on RCA\n    Victor 11-8912\/4 in album M-1020\n\u003c\/span\u003e\u003c\/p\u003e\n\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: 18px;\"\u003eTCHAIKOVSKY Symphony No. 5\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003e\n    in E minor, Op. 64\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e9.           1st  Mvt. -\n    \n        Andante - Allegro con anima\n    \n    (13:24)\u003cbr\u003e10.        2nd Mvt. -\n    \n        Andante cantabile,  con alcuna licenza\n    \n    (13:09)\u003cbr\u003e11.        3rd  Mvt. - Valse: Allegro moderato\n    (5:59)\u003cbr\u003e12.        4th  Mvt. -\n    \n        Andante maestoso - Allegro vivace\n    \n    (11:29)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 15 March 1941 ∙ Matrices: CS 062550-1, 062551-1A,  062552-1A,\n    062553-2, 062554-1A, 062555-1A, 062556-1A, 062557-1A, 062558-1A  \u0026amp;\n    062559-1A ∙ First issued on Victor 18177\/81 in album M-828\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003c\/p\u003e\n\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\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003eCD 2\n        (55:24)\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY  Symphony No. 6 in B minor, Op. 74, “Path\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eé\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003etique”\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e1.           1st  Mvt. -\n    \n        Adagio - Allegro non troppo\n    \n    (16:20)\u003cbr\u003e2.           2nd  Mvt. - Allegro con grazia (7:41)\u003cbr\u003e3.           3rd  Mvt. - Allegro molto vivace\n    (8:20)\u003cbr\u003e4.           4th  Mvt. - Finale: Adagio lamentoso\n    (8:34)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 13 December 1936 and *9 January 1937 ∙ Matrices: CS  03131-4A*,\n    03132-1, 03133-1, 03134-1, 03135-2, 03136-1, 03137-1, 03138-1,  03139-1\n    \u0026amp; 03140-2* ∙ First issued on Victor 14264\/8 in album M-337\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    5.\n    \n        \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV (arr. Ormandy)  Church Scene from\n        \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003e\n            Christmas Eve\u003c\/span\u003e\n        \u003c\/em\u003e\n        \u003c\/strong\u003e\n    \n    \u003cstrong\u003e\u003c\/strong\u003e(3:46)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 December 1941 ∙ Matrices: CS 071291-1 ∙ Previously  unpublished\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e6.\n    \n        \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV Russian  Easter Overture, Op. 36\u003c\/span\u003e\u003c\/strong\u003e\n    \n    \u003cem\u003e(abridged)\u003c\/em\u003e (10:41) \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eAnnouncer:   Milton Cross\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFrom the NBC “Magic Key of RCA” broadcast of 9 April 1939\n    \n    · Previously unpublished\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eEugene  Ormandy ∙ The Philadelphia Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: 18px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\n    \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003eProducer  and Audio Restoration Engineer:  Mark  Obert-Thorn\u003cbr\u003eSpecial  thanks to Nathan Brown, Frederick P. Fellers, Richard Kaplan and\n    Charles Niss  for providing source material\u003cbr\u003eAll  recordings made in the Academy of Music, Philadelphia\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 5 (1938-40) - PASC726\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\n        \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eORMANDY \u003c\/b\u003eand The Philadelphia Orchestra - The Early Years ∙ Volume 5\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCD 1\n        (79:45)\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. \u003cstrong\u003eJ. S.\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eBACH (arr. O’Connell):\n    “Herzliebster Jesu” from \u003cem\u003eSt. Matthew  Passion\u003c\/em\u003e, BWV 244\u003c\/strong\u003e (3:05)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 27 March 1940 ∙ Matrix: CS 047825-1 ∙ First issued  on Victor 18166\n\u003c\/span\u003e\u003c\/p\u003e\n\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\u003eJ. S. BACH:   Brandenburg Concerto No. 2 in F major, BWV 1047\u003cbr\u003e\u003c\/strong\u003e2.           1st  Mvt. – [Allegro] (4:47)\u003cbr\u003e3.           2nd  Mvt. – Andante (4:39)\u003cbr\u003e4.           3rd  Mvt. – Allegro assai (2:49)\u003cbr\u003e\u003cstrong\u003eAlexander  Hilsberg, \u003c\/strong\u003e\u003cem\u003esolo violin\u003c\/em\u003e\u003cstrong\u003e; Saul\n    Caston,\u003c\/strong\u003e\u003cem\u003e solo trumpet\u003c\/em\u003e\u003cstrong\u003e; William Kincaid,\u003c\/strong\u003e\u003cem\u003e solo \n    flute\u003c\/em\u003e\u003cstrong\u003e; Marcel  Tabuteau,\u003c\/strong\u003e\u003cem\u003e solo oboe\u003c\/em\u003e \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 November 1938 ∙ Matrices: CS 028831-2, 028832-1  \u0026amp; 028833-1\n    ∙ First issued on World’s Greatest Music SR-14\/15\n\u003c\/span\u003e\u003c\/p\u003e\n\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\u003eJ. S. BACH:   Brandenburg Concerto No. 3 in G major, BWV 1048\u003cbr\u003e\u003c\/strong\u003e5.           1st  Mvt. – [Allegro] (6:24)\u003cbr\u003e6.           3rd  Mvt. – Allegro (3:23)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 November 1938 ∙ Matrices: CS 028840-1, 028841-1  \u0026amp; 028842-1\n    ∙ First issued on World’s Greatest Music SR-15\/16\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003eMOZART  Symphony No. 40 in G minor, K.550\u003cbr\u003e\u003c\/strong\u003e7.           1st  Mvt. – Molto allegro (7:13)\u003cbr\u003e8.           2nd  Mvt. – Andante (7:49)\u003cbr\u003e9.           3rd  Mvt. – Menuetto.  Allegro – Trio (4:00)\u003cbr\u003e10.        4th  Mvt. – Finale.  Allegro assai (4:25)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 November 1938 ∙ Matrices: CS 028834-1, 028835-1,  028836-1,\n    028837-1, 028838-1 \u0026amp; 028839-1 ∙ First issued on World’s Greatest  Music\n    SR-8\/10\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003eBEETHOVEN  Symphony No. 5 in C minor, Op. 67\u003cbr\u003e\u003c\/strong\u003e11.        1st  Mvt. – Allegro con brio (7:39)\u003cbr\u003e12.        2nd  Mvt. – Andante con moto (9:45)\u003cbr\u003e13.        3rd  Mvt. – Scherzo:  Allegro (5:07)\u003cbr\u003e14.        4th  Mvt. – Allegro – Presto (8:33)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17 October 1938 ∙ Matrices: CS 027814-2, 027815-1,  027816-1,\n    027817-1, 027818-1, 027819-1, 027820-1 \u0026amp; 027821-1 ∙ First issued  on\n    World’s Greatest Music SR-4\/7\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003c\/p\u003e\n\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\u003eCD 2\n        (61:39)\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eSCHUBERT  Symphony No. 8 in B minor, D.759 “Unfinished”\u003cbr\u003e\u003c\/strong\u003e1.           1st  Mvt. –Allegro moderato (10:50)\u003cbr\u003e2.           2nd  Mvt. – Andante con moto (11:33)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17 October 1938 ∙ Matrices: CS 027808-2, 027809-1,  027810-1,\n    027811-1, 027812-1 \u0026amp; 027813-1 ∙ First issued on World’s Greatest  Music\n    SR-1\/3\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003eBRAHMS  Symphony No. 2 in D major, Op. 73\u003cbr\u003e\u003c\/strong\u003e3.           1st  Mvt. – Allegro non troppo (14:31)\u003cbr\u003e4.           2nd  Mvt. – Adagio non troppo (9:53)\u003cbr\u003e5.           3rd  Mvt. – Allegretto grazioso (quasi andantino) (5:38)\u003cbr\u003e6.           4th  Mvt. – Allegro con spirito (9:10)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 26 March 1939 ∙ Matrices: CS 035400-1, 035401-2, 035402-1,\n    035403-2, 035404-2A, 035405-1, 035406-2, 035407-1, 035408-1 \u0026amp; 035409-1 ∙\n    First issued on World’s Greatest Music SR-28\/32\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\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: 20px;\"\u003eEugene  Ormandy ∙ The Philadelphia Orchestra\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\n\u003cp\u003eProducer  and Audio Restoration Engineer:  Mark  Obert-Thorn\u003cbr\u003eSpecial  thanks to Nathan Brown and Charles Niss for providing source\n    material\u003cbr\u003eAll  recordings made in the Academy of Music, Philadelphia\n\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTotal duration: 2hr 21:24\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine 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(+MP3)","offer_id":49566551376206,"sku":null,"price":125.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC726_4374e2e6-510a-4970-bade-03cdab4f0a70.jpg?v=1729177521"},{"product_id":"pasc760","title":"RODZINSKI NBC 1938, Volume 3 (1938) - PASC760","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGLINKA \u003c\/b\u003eRuslan and Ludmila - Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSymphony No. 5\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSTAROKADOMSKY \u003c\/b\u003eConcerto For Orchestra*\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003eFirebird Suite\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDVO\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003eŘÁK\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e \u003c\/b\u003eSymphony No. 8\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eHINDEMITH \u003c\/b\u003eMathis der Maler Symphony\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eR. STRAUSS \u003c\/b\u003eTill Eulenspiegels lustige Streiche\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast recordings, 1938\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 55:37 (CDs: \u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e2hr 35:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cb\u003e*Not included on CDs - downloads only (all CD orders include MP3 downloads)\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eArtur Rodziński\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC760.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"sleevenotes\"\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\n\u003cp\u003e\u003cfont color=\"#731842\"\u003e\u003cb\u003eN.B. \u003c\/b\u003eThe first of these two concert broadcasts was longer than usual, and the only way to fit it onto a CD was to lose one of the pieces. With the Glinka overture too short to make the difference, after much thought we decided that a forgotten work by a pretty much forgotten composer, \u003cb\u003eStarokadomsky’s Concerto for Orchestra\u003c\/b\u003e, would be cut from the CD release. This work is present in all download versions of this release, and all CD buyers receive a download link to the recording in MP3 versions should they wish to hear the missing concerto.\u003c\/font\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIn December 1938 Artur Rodziński and the NBC Symphony Orchestra offered American radio audiences two exceptional programmes from Studio 8H in Radio City, separated by a single week but strikingly different in their musical terrain. Still early in the orchestra’s life, these broadcasts reveal an ensemble of formidable discipline and tonal punch, and a conductor whose flair for programming was matched by his ability to coax high-voltage playing from musicians already performing at the top of their game. Preserved on remarkably fine acetate discs and newly restored in Pristine’s XR and Ambient Stereo process, these concerts now emerge with a clarity, warmth and spatial naturalness that Studio 8H’s famously desiccated acoustic rarely allowed at the time.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    The 10 December 1938 broadcast opened with Glinka’s evergreen \u003cem\u003eRuslan and Lyudmila\u003c\/em\u003e Overture. Contemporary reviews singled out its sparkling character and the orchestra’s brilliance, noting that despite the modest studio acoustics the execution was consistently impressive. Under Rodziński the overture becomes a showcase of tensile rhythmic drive and peerless ensemble precision. The NBC strings, already one of the most agile sections in the country, dispatch Glinka’s perpetual-motion writing with an ease that belies the difficulty of the music.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    The centrepiece of that first broadcast was Tchaikovsky’s \u003cem\u003eSymphony No. 5\u003c\/em\u003e, a Rodziński speciality. Critics at the time praised his command of Tchaikovsky’s long spans and the orchestra’s powerful response, particularly in the sweeping finale. Rodziński shapes the symphony without indulgence: the opening motto is sombre yet flexible, the slow movement’s horn solo emerges with poised lyricism, the waltz glides without heaviness, and the finale surges with tightly controlled energy. These players may have been assembled for Toscanini, but in Rodziński they found a conductor who drew from them a comparable mixture of discipline and white-hot emotional commitment.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    That programme also included the American broadcast premiere of Mikhail Starokadomsky’s \u003cem\u003eConcerto for Orchestra\u003c\/em\u003e, a 1933 work by a now little-known pupil of Myaskovsky. The score was described at the time as competently crafted and orchestrated with skill, even if its idiom owed more to Germanic symphonic practice than to the more modernistic Russian school. While the work’s historical footprint is small, its presence in this broadcast testifies to Rodziński’s willingness to present new Soviet repertoire to American listeners at a moment when few conductors were venturing far beyond the established Russian canon. Although too long to fit our CD programme, it is included complete in the download edition.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    The concert closed with Stravinsky’s \u003cem\u003eFirebird\u003c\/em\u003e Suite, which listeners reported as having considerably enlivened the atmosphere despite the dryness of the broadcast studio. Rodziński’s performance is taut, colourful and intensely dramatic, the NBC brass and percussion delivering Stravinsky’s climaxes with thrilling impact. Even in the early years of high-fidelity broadcasting, the sheer blaze of this performance must have made a vivid impression on listeners.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    A week later, on 17 December 1938, Rodziński returned to Studio 8H with an entirely new programme, later reviewed in the New York Times’ “Other Music” column. The broadcast opened with Dvořák’s Symphony No. 4 — the work now recognised as his Eighth — already a favourite in the concert hall by that time. The critic praised the NBC Symphony’s “strong, clear and brilliant” playing, noting especially the finely balanced winds and the orchestra’s rhythmic vitality in a score whose pastoral lyricism can so easily turn heavy-handed. Rodziński gives the symphony a firm architectural profile, shaping its buoyant themes with affection but without sentimentality.\u003c\/p\u003e\n\n  \u003cp\u003e\n    Hindemith’s \u003cem\u003eMathis der Maler\u003c\/em\u003e Symphony followed, a bold choice in 1938 when the composer was at the centre of cultural controversy in Europe. Reviews highlighted the NBC Symphony’s splendid discipline and the work’s vivid colour and firm structure under Rodziński, whose affinity for Hindemith’s muscular counterpoint is audible throughout. Far from the austerity sometimes associated with the composer, Rodziński finds warmth and expressive breadth in the score, especially in the luminous “Engelkonzert” movement.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    The second broadcast concluded with Richard Strauss’s \u003cem\u003eTill Eulenspiegel\u003c\/em\u003e, played with élan, razor-sharp precision and a wicked sense of humour. Contemporary accounts praised the performance’s personality and momentum, noting the orchestra’s quick responsiveness to Rodziński’s characterisation of Strauss’s mercurial antihero.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    For these restorations Pristine has employed its XR remastering and Ambient Stereo techniques to address the inherent limitations of Studio 8H’s bone-dry acoustics. Wow and flutter have been eliminated, tonal edges softened, and a sympathetic convolution reverb drawn from one of the world’s finest symphonic halls has been added to restore a sense of breadth and natural resonance. The result is a pair of broadcasts that emerge with new presence and musical richness, preserving the sound of a great orchestra under an electrifying conductor at a pivotal moment in American radio history.\n  \u003c\/p\u003e\n\u003c\/div\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\u003eRODZINSKI \u003c\/b\u003eNBC 1938, Volume 3\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003edisc one\u003c\/b\u003e (75:27)\u003cbr\u003e\u003cbr\u003e1. \u003cb\u003eRADIO \u003c\/b\u003eIntroduction  (1:52)\u003cbr\u003e\u003cbr\u003e2. \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGLINKA \u003c\/b\u003eRuslan and Lyudmila - Overture\u003c\/span\u003e  (5:44)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSymphony No. 5 in E Minor, Op. 64\u003c\/span\u003e\u003cbr\u003e3. 1st mvt. - Andante - Allegro con anima  (14:10)\u003cbr\u003e4. 2nd mvt. - Andante cantabile con alcuna licenza  (13:05)\u003cbr\u003e5. 3rd  mvt. - Valse. Allegro moderato  (5:48)\u003cbr\u003e6. 4th mvt. - Finale. Andante maestoso - Allegro vivace  (11:57)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSTAROKADOMSKY \u003c\/b\u003eConcerto For Orchestra \u003cfont color=\"#731842\"\u003e\u003ci\u003e\u003cspan style=\"font-size: 14px;\"\u003e[\u003c\/span\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eDOWNLOADS ONLY\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 14px;\"\u003e]\u003c\/span\u003e\u003c\/i\u003e\u003c\/font\u003e\u003c\/span\u003e\u003cbr\u003e1st mvt. - Sinfonia (3:41)\u003cbr\u003e2nd mvt. - Passacaglia (8:12)\u003cbr\u003e3rd mvt. - Toccata (6:34)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003eThe Firebird (Suite)\u003c\/span\u003e\u003cbr\u003e7. Introduction  (3:46)\u003cbr\u003e8. Dance of the Firebird  (1:15)\u003cbr\u003e9. Dance of the Princesses  (4:52)\u003cbr\u003e10. The Infernal Dance of King Kashchei  (3:51)\u003cbr\u003e11. Berceuse (Lullaby of the Firebird)  (3:25)\u003cbr\u003e12. Finale  (5:42)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003edisc two\u003c\/b\u003e (79:39)\u003cbr\u003e\u003cbr\u003e1. \u003cb\u003eRADIO \u003c\/b\u003eIntroduction  (1:52)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003eSymphony No. No. 8 in G major, Op. 88\u003c\/span\u003e\u003cbr\u003e2. 1st mvt. - Allegro con brio  (9:45)\u003cbr\u003e3. 2nd mvt. - Adagio  (10:01)\u003cbr\u003e4. 3rd mvt. - Allegretto grazioso – Molto Vivace  (5:48)\u003cbr\u003e5. 4th mvt. - Allegro ma non troppo  (11:23)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eHINDEMITH \u003c\/b\u003eMathis der Maler Symphony\u003c\/span\u003e\u003cbr\u003e6. 1st mvt. - Engelkonzert  (9:07)\u003cbr\u003e7. 2nd mvt. - Grablegung  (4:31)\u003cbr\u003e8. 3rd mvt. - Versuchung des heiligen Antonius  (13:03)\u003cbr\u003e\u003cbr\u003e9.\u003cspan style=\"font-size: 18px;\"\u003e \u003cb\u003eR. STRAUSS\u003c\/b\u003e Till Eulenspiegels lustige Streiche\u003c\/span\u003e  (14:09)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eNBC Symphony Orchestra  \u003c\/b\u003e  \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003econducted by \u003cb\u003eArtur Rodziński\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eXR remastering by: Andrew Rose\u003cbr\u003eLive broadcast recordings, 10 \u0026amp; 17 December 1938\u003cbr\u003eStudio 8H, NBC Radio City, New York\u003cbr\u003eCover artwork based on a photograph of Artur Rodziński\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 55:37 (CDs: 2hr 35:07)\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cbr\u003e\u003c\/span\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\/undefined.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC760.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":55174815318350,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205503140174,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205503172942,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC760_8f196f06-6d87-46bf-bcc0-ba4612f9eefd.jpg?v=1770218754"},{"product_id":"pasc760-cd","title":"RODZINSKI NBC 1938, Volume 3 (1938) - PASC760 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC760.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs (+MP3)","offer_id":55174793920846,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":true},{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205503107406,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC760_aa1ce7d3-8e1f-492d-a3db-c0cd8655f28a.jpg?v=1764776397"},{"product_id":"pabx049","title":"RODZINSKI NBC 1938 Broadcasts Complete (1938) - PABX049","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size:18px;\"\u003e\u003cb\u003eALBÉNIZ\u003c\/b\u003e Ibéria - El Corpus en Sevilla\u003cbr\u003e\r\n\u003cb\u003eBACH\u003c\/b\u003e Toccata \u0026amp; Fugue in D minor\u003cbr\u003e\r\n\u003cb\u003eBACH\u003c\/b\u003e Two Chorales\u003cbr\u003e\r\n\u003cb\u003eBARBER\u003c\/b\u003e Symphony in One Movement\u003cbr\u003e\r\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Coriolan Overture\u003cbr\u003e\r\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 1\u003cbr\u003e\r\n\u003cb\u003eBRAHMS\u003c\/b\u003e Piano Quartet No. 1\u003cbr\u003e\r\n\u003cb\u003eDEBUSSY\u003c\/b\u003e Prélude à l'après-midi d'un faune\u003cbr\u003e\r\n\u003cb\u003eDEBUSSY\u003c\/b\u003e Nuages \u0026amp; Fêtes\u003cbr\u003e\r\n\u003cb\u003eDOHNÁNYI\u003c\/b\u003e Suite for Orchestra\u003cbr\u003e\r\n\u003cb\u003eDVOŘÁK\u003c\/b\u003e Symphony No. 8\u003cbr\u003e\r\n\u003cb\u003eGLINKA\u003c\/b\u003e Ruslan and Ludmila - Overture\u003cbr\u003e\r\n\u003cb\u003eHINDEMITH\u003c\/b\u003e Mathis der Maler Symphony\u003cbr\u003e\r\n\u003cb\u003eHUMPERDINCK\u003c\/b\u003e Hänsel und Gretel - Prelude\u003cbr\u003e\r\n\u003cb\u003ePROKOFIEV\u003c\/b\u003e Symphony No. 1\u003cbr\u003e\r\n\u003cb\u003eRAVEL\u003c\/b\u003e Pavane pour une infante défunte\u003cbr\u003e\r\n\u003cb\u003eRESPIGHI\u003c\/b\u003e Ancient Airs and Dances\u003cbr\u003e\r\n\u003cb\u003eSCHREKER\u003c\/b\u003e Der Geburtstag der Infantin\u003cbr\u003e\r\n\u003cb\u003eSCRIABIN\u003c\/b\u003e Symphony No. 3\u003cbr\u003e\r\n\u003cb\u003eSHOSTAKOVICH\u003c\/b\u003e Symphony No. 5\u003cbr\u003e\r\n\u003cb\u003eSTAROKADOMSKY\u003c\/b\u003e Concerto for Orchestra\u003cbr\u003e\r\n\u003cb\u003eSTRAVINSKY\u003c\/b\u003e Firebird Suite\u003cbr\u003e\r\n\u003cb\u003eJ. STRAUSS II\u003c\/b\u003e Die Fledermaus - Overture\u003cbr\u003e\r\n\u003cb\u003eJ. STRAUSS II\u003c\/b\u003e Tales from the Vienna Woods\u003cbr\u003e\r\n\u003cb\u003eR. STRAUSS\u003c\/b\u003e Also sprach Zarathustra\u003cbr\u003e\r\n\u003cb\u003eR. STRAUSS\u003c\/b\u003e Rosenkavalier Waltzes\u003cbr\u003e\r\n\u003cb\u003eR. STRAUSS\u003c\/b\u003e Till Eulenspiegels lustige Streiche\u003cbr\u003e\r\n\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Symphony No. 5\u003cbr\u003e\r\n\u003cb\u003eVIVALDI\u003c\/b\u003e Concerto in D minor\u003cbr\u003e\r\n\u003cb\u003eWAGNER\u003c\/b\u003e Die Meistersinger - excerpts\u003cbr\u003e\r\n\u003cb\u003eWEBER\u003c\/b\u003e Oberon - Overture\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:12px;\"\u003eBroadcast recordings, 1938\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:16px;\"\u003eNBC Symphony Orchestra\u003cbr\u003e\r\nconducted by \u003cb\u003eArtur Rodziński\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC767.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\"\u003eRODZINSKI NBC 1938, Volume 1 (1938) - PASC731\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    Artur Rodziński was engaged by NBC to recruit, rehearse and generally\n    prepare the NBC Symphony Orchestra for the eventual arrival of Toscanini as\n    its primary conductor in the autumn of 1937. Although he had conducted a\n    ‘pilot’ broadcast on 2 November 1937, the first official broadcasts were\n    taken by Pierre Monteux, beginning 13 November 1937. Thereafter Rodziński\n    conducted a further three broadcasts immediately prior to Toscanini’s debut\n    on Christmas Day, 1937.\n\u003c\/p\u003e\n\u003cp\u003e\n    After Toscanini’s NBC first concert season was completed, on 5 March 1938,\n    the orchestral concerts continued to be broadcast with a series of guest\n    conductors, including Monteux, Boult, Mitropoulos, Molinari, Howard Hanson\n    and, for three further engagements, Rodziński. In total, Rodziński conducted\n    the orchestra for seven concerts in 1938 – four more were scheduled in\n    December of that year during the orchestra’s second season, culminating in\n    his final performance of the year on New Year’s Eve.\n\u003c\/p\u003e\n\u003cp\u003e\n    This release brings you the first two Rodziński NBC concerts of 1938,\n    broadcast live on 2 and 9 April 1938 from NBC’s Studio 8H, each scheduled to\n    run for 90 minutes, and each offering a pretty packed programme – so much so\n    that you may just make out the words of Milton Cross at the beginning of the\n    final item on disc two, excerpts from Wagner’s Die Meistersinger, which were\n    still being announced when the orchestra began playing, no doubt starting to\n    a carefully worked-out timing schedule.\n\u003c\/p\u003e\n\u003cp\u003e\n    Rodziński’s second broadcast of the year brought with it a real coup – for\n    the conductor, the orchestra, the NBC and indeed the nation: Shostakovich’s\n    Fifth Symphony. Premièred in Leningrad in November 1937 and played elsewhere\n    within the Soviet Union, and after the debacle of the composer’s Fourth\n    Symphony, withdrawn at the last minute under intense political pressure,\n    there was no shortage of orchestras and conductors wishing to take up and\n    première the new work outside of the country.\n\u003c\/p\u003e\n\u003cp\u003e\n    As Halina Rodziński, the conductor’s wife, would later recall in her\n    memoirs: “Artur, thanks to his good connections with the composer, was\n    awarded the prize. NBC's John Royal, through the American ambassador in\n    Moscow, made the arrangements - at a huge price. The Soviet government\n    demanded the then unheard of sum of $5,000 for the premiere. Since\n    introducing the piece would be as much of a coup for the radio network as\n    for Artur, NBC's management did not object to the cost.\n\u003c\/p\u003e\n\u003cp\u003e\n    After all the expense and effort in acquiring the score and parts, Artur was\n    a bit concerned the piece might not be all that was expected of it. His\n    reactions when he first examined it were far from favorable. There was a\n    coarseness to the sound of the scoring. The piece seemed overlong. Indeed,\n    Artur was not altogether sure he cared for it. In discussion with NBC, it\n    was decided to perform the work just as it had been delivered - without\n    cuts, without reservations. If the critics did not care for it, no one could\n    blame Rodziński.\n\u003c\/p\u003e\n\u003cp\u003e\n    Gradually, in rehearsals, the work began to take Artur's imagination, and\n    soon enough he even was in love with it. The piece entered his repertoire\n    and became one of his specialties.”\n\u003c\/p\u003e\n\u003cp\u003e\n    Mrs. Rodziński’s memory here fails her somewhat. The version heard on 9\n    April, 1938, as revealed in this recording, was far from the complete work,\n    with substantial cuts that  reduced the symphony from about fifty minutes in\n    duration to a little over thirty. Nevertheless, the new work made a\n    favourable impression, and would go on to become one of Shostakovich’s most\n    played symphonies.\n\u003c\/p\u003e\n\u003cp\u003e\n    Whilst the present Shostakovich performance has been referred to in various\n    texts and discussions over the years, we believe this is the first time any\n    of these recordings have been made publicly available (it is interesting to\n    note that the recordings reveal several errors in Mortimer H. Frank’s\n    reference work charting the Toscanini’s career with the NBC orchestra,\n    suggesting he had not had access to them). Because of the length of the\n    broadcasts, once again I have been forced to cut announcements and other\n    speech content in order to fit each one onto a single Compact Disc. Sound\n    quality of these exceptionally rare discs, although generally good for their\n    age, is not uniformly perfect; at times the listener will have to make some\n    accommodations for slightly damaged sections, though I’m relieved to report\n    that the concerts themselves survive intact.\n\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\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\"\u003eRODZINSKI NBC 1938, Volume 2 (1938) - PASC741\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003eArtur Rodzinski, one of the best program makers who has conducted this season at the symphony concerts in Radio City, led the NBC Symphony Orchestra last night in a program of which the principal feature was the tone poem of Richard Strauss, after Nietzsche, “Also sprach Zarathustra”.\u003cbr\u003e\u003cbr\u003eThe performance was one of exceptional brilliancy and one that displayed to very marked advantage the virtuosity of the orchestra. Aside from its interpretive merits, it may be said that a presentation of this music which displays so much certainty and such high technical quality is rare. Add to this the authority and the fire of the reading.\u003cbr\u003e\u003cbr\u003e“Zarathustra” is anything but a simple score to interpret. The conductor’s handicap from the aspect of concert effect is the faint and enigmatical conclusion. This can so easily become anti-climax, to say nothing of the mystifying effect of the strange harmonic scheme. But the audience responded last night to a work which formerly baffled the public with unstinted enthusiasm.\u003cbr\u003e\u003cbr\u003eAnd this is noteworthy: the music triumphed in the complete absence of any programmatic explanation. Explanatory paragraphs would have been wholly in order. Strauss himself affixed lines from Nietzsche's poem to his score. The audience deserves a program note when this work is played.\u003cbr\u003e\u003cbr\u003eThis does not lessen the music, but it can greatly conduce to a listener’s appreciation of the composer’s intention, if he knows, for example, that the magnificent introduction, which made Philip Hale think of “the portals of eternity swinging slowly asunder,” is Strauss’s evocation of the sunrise; that the pathetic and mystical passages immediately following, and the great hymn passionately intoned by organ and orchestra, is reference to religion upon which man pinned his faith; that the climax of frantic rejoicing while the great bell tolls in the orchestra is the song of Nietzsche’s victorious Over-man; and that the ending, in two keys, with the theme of Nature heard in the plucked basses, and the theme of the Ideal, like receding stars, soaring aloft, is Strauss’s comment upon the unsolvable riddle of the universe.\u003cbr\u003e\u003cbr\u003eBut the music made its mark and greatly moved the audience. It would have been still more imposing for those personally present if the performance had taken place in an auditorium with better acoustics than those of Studio H-8, which deadens sound and lessens the sonority of an orchestra. The effect of breadth as well as sheer body and brilliancy of sound in this place is thus modified, and blazing sonorities are part of the very conception of this score. But the effect was on the whole so adequate and eloquent that it would be captious to fuss over details. “Zarathustra” has waited longest of all Strauss’s tone-poems to come into its own. The sum of this occasion was a performances which carried it convincingly and in a very exciting way to the public.\u003cbr\u003e\u003cbr\u003eThe concert opened with the excellent Wertheim’s version of the Bach D minor Toccata and Fugue, a sonorous and effective performance of a masterpiece of universal meaning. After Strauss came the charming concert suite that Schrecker arranged from his ballet, “The Birthday of the Infanta.” It is not wildly modern music, nor highly original, but it is pleasing and admirably orchestrated material, put together with skill and taste by an expert craftsman.\u003cbr\u003e\u003cbr\u003eOther delightful music, more original than Schrecker’s, and destined to live much longer, completed the program and delighted the audience. The reference is to the overture to “Fledermaus” and the waltz “Tales From the Vienna Woods,” by Johann Strauss. He also could write music.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eOlin Downes\u003c\/b\u003e, \u003ci\u003eThe New York Times\u003c\/i\u003e, 17 April 1938\u003cbr\u003e\u003cbr\u003e\u003cbr\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\"\u003eRODZINSKI NBC 1938, Volume 3 (1938) - PASC760\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cdiv class=\"sleevenotes\"\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\n\u003cp\u003e\u003cfont color=\"#731842\"\u003e\u003cb\u003eN.B. \u003c\/b\u003eThe first of these two concert broadcasts was longer than usual, and the only way to fit it onto a CD was to lose one of the pieces. With the Glinka overture too short to make the difference, after much thought we decided that a forgotten work by a pretty much forgotten composer, \u003cb\u003eStarokadomsky’s Concerto for Orchestra\u003c\/b\u003e, would be cut from the CD release. This work is present in all download versions of this release, and all CD buyers receive a download link to the recording in MP3 versions should they wish to hear the missing concerto.\u003c\/font\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIn December 1938 Artur Rodziński and the NBC Symphony Orchestra offered American radio audiences two exceptional programmes from Studio 8H in Radio City, separated by a single week but strikingly different in their musical terrain. Still early in the orchestra’s life, these broadcasts reveal an ensemble of formidable discipline and tonal punch, and a conductor whose flair for programming was matched by his ability to coax high-voltage playing from musicians already performing at the top of their game. Preserved on remarkably fine acetate discs and newly restored in Pristine’s XR and Ambient Stereo process, these concerts now emerge with a clarity, warmth and spatial naturalness that Studio 8H’s famously desiccated acoustic rarely allowed at the time.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    The 10 December 1938 broadcast opened with Glinka’s evergreen \u003cem\u003eRuslan and Lyudmila\u003c\/em\u003e Overture. Contemporary reviews singled out its sparkling character and the orchestra’s brilliance, noting that despite the modest studio acoustics the execution was consistently impressive. Under Rodziński the overture becomes a showcase of tensile rhythmic drive and peerless ensemble precision. The NBC strings, already one of the most agile sections in the country, dispatch Glinka’s perpetual-motion writing with an ease that belies the difficulty of the music.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    The centrepiece of that first broadcast was Tchaikovsky’s \u003cem\u003eSymphony No. 5\u003c\/em\u003e, a Rodziński speciality. Critics at the time praised his command of Tchaikovsky’s long spans and the orchestra’s powerful response, particularly in the sweeping finale. Rodziński shapes the symphony without indulgence: the opening motto is sombre yet flexible, the slow movement’s horn solo emerges with poised lyricism, the waltz glides without heaviness, and the finale surges with tightly controlled energy. These players may have been assembled for Toscanini, but in Rodziński they found a conductor who drew from them a comparable mixture of discipline and white-hot emotional commitment.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    That programme also included the American broadcast premiere of Mikhail Starokadomsky’s \u003cem\u003eConcerto for Orchestra\u003c\/em\u003e, a 1933 work by a now little-known pupil of Myaskovsky. The score was described at the time as competently crafted and orchestrated with skill, even if its idiom owed more to Germanic symphonic practice than to the more modernistic Russian school. While the work’s historical footprint is small, its presence in this broadcast testifies to Rodziński’s willingness to present new Soviet repertoire to American listeners at a moment when few conductors were venturing far beyond the established Russian canon. Although too long to fit our CD programme, it is included complete in the download edition.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    The concert closed with Stravinsky’s \u003cem\u003eFirebird\u003c\/em\u003e Suite, which listeners reported as having considerably enlivened the atmosphere despite the dryness of the broadcast studio. Rodziński’s performance is taut, colourful and intensely dramatic, the NBC brass and percussion delivering Stravinsky’s climaxes with thrilling impact. Even in the early years of high-fidelity broadcasting, the sheer blaze of this performance must have made a vivid impression on listeners.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    A week later, on 17 December 1938, Rodziński returned to Studio 8H with an entirely new programme, later reviewed in the New York Times’ “Other Music” column. The broadcast opened with Dvořák’s Symphony No. 4 — the work now recognised as his Eighth — already a favourite in the concert hall by that time. The critic praised the NBC Symphony’s “strong, clear and brilliant” playing, noting especially the finely balanced winds and the orchestra’s rhythmic vitality in a score whose pastoral lyricism can so easily turn heavy-handed. Rodziński gives the symphony a firm architectural profile, shaping its buoyant themes with affection but without sentimentality.\u003c\/p\u003e\n\n  \u003cp\u003e\n    Hindemith’s \u003cem\u003eMathis der Maler\u003c\/em\u003e Symphony followed, a bold choice in 1938 when the composer was at the centre of cultural controversy in Europe. Reviews highlighted the NBC Symphony’s splendid discipline and the work’s vivid colour and firm structure under Rodziński, whose affinity for Hindemith’s muscular counterpoint is audible throughout. Far from the austerity sometimes associated with the composer, Rodziński finds warmth and expressive breadth in the score, especially in the luminous “Engelkonzert” movement.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    The second broadcast concluded with Richard Strauss’s \u003cem\u003eTill Eulenspiegel\u003c\/em\u003e, played with élan, razor-sharp precision and a wicked sense of humour. Contemporary accounts praised the performance’s personality and momentum, noting the orchestra’s quick responsiveness to Rodziński’s characterisation of Strauss’s mercurial antihero.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    For these restorations Pristine has employed its XR remastering and Ambient Stereo techniques to address the inherent limitations of Studio 8H’s bone-dry acoustics. Wow and flutter have been eliminated, tonal edges softened, and a sympathetic convolution reverb drawn from one of the world’s finest symphonic halls has been added to restore a sense of breadth and natural resonance. The result is a pair of broadcasts that emerge with new presence and musical richness, preserving the sound of a great orchestra under an electrifying conductor at a pivotal moment in American radio history.\n  \u003c\/p\u003e\n\u003c\/div\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\"\u003eRODZINSKI NBC 1938, Volume 4 (1938) - PASC767\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003eBy the late 1930s the National Broadcasting Company had created something unprecedented in American musical life: a full-time symphony orchestra assembled specifically for radio. The NBC Symphony Orchestra was formed in 1937 primarily for the broadcasts of Arturo Toscanini, but before Toscanini’s first appearance on Christmas Day of that year the orchestra needed to be tested, disciplined and moulded into a working ensemble. That crucial preparatory work fell largely to the Polish conductor Artur Rodziński.\u003c\/p\u003e\n\n\u003cp\u003eRodziński had already established a formidable reputation in the United States through his transformative leadership of the Cleveland Orchestra. NBC engaged him first for a trial broadcast in November 1937, followed by three concerts in December that effectively served as the orchestra’s public dress rehearsal before Toscanini assumed the podium. Rodziński returned to conduct further NBC Symphony broadcasts in April 1938 and again in December of the same year. The present recordings preserve the last two of four concerts he conducted on consecutive weekends that December.\u003c\/p\u003e\n\n\u003cp\u003eThese broadcasts therefore represent the closing chapter of Rodziński’s brief but significant association with the NBC Symphony Orchestra. The New Year’s Eve programme heard here would prove to be the final concert he conducted with the ensemble.\u003c\/p\u003e\n\n\u003cp\u003eThe Christmas Eve broadcast opens atmospherically with the Prelude to Humperdinck’s \u003cem\u003eHänsel und Gretel\u003c\/em\u003e, music whose luminous orchestral writing made it a favourite seasonal curtain-raiser. From there Rodziński turns to Johann Sebastian Bach as orchestrated by Ottorino Respighi. Respighi’s Bach transcriptions were widely admired in the early twentieth century for their rich orchestral palette, and here two chorales from the set of \u003cem\u003eThree Chorales\u003c\/em\u003e were performed: \u003cem\u003eNun komm, der Heiden Heiland\u003c\/em\u003e and \u003cem\u003eWachet auf, ruft uns die Stimme\u003c\/em\u003e.\u003c\/p\u003e\n\n\u003cp\u003eThe central work of the programme is Beethoven’s First Symphony, music that bridges the Classical world of Haydn and Mozart with the emerging individuality that would soon transform the symphonic form. Rodziński follows it with one of the most striking orchestral transformations of the twentieth century: Arnold Schoenberg’s orchestration of Brahms’s Piano Quartet in G minor. Schoenberg explained that one reason for making the arrangement was that he wanted to hear everything in Brahms’s densely written score more clearly than was possible in the original chamber version. The result is a dazzling re-imagining of the work in which Brahmsian architecture is expanded into a vibrant orchestral showpiece.\u003c\/p\u003e\n\n\u003cp\u003eThe New Year’s Eve broadcast presents an equally colourful programme. It begins with Alexander Siloti’s orchestral arrangement of a concerto from Antonio Vivaldi’s \u003cem\u003eL’estro armonico\u003c\/em\u003e. Siloti’s late-Romantic treatment of the Baroque original reflects the era’s fascination with adapting earlier music to the modern symphony orchestra.\u003c\/p\u003e\n\n\u003cp\u003eFrom there Rodziński launches into Alexander Scriabin’s Third Symphony, \u003cem\u003eLe Divin Poème\u003c\/em\u003e, a vast mystical canvas whose ecstatic climaxes and shimmering orchestration stand at the threshold of musical modernism. Scriabin’s ecstatic vision is followed by a sequence of orchestral miniatures: Ravel’s nostalgic \u003cem\u003ePavane pour une infante défunte\u003c\/em\u003e and two movements from Debussy’s \u003cem\u003eNocturnes\u003c\/em\u003e, \u003cem\u003eNuages\u003c\/em\u003e and the exuberant \u003cem\u003eFêtes\u003c\/em\u003e.\u003c\/p\u003e\n\n\u003cp\u003eThe concert concludes in celebratory fashion with the first waltz sequence from Richard Strauss’s \u003cem\u003eDer Rosenkavalier\u003c\/em\u003e, music whose swirling Viennese rhythms provided a fitting close to a New Year’s Eve broadcast.\u003c\/p\u003e\n\n\u003cp\u003eThe original transmissions were introduced by NBC announcer Gene Hamilton. His commentary survives in full on the source recordings, but because the complete broadcasts run slightly longer than a standard compact disc allows, much of this material has been edited here in order to accommodate the music within a single CD. Short excerpts of Hamilton’s introductions to the Christmas Eve concert and his closing remarks at the end of the New Year’s Eve broadcast have been retained.\u003c\/p\u003e\n\n\u003cp\u003eDespite their broadcast origins the surviving recordings are remarkable for their warmth, dynamic range and clarity. In these new XR remasterings the sound reveals impressive orchestral colour, with quiet surfaces and extended frequency range that allow Rodziński’s incisive conducting and the NBC Symphony Orchestra’s brilliance to emerge with striking immediacy.\u003c\/p\u003e\n\n\u003cp\u003eThese final NBC broadcasts not only complete Rodziński’s recorded association with the orchestra but also offer a vivid glimpse of American orchestral broadcasting at the end of the 1930s.\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\"\u003eRODZINSKI NBC 1938, Volume 1 (1938) - PASC731\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eRODZINSKI \u003c\/b\u003eNBC 1938, Volume 1\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003edisc one\u003c\/b\u003e (77:09)\u003cbr\u003e\u003cbr\u003e1. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eCoriolan Overture, Op. 62\u003c\/span\u003e  (7:45)\u003cbr\u003e\u003cbr\u003e2. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBARBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony in One Movement, Op. 9\u003c\/span\u003e  (20:13)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePROKOFIEV \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 1 in D major, Op. 25 , \"Classical\"\u003c\/span\u003e\u003cbr\u003e3. 1st mvt. - Allegro  (3:14)\u003cbr\u003e4. 2nd mvt. - Larghetto  (3:39)\u003cbr\u003e5. 3rd mvt. - Gavotta  (1:26)\u003cbr\u003e6. 4th mvt. - Molto vivace  (2:58)\u003cbr\u003e\u003cbr\u003e7. \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003ePrélude à l'après-midi d'un faune\u003c\/span\u003e  (10:40)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDOHNÁNYI \u003c\/b\u003eSuite for Orchestra, Op. 19\u003c\/span\u003e\u003cbr\u003e8. 1. Andante con variazioni  (10:06)\u003cbr\u003e9. 2. Scherzo  (4:06)\u003cbr\u003e10. 3. Romance  (4:54)\u003cbr\u003e11. 4. Rondo  (8:08)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003edisc two\u003c\/b\u003e (78:48)\u003cbr\u003e\u003cbr\u003e1. \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWEBER \u003c\/b\u003eOberon - Overture\u003c\/span\u003e  (8:52)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eSymphony No. 5 in D minor, Op. 47\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eFirst performance outside the Soviet Union\u003c\/b\u003e\u003cbr\u003e2. 1st mvt. - Moderato  (10:53)\u003cbr\u003e3. 2nd mvt. - Allegretto  (5:22)\u003cbr\u003e4. 3rd mvt. - Largo  (9:58)\u003cbr\u003e5. 4th mvt. - Allegro non troppo  (6:52)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRESPIGHI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eAncient Airs and Dances, Suite No. 1\u003c\/span\u003e\u003cbr\u003e6. 1. Balletto detto 'Il Conte Orlando' (Molinaro)  (2:40)\u003cbr\u003e7. 2. Gagliarga (Galilei)  (3:57)\u003cbr\u003e8. 3. Villanella (Ignoto)  (5:38)\u003cbr\u003e9. 4. Passo mezzo e Mascherada (Ignoto)  (3:44)\u003cbr\u003e\u003cbr\u003e10. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eALBÉNIZ \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eIbéria - 3. El Corpus en Sevilla\u003c\/span\u003e  (8:46)\u003cbr\u003e\u003cbr\u003e11. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDie Meistersinger von Nürnberg\u003c\/span\u003e: Prelude to Act III - Dance of the Apprentices - Finale  (12:07)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 20px;\"\u003eNBC Symphony Orchestra    \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 20px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 20px;\"\u003eArtur Rodziński\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eXR remastering by: Andrew Rose\u003cbr\u003eLive broadcast recordings, 2 \u0026amp; 9 April 1938\u003cbr\u003eStudio 8H, NBC Radio City, New York\u003cbr\u003eCover artwork based on a photograph of Artur Rodziński\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 35:56\u003c\/b\u003e\u003cbr\u003e\u003cbr\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\"\u003eRODZINSKI NBC 1938, Volume 2 (1938) - PASC741\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eRODZINSKI \u003c\/b\u003eNBC 1938, Volume 2\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1. RADIO Introduction  (1:25)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eJ. S. BACH\u003c\/b\u003e (arr. Wertheim) Toccata and Fugue in D minor, BWV 565\u003c\/span\u003e\u003cbr\u003e2. Toccata  (2:57)\u003cbr\u003e3. Fugue  (6:05)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Also Sprach Zarathustra, Op. 30\u003c\/span\u003e\u003cbr\u003e4. Einleitung  (2:10)\u003cbr\u003e5. Von den Hinterweltlern  (3:38)\u003cbr\u003e6. Von der grossen Sehnsucht  (1:58)\u003cbr\u003e7. Von den Freuden-und Leidenschaften  (1:56)\u003cbr\u003e8. Das Grablied  (2:12)\u003cbr\u003e9. Von der Wissenschaft  (4:34)\u003cbr\u003e10. Der Genesende  (5:38)\u003cbr\u003e11. Das Tanzlied  (5:46)\u003cbr\u003e12. Nachtwandlerlied  (6:52)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHREKER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDer Geburtstag der Infantin - Suite\u003c\/span\u003e\u003cbr\u003e13. 1. Reigen  (1:47)\u003cbr\u003e14. 2. Aufzug und kampfspiel  (2:11)\u003cbr\u003e15. 3. Die Marionetten  (2:49)\u003cbr\u003e16. 4. Minuett der Tanzerknaken  (2:11)\u003cbr\u003e17. 5. Die Tanze der Zwerges  (0:15)\u003cbr\u003e18. 6. Mit der Wind im Fruhling  (0:53)\u003cbr\u003e19. 7. In blauen Sandalen uber das korn  (1:52)\u003cbr\u003e20. 8. Im roten Gewand im herbst  (1:23)\u003cbr\u003e21. 9. Die Rose der Infatin  (3:41)\u003cbr\u003e\u003cbr\u003e22. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ STRAUSS II \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDie Fledermaus - Overture\u003c\/span\u003e  (8:14)\u003cbr\u003e\u003cbr\u003e23. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ STRAUSS II\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Tales from the Vienna Woods\u003c\/span\u003e  (7:05)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eNBC Symphony Orchestra   \u003c\/b\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003econducted by \u003cb\u003eArtur Rodziński\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eXR remastering by: Andrew Rose\u003cbr\u003eLive broadcast recording, 16 April 1938, Studio 8H, NBC Radio City, New York\u003cbr\u003eCover artwork based on a photograph of Artur Rodziński\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  77:31\u003c\/b\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\"\u003eRODZINSKI NBC 1938, Volume 3 (1938) - PASC760\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eRODZINSKI \u003c\/b\u003eNBC 1938, Volume 3\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003edisc one\u003c\/b\u003e (75:27)\u003cbr\u003e\u003cbr\u003e1. \u003cb\u003eRADIO \u003c\/b\u003eIntroduction  (1:52)\u003cbr\u003e\u003cbr\u003e2. \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGLINKA \u003c\/b\u003eRuslan and Lyudmila - Overture\u003c\/span\u003e  (5:44)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSymphony No. 5 in E Minor, Op. 64\u003c\/span\u003e\u003cbr\u003e3. 1st mvt. - Andante - Allegro con anima  (14:10)\u003cbr\u003e4. 2nd mvt. - Andante cantabile con alcuna licenza  (13:05)\u003cbr\u003e5. 3rd  mvt. - Valse. Allegro moderato  (5:48)\u003cbr\u003e6. 4th mvt. - Finale. Andante maestoso - Allegro vivace  (11:57)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSTAROKADOMSKY \u003c\/b\u003eConcerto For Orchestra \u003cfont color=\"#731842\"\u003e\u003ci\u003e\u003cspan style=\"font-size: 14px;\"\u003e[\u003c\/span\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eDOWNLOADS ONLY\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 14px;\"\u003e]\u003c\/span\u003e\u003c\/i\u003e\u003c\/font\u003e\u003c\/span\u003e\u003cbr\u003e1st mvt. - Sinfonia (3:41)\u003cbr\u003e2nd mvt. - Passacaglia (8:12)\u003cbr\u003e3rd mvt. - Toccata (6:34)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003eThe Firebird (Suite)\u003c\/span\u003e\u003cbr\u003e7. Introduction  (3:46)\u003cbr\u003e8. Dance of the Firebird  (1:15)\u003cbr\u003e9. Dance of the Princesses  (4:52)\u003cbr\u003e10. The Infernal Dance of King Kashchei  (3:51)\u003cbr\u003e11. Berceuse (Lullaby of the Firebird)  (3:25)\u003cbr\u003e12. Finale  (5:42)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003edisc two\u003c\/b\u003e (79:39)\u003cbr\u003e\u003cbr\u003e1. \u003cb\u003eRADIO \u003c\/b\u003eIntroduction  (1:52)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003eSymphony No. No. 8 in G major, Op. 88\u003c\/span\u003e\u003cbr\u003e2. 1st mvt. - Allegro con brio  (9:45)\u003cbr\u003e3. 2nd mvt. - Adagio  (10:01)\u003cbr\u003e4. 3rd mvt. - Allegretto grazioso – Molto Vivace  (5:48)\u003cbr\u003e5. 4th mvt. - Allegro ma non troppo  (11:23)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eHINDEMITH \u003c\/b\u003eMathis der Maler Symphony\u003c\/span\u003e\u003cbr\u003e6. 1st mvt. - Engelkonzert  (9:07)\u003cbr\u003e7. 2nd mvt. - Grablegung  (4:31)\u003cbr\u003e8. 3rd mvt. - Versuchung des heiligen Antonius  (13:03)\u003cbr\u003e\u003cbr\u003e9.\u003cspan style=\"font-size: 18px;\"\u003e \u003cb\u003eR. STRAUSS\u003c\/b\u003e Till Eulenspiegels lustige Streiche\u003c\/span\u003e  (14:09)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eNBC Symphony Orchestra  \u003c\/b\u003e  \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003econducted by \u003cb\u003eArtur Rodziński\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eXR remastering by: Andrew Rose\u003cbr\u003eLive broadcast recordings, 10 \u0026amp; 17 December 1938\u003cbr\u003eStudio 8H, NBC Radio City, New York\u003cbr\u003eCover artwork based on a photograph of Artur Rodziński\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 55:37 (CDs: 2hr 35:07)\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cbr\u003e\u003c\/span\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\"\u003eRODZINSKI NBC 1938, Volume 4 (1938) - PASC767\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003eRODZINSKI NBC 1938, Volume 4\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003edisc one (79:45)\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e1. RADIO Introduction to Christmas Eve Program (0:28)\u003c\/p\u003e\n\n\u003cp\u003e2. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eHUMPERDINCK\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e Hänsel und Gretel - \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003ePrelude\u003c\/span\u003e\u003c\/em\u003e (8:00)\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eBACH\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e (arr. Respighi) Chorales from the \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eOrgelbüchlein\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\n3. Nun komm, der Heiden Heiland, BWV 659 (5:38)\u003cbr\u003e\n4. Wachet auf, ruft uns die Stimme, BWV 645 (4:10)\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 1 in C major, Op. 21\u003c\/span\u003e\u003cbr\u003e\n5. 1st mvt. - Adagio molto - Allegro con brio (6:46)\u003cbr\u003e\n6. 2nd mvt. - Andante cantabile con moto (6:56)\u003cbr\u003e\n7. 3rd mvt. - Menuetto: Allegro molto e vivace (3:27)\u003cbr\u003e\n8. 4th mvt. - Finale: Adagio - Allegro molto e vivace (5:43)\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e (arr. Schoenberg) Piano Quartet No. 1 in G minor, Op. 25\u003c\/span\u003e\u003cbr\u003e\n9. 1st mvt. - Allegro (13:44)\u003cbr\u003e\n10. 2nd mvt. - Intermezzo: Allegro ma non troppo - Trio: Animato (8:51)\u003cbr\u003e\n11. 3rd mvt. - Andante con moto (8:35)\u003cbr\u003e\n12. 4th mvt. - Rondo alla zingarese: Presto (7:26)\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003edisc two (78:01)\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eVIVALDI\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e (arr. Siloti) Concerto in D minor\u003c\/span\u003e\u003cbr\u003e\nfrom \u003cem\u003eL’estro armonico\u003c\/em\u003e, Op. 3 No. 11, RV 565\u003cbr\u003e\n1. 1st mvt. - Allegro (5:33)\u003cbr\u003e\n2. 2nd mvt. - Adagio e spiccato (4:37)\u003cbr\u003e\n3. 3rd mvt. - Allegro (3:22)\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCRIABIN\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 3 in C minor, Op. 43 - \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eLe Divin Poème\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\n4. 1st mvt. - Lutte (17:05)\u003cbr\u003e\n5. 2nd mvt. - Voluptés (8:11)\u003cbr\u003e\n6. 3rd mvt. - Jeu divin (9:47)\u003c\/p\u003e\n\n\u003cp\u003e7. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eRAVEL\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e Pavane pour une infante défunte\u003c\/span\u003e (6:17)\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eDEBUSSY\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e Nocturnes\u003c\/span\u003e\u003cbr\u003e\n8. Nuages (8:35)\u003cbr\u003e\n9. Fêtes (6:01)\u003c\/p\u003e\n\n\u003cp\u003e10. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eDer Rosenkavalier\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 18px;\"\u003e Waltzes - First sequence\u003c\/span\u003e (7:55)\u003c\/p\u003e\n\n\u003cp\u003e11. RADIO Conclusion to New Year's Eve Program (0:38)\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 20px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 20px;\"\u003e\nconducted by Artur Rodziński\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: 20px;\"\u003e\n\n\u003c\/span\u003e\u003cp\u003eXR remastering by: Andrew Rose\u003cbr\u003e\nLive broadcast recordings, 24 \u0026amp; 31 December 1938\u003cbr\u003e\nStudio 8H, NBC Radio City, New York\u003cbr\u003e\nCover artwork based on a photograph of Artur Rodziński\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eTotal duration:\u003c\/strong\u003e 2hr 37:46\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PABX049.jpg578a9379d1e540bd96d26f03a79628d9tab3_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":59122623021390,"sku":null,"price":128.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":59122623054158,"sku":null,"price":88.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":59122623086926,"sku":null,"price":72.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX049.jpg?v=1773402612"},{"product_id":"pabx049-cd","title":"RODZINSKI NBC 1938 Broadcasts Complete (1938) - PABX049 - CD","description":"overviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs (+MP3)","offer_id":59122677711182,"sku":null,"price":140.0,"currency_code":"EUR","in_stock":true},{"title":"8 CDs only in plastic sleeve (+MP3)","offer_id":59122677743950,"sku":null,"price":100.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX049_046dd574-d388-4286-b49d-d5716ba1605f.jpg?v=1773241339"}],"url":"https:\/\/www.pristineclassical.com\/collections\/composer-hindemith.oembed?page=3","provider":"Pristine Classical","version":"1.0","type":"link"}